Transcripts
1. Presentation: Build Professional Pattern Catalogues with Data Merge in Adobe InDesign: If you are a surface
pattern designer, you probably know this feeling. Creating a catalog from
scratch can be overwhelming. You manually places images, you copy and paste descriptions. You adjust layouts page by page. And every time you
want to update a collection or adapt it
for a different client, you basically start again. It's slow, it's repetitive. And often it stops you from even creating the catalog
in the first place. But what if you could
build a system once and then generate professional adaptable catalogs
automatically? Hi, I am Beatriz Pascual, a surface pattern
designer from Spain with a strong interest
in organization, structure, and automating
creative workflows. Over the years, I realized that designing the patterns
was only part of the job. Presenting them
professionally and efficiently was
just as important. In this class, I'll show you the exact system
I use to create structured, scalable
catalogs using data merged inside
Adobe in design. We'll start by analyzing inspiration from high end
international brands, studying how
professional catalogs are structured and
why they work. Then we'll define your
catalog structure and build a cohesive
brand style guide, organizing brand
assets, typography, layout logic, and
visual identity. From there, we'll design the opening and closing
template pages, including brand presentation, collection introduction,
technical details, contact pages, working process, and additional brand
philosophy pages. You'll also learn how to adapt your templates
to different formats, including square
layouts, to optimize your workflow, instead of redesigning everything
from scratch. Then we move into automation. You'll learn how to create a structured CSV file from
your design database. Generate consistent descriptions
with the help of AI. Prepare your file
for Data Merge, design body page templates and thumbnail overview layouts. Automatically generate
the full catalog. And finally, assemble everything into a professional
final document. In the last lesson,
I'll show you how the same dataset can produce multiple targeted catalogs for different sectors from wallpaper
to textiles and beyond. This class is ideal for
surface en designers, textile designers,
licensing designers, creatives who want to present their work more strategically. You don't just learn how
to design a catalog. You learn how to build a
system that saves time, reduces manual work,
and allows you to adapt your portfolio
for different markets. By the end of this class, you won't see catalogs as heavy manual design
projects anymore. You'll see them as
structured outputs generated from clean data
and smart templates. Instead of rebuilding
documents again and again, you'll be able to update
collections quickly, adapt presentations
for specific clients, work more efficiently, and position yourself as a
strategic professional. If you're ready to transform
the way you present your pattern
collections and build a workflow that truly supports
your creative practice, I'd love to see you
inside the class. And I can't wait to see the catalogs you'll
create using this system. Let's get started.
2. Inspiration: Studying High End Catalogue Design: Before designing anything, it's important to
train your eye. Looking at high end examples helps us understand
not only aesthetics, but also structure, hierarchy,
and visual strategy. As an example, I
want to show you the catalogs published
by Arte International. Arte is a Belgian
wallpaper brand with a very strong
visual identity. They also produce murals
and wall coverings, and their presentation is
always extremely refined. Personally, I really admire the way they design
their catalogs. On the website, they publish
interactive catalogs, which makes them even more interesting to explore
as references. Let's take a look at
a couple of examples. This first catalog, Honoré uses a square format instead
of standard A4 size. Immediately, you can see how elegant and minimal
the structure is. The catalog opens with introductory pages
presenting the collection. I want you to notice
the elegance of the typography. The text is
minimal, clear and very refined. I never overwhelms the layout. The color palette plays
an important role here. You can see how the tones used in the graphic elements and pages relate directly to the colors of the
collection itself. Everything feels cohesive. There is a strong balance
between text and image. This is important. A catalog
is not a technical document. It's a visual storytelling tool. We can see pages that show all the colorways of
a design together. These thumbnail overview
pages are very structured. Each colorway includes
its reference number and identification presented in a clean and consistent way. This creates rhythm. The structure is homogeneous
throughout the catalog. Even though the content changes, the layout logic
stays consistent. Towards the end, we can see
more technical information, sometimes including QR codes, references, and brand details. And finally, the
catalog closes with brand information
and contact details. The square format gives it a very distinctive
and premium feeling. Now let's look at
another example. This time in a more traditional
A4 portrait format. Here, the cover uses a full background image
from the collection. Again, the first pages
introduce the collection, and we can see
short refined text and very strong imagery. As we move through the catalog, we notice the same principles, minimal text, high
quality visuals, carefully structured layouts. Each design is presented clearly with its
references and variations. And again, we find
overview pages that display all the colorways together in a very
organized way. These pages are extremely
useful because they allow the viewer to quickly understand the full
range of the collection. At the end of the catalog, we find additional
brand information and contact references, closing the document in a
clean and professional way. We are analyzing
controlled typography, minimal intentional text,
strong image hierarchy, and strategic presentation
of colorways. This is exactly what we will build in our own catalog system. By studying strong brands, we train our eye to
think in terms of structure and intention,
not just decoration. So take some time to explore their website and browse
through their catalogs. They are an excellent reference
for understanding how a professional catalog is
structured and presented. You can also study other high end brands and observe how they
handle typography, layout, rhythm, and
color direction. In the next lessons, we'll turn these
observations into a structure system you can
apply to your own collection.
3. Understanding the Catalogue Structure: In this lesson, I'm going
to explain the type of catalog we are going to
build throughout this class. This is not just
a single catalog, but a flexible system
that you'll be able to reuse and adapt for
future collections. The catalog we are creating is structured into
four main sections, the opening pages, the
body of the catalog, the thumbnail overview pages, and the final
informational pages. Each of these sections
serves a different purpose and will be built using different types of
templates in InDesign. The catalog starts with a cover and a set of
introductory pages. These pages are used to present the collection and the brand
in a clear and elegant way. Here, we can include
the collection name, a short introduction, key visuals and brand
related information. These pages will be created
as reusable templates, so you won't need to
redesign them from scratch every time you
create a new catalog. After the introduction, we move on to the body
of the catalog. These are the main pages where each design and the
collection is presented. This section will
be created using data merged in InDesign
with single record pages. Each design page will
include one wallpaper mockup, three fabric mockups and several text fields imported automatically from a CSV file. The wallpaper mockup will show how the pattern works
at a scale on a wall. For fabric, I'll use
three different mockups. One fabric sample showing
scale and measurements, and two additional
mockups applied to finished textile products
such as home decor items. This structure is repeated consistently across all
designs in the catalog. In addition to images, these pages will also include text imported via Data Merge. This includes the
collection name, a short collection
summary or description, the design reference
or sku number, and the color information. Any additional
static text will be built directly into the
InDesign template. After the main design pages, the catalog includes a
thumbnail overview section. This section shows all designs in the collection at a glance. These pages will be created using Data Merge with
multiple records per page. Each thumbnail will
include a small image of the design together with its reference and
color information. The final section
of the catalog is dedicated to brand and
contact information. These pages can
include details about how to work with you
licensing information, availability on platforms
and contact details. This section may
also include links, social media icons, QR codes, and a final page with
your logo and website. To summarize, this catalog is built using three main
types of templates, reusable templates for
opening and closing pages. Data Merge templates for
the main design pages, and Data Merge templates for the thumbnail
overview pages. Once this system is set up, creating new catalogs
becomes much faster and more efficient. All right. Now that you understand
the structure of the catalog and the
project we are building, we can move on to preparing the assets and files needed
to make this system work. I'll see you in the next
lesson. See you now.
4. Brand assets and Defining Your Style Guide: Hello again. Before we start designing the
catalog itself, I want to take a step back
and talk about preparation. The best things you can
do before working on any catalog is to have
all your brand assets, clearly organized
and ready to use. This avoids improvisation,
saves a lot of time later and helps you create
catalogs that are visually consistent across
different collections. For these, I recommend
creating a main folder called, for example, Brand
assets and Style Guide. This folder will act as
a central kit that InDesign can always access while you're working
on the catalog. What should be inside the
Brand Assets folder? I'll go through
this step by step. First of all, inside this folder, we include the style guide. The style guide is a
concise document that summarizes all the visual
decisions for the catalog. Its purpose is to make sure
nothing is left to chance. By working with a style guide, all your catalogs
will look coherent, professional and aligned
with your brand identity, even if they include
different collections. In my case, the
style guide includes primary typography, used
for the catalog cover, collection titles and
main section headings. Secondary typography, for subtitles and
highlighted information, body text, for descriptions, and longer paragraphs, and detailed or micro typography
for small labels, codes, or secondary information. For each type style, I clearly define the
font family, the weight, the case, upper case
or lower case, the recommended size, and its specific use
within the catalog. I also include a section with
general typography rules, and a summary table that makes it very easy to see which font, weight, and size should be
used in each situation. The style guide also
includes the color system. Here, I define the
brand color palette notes about color usage. And an important
point: for catalogs, I allow myself to use
not only brand colors, but also colors derived
from the collection itself. This is especially useful in surface pattern design where each collection may have
its own color universe. Having this information
clearly documented avoids doubts later and makes design decisions
much faster. Next, inside the
brand assets folder, I recommend having
a logos subfolder. Here, you should include
your logo in full color, black and white, and ideally, all of them in SVG format. So they are scalable and work
perfectly for print layout. This way, no matter the
background or layout, you always have the correct
version ready to use. I also recommend creating
an icons subfolder. In my case, I mainly include
social media icons, which I might use later for contact pages or small
visual elements. But you could also
include website icons, email or contact icons, and simple UI or
navigation icons. Again, SVG format is highly recommended for flexibility
and print quality. Optionally, you could include another folder with
graphic elements, such as lines or dividers, subtle shapes, and decorative elements
across the catalog. This is not mandatory, but it can be very useful if you tend to reuse certain
visual details. Having all these
assets prepared before starting the catalog allows
you to focus on design, not on decision making. It turns the catalog
into a system, not a one off document, something you can reuse, adapt, and scale for
future collections. With this structure in place, we are now ready to move
on to the next lesson and start building the
catalog itself. See you now.
5. Designing The Opening Pages Template -Part 1: Main Cover : Hello again. In this lesson, we are going to start building the opening pages
template for our catalog. This template will be reusable. So once it's created, you'll be able to adapt it
easily for future collections. I start by opening InDesign
and creating a new document. I select A4 format, landscape orientation,
one page to begin with. Margins set to 10
millimeters on all sides, and then I click Create. These are the basic
structural settings I always use for this
type of catalog. Before designing
anything, I make sure I have my color
palette ready. Even though this is
just the template, it's very useful
to already include your brand color palette and the collection
color palette. I recommend to have your brand colors already
available in your CC libraries. But if you need to import a collection palette
from Illustrator, here's a very practical method. In Illustrator, open the file that contains your swatches. Go to the Swatches panel, select the swatches
that you need and open the Hamburger menu and
choose Create Swatch Info. Activate, show color values, and then I click
Create. Illustrator generates a visual strip
containing all the swatches. Then copy it with Command C and paste it into InDesign
with Command and V. Even if it looks large
or messy at first, InDesign automatically
registers all those colors in the swatches panel. After that, you can
delete the pasted strip, and the colors remain
saved in your document. This is a very fast way to
transfer a complete palette. Now we are ready to design. For the first page, I'm going to keep this simple. I select the rectangle tool and create a
full-page rectangle. I fill it with a dark
tone, in this case, a deep blue because I want the typography to be white
and highly contrasted. Next, I draw a rectangle frame. And use the align tools, 'Align to page' and 'Align
horizontal centers' to center it. Then I go to File > Place, and I navigate to
my brand assets folder to select the
white version of my logo. Since the logo is
larger than the frame, I right click > Select Fitting
> Fit Content Proportionally, and now it adjusts correctly. Now I create the
rectangle frame. And write 'Catalogue'. And according to my style guide, I select the font, the size, I set it
center aligned. And I slightly increase the
kerning and very important, I set this text to white, but I do not use the
default paper swatch. In the past, I used
paper as white, but when exporting digitally, it sometimes caused
inconsistencies. So instead, if white is not already in your palette,
select any color, for example, the magenta, open the color settings and
reduce saturation to zero. Now you have a proper white
swatch inside your palette. Below the main title, I create another frame
for the collection name, and I will use the font
defined in my style guide. All right. This completes the first page. See you in the next lesson.
6. Designing The Opening Pages Template - Part 2: Brand Introduction and Collection Dividers: Hello again. In this lesson, we will continue designing the opening
pages template, create a new page,
and this time, I add a lighter
background color. And I place the black
version of the logo. And again, I use fit
content proportionally. Then I create a text
area below the logo, and this area can contain
a short brand statement, a positioning phrase or
a short introduction. You can design this freely, but always follow
your style guide. On a new page, I create a
rectangular frame for an image. This could be
a studio photo, a mockup, or a brand
related visual. For now, it's just part
of the structure, so I'm just going to
fill it with color. I add a small section
title, for example, 'About the catalog', and I style it slightly more prominent
than the paragraph text. Below that, I create a rectangular frame I right click and select 'Fill
with Placeholder Text'. This allows us to focus on layout proportions before
adding final content. Then I apply the typography
following my style guide. Again, we are building just the structure not
the final content. Now, I create another page, and this one is very simple. I'm just going to set a full background color with
another full page rectangle. And with the collection
name centered. This acts as a visual divider before entering
the catalog body. On the next page, I'm just going to set a
full background color. I place a large image area
that can be half of the page. And I add the text,
discover the collection. To center precisely,
I am going to temporarily use the previous
rectangle as a reference. I select both the text and the rectangle and use
'Align to Key Object'. Then 'Align Horizontal Center'. After alignment, I can move the rectangle
back to its position. Now, I may also add a new text with my brand
name, for example, and a thin decorative line. Nothing excessive, just
elegant structure. All right. These are the first
five opening pages of the catalog, the main cover, the brand introduction,
the collection divider, and the introductory
visual pages. At this point, I'm going to
save the document to make sure everything we've built
so far is properly stored. I'll save it inside
my templates folder and I'm going to name it
Catalog Template Master. So now, I'll keep it as a
regular InDesign document, since we still need to
design the closing pages. Later, this file will function
as our master template. The base structure will
reuse for future catalogs. And now in the next lesson, we'll continue developing
the rest of the template. See you there.
7. Creating The Final pages template: Contact Pages and Brand Reinforcement: Hello again. In this lesson, we are going to complete our catalog template by
designing the final pages. These pages are just as
important as the opening ones. They reinforce your brand, provide essential
information, and leave a strong professional
final impression. We'll build them inside the same master document so everything stays
consistent and reusable. Now I'm going to add a new page at the
end of the document. We'll keep the same A4 landscape format and
margin structure to maintain consistency
across the entire catalog. You can add new pages from the pages panel and insert them at the
end of the document. This first final
page can be used to explain how clients
can work with you. For example, licensing options, custom commissions, available collections, or
collaboration processes. Technically, I am creating a text frame using
the Type Tool. I'm applying the
typography styles defined in our style guide. I can also use the
Eyedropper Tool to copy the formatting
from previous titles. Then in new text frames, I include the rest
of the information. Finally, I group the
paragraph blocks and align them to the Page,
centering them horizontally. This page is
intentionally adaptable. Each designer can modify it depending on their
business model. On this page, we expand
on brand storytelling. This might include
a short biography, creative approach, inspiration,
or studio philosophy. I am using placeholder
text for now, so the structure
remains flexible. I also include a
rectangular frame that can contain a studio photo, a portrait, or a
brand related visual. So now I leave this
frame filled with color. Then I group the text and
image frame together and align them to the Page using
'Align Horizontal Centers'. Throughout this process, text frames are
aligned carefully. Spacing is consistent. Typography follows
the style guide, and even if the
content changes later, the layout structure
remains reusable. This is one of the
most important pages. Here, we can include
a name, a photo, an email, your website, social media icons,
and QR codes. To add the photo, first, I create a circular frame and align it horizontally to
the center of the page. Then I place the image. Since the image is
larger than the frame, I right click > Fitting,
Fit Content Proportionally. Below the image, I include
the name of the brand, studio or my own name. Now, I'm adding interactivity. For digital catalogs, it's essential that
email addresses and website URLs are clickable
and social media icons linked directly to profiles. To do this, I create a new text frame for
the email address. I right click select
Hyperlinks and New Hyperlink. In the dialog box, I select link to email
from the drop down menu. Make sure the email
address is correct and you can optionally
include a subject line. Then I duplicate this text
frame for the website. Again, right click > Hyperlink > New Hyperlink. And this time, I select URL and paste the full
website address. Next, I create three
small rectangular frames for the social media icons. I align them using 'Distribute
Horizontal Centers'. Then I place the social
icons from my brand assets folder into each frame and
fit them proportionally. Finally, I add the corresponding
hyperlinks to each icon. This ensures that
when exporting as an interactive PDF,
everything works properly. Now, I am going to generate a QR code in a very simple way. I draw a new frame. Right click >
and select 'Generate QR code'. In the dialog window, you can include contact
details, for example. You can also customize the
color so it aligns with your brand or collection
palette. I'll leave it black. Once inserted, I align it
carefully within the layout, and I ensure it respects
the margin structure. Alright, this QR code is especially useful if
the catalog is printed. Next, I'm adding a
visual transition page. This page is minimal, a full color frame using one of the brand colors with no text, or optionally a very
subtle element. It acts as a visual pause
before the final page. The last page is
extremely simple. It might include a
brand color background, the website URL or minimal text. This creates a clean
and elegant closing. Before saving the template, I carefully review everything. For example, I noticed earlier that some titles weren't
perfectly centered. So now is the moment
to check alignment, verify spacing, check margins, ensure typography, consistency,
confirm hyperlinks, and make sure no
elements are misaligned. These small corrections make a huge difference
in professionalism. Before saving the template, it's also important
to check that there are no technical errors
in the document. In the bottom left
corner of InDesign, you'll see the Preflight indicator. If it's green, it means the
file has no detected issues. If it turns red, you can
open the Preflight panel, to identify problems
such as missing links, offset text or image issues. It's always a good
habit to check this before finalizing any
professional document. Now that the structure
is complete, we save the file properly. First, File > Save, and
then File > Save as, and I name it as 'Catalog
Template Master Final'. And I select InDesign template. This ensures that
every time we open it, a new untitled
document is created automatically protecting
the master version. Now I'll quickly
show how it behaves. When reopening the template, it opens as a new document. And text can be replaced, colors can be adapted, and images can be swapped, but the structure
remains intact. That's the power of
working with templates. Remember, you don't
need only one template. You can create
different versions like square format template, like the catalog we
studied earlier, a vertical A four version, a more minimal version, a more image driven version because different projects may require different
structures. And having multiple
templates will allow you to maintain consistency
without making every catalog look identical. Alright, now we have a
structured, professional, reusable system that
will save time and ensure consistency across
future collections. Let's move on to the next
lesson. See you there.
8. Adapting Your Template to New Formats: Hello again. In this lesson, I want to demonstrate how we can generate new
template formats, starting from a template
we have already created. Instead of building a new
document from scratch, we can take an
existing template. In this case, the
covers template and adapted to a completely
different format. This doesn't mean the process will be automatic or perfect. It will still require
layout adjustments, but starting from an
existing structure significantly reduces
the amount of work. This is about working smarter not starting
over every time. I begin with my original
covers file open. To create a new format, I go to File > Adjust Layout. Inside this panel, I can
modify the page size while attempting to preserve the proportional structure
of the document. For this example, I'm going to change the format to
a square document. I select a custom size, define the new dimensions. And confirm the change. I also activate 'Auto Adjust Margins' and 'Adjust
Locked Content'. This allows InDesign
to proportionally redistribute elements based
on the new page dimensions. After confirming InDesign may warn that some hidden
objects were not adjusted. That's normal. Now,
very important. 'Adjust Layout' does not magically
redesign your document. It provides a structural
starting point. From here, we still need
to realign elements, adjust vertical and
horizontal spacing, refine typography hierarchy
if proportions change, resize and reposition
images using fitting options such as 'Fit Content Proportionally' to adapt
images inside frames. Rebalance margins
and white space. In other words, there is
still layout work involved. But instead of recreating the
entire template from zero, guides, grids,
structure, master pages, we already have a
functional base. This is a massive time saver. Before continuing, I immediately
save this as a new file. This is important. We are not modifying the original template. We are creating a new
version derived from it. I rename it as 'Catalog
Covers Template Square'. The key benefit of this
approach is agility. You're not revealing
the page structure, the content blogs, the text styles, the image
system, the brand consistency. You are refining and refining is always faster
than constructing. This means that once you have invested time in building
a strong template, you can create square versions, adapt to A4 or US letter, prepare digital-only formats, or develop presentation-ready
versions for different markets, and all without
starting from scratch. This method allows you to respond to different
client requests, adapt to different
print requirements, customize presentation formats, and maintain consistency across versions. All while preserving your design identity and
saving production time. In this demonstration,
I'm not going to fully redesign
the square version. The purpose here is not to
complete the layout again, but to show you the potential. Once the structure is converted, you can refine and polish
it according to your needs. The important takeaway is this. If you build strong
templates once, you can reuse them
strategically many times. And that is how you
optimize your workflow. Alright, see you in
the next lesson.
9. Selecting the Designs from the Data Base: In this lesson, we
are going to start creating our semi-automated
catalog in InDesign. The very first step is to
create a CSV file that contains all the information related to the designs we want to
include in the catalog. For this to work properly, it's essential that
our designs are already well organized
and stored in a database. This database can
be created using any spreadsheet
software such as Excel, Apple numbers, or Google Sheets. In my case, I use a hybrid
tool called Airtable, because it's
extremely useful for organizing design information
in a very clear way. Airtable is also very visual, which gives us many
possibilities when working with large
collections of designs. I have a separate class dedicated specifically
to creating an organized portfolio for surface pattern designers
using Airtable, so I won't go into
too much detail here. Here, I already have the
selection of designs that I'm going to use for this catalog prepared
in Airtable. I filter this view, and I'll quickly show you
how the active filter works. What you are seeing here is
my 2026 design database. Where I'm currently storing all the designs
created this year. Each design in this
database contains a series of fields with
different types of information. The main column is the
design sku number, which acts as a unique and non repeatable
identifier for each design. Then we have additional
columns with information such as
a thumbnail image, which allows us to visually identify the
design at the glance. The collection name,
a description, and the main colors
used in the design. These are exactly
the data fields we'll need for this
specific catalog. As you can see, there are many hidden fields that
I'm not using right now. These fields correspond to
additional design attributes, which can be extremely useful
later on for filtering and performing more precise searches based on a specific criteria. For now, I'm going to keep only the fields that are
relevant for this catalog. I am applying a filter based
on the parent folder, which in this case is P 26,000. The ten designs
selected here are ten designs that belong
to the same collection. The descriptions for each design had been generated using
artificial intelligence. In a separate video, I'll show you how to create these descriptions in a
very simple and fast way. Once I have all the fields
and columns I need, I simply switch to grid view and
download the file as a CSV. This CSV file will act as the backbone for creating
a more advanced CSV, which will later import
directly into InDesign. Great. Let's move on
to the next video.
10. How to Create Design Descriptions Using AI: Hello again. Now that we have
our design selection ready, I'm going to show you how
I generate descriptions for my designs using
artificial intelligence. This is a very efficient
way to create professional, consistent descriptions
without having to write them
manually one by one. For this example, I'm going
to temporarily remove the description column and keep only the sku, collection
name and color information. Once that's done, I
simply download the CSV. I already have a prompt prepared specifically
for this task. In this case, I'm using DeepSeek, but you can apply the
same prompt structure to other AI tools as well. The idea is to clearly
explain the role of the AI and the type of
result we want to generate. This is the prompt
I am going to use. You are a surface pattern
design copywriter. I will provide data
from a CSV file. Each row represents
one design and includes the design name and the colors used in the pattern. Based on the data, write an attractive and professional description
for each design. Requirements. The designs
are plaid repeat patterns. The patterns are presented in mockups for both
fabric and wallpaper. Subtly, mention or evoke the
colors included in the CSV. Use appealing
commercial language suitable for a design portfolio. The description should work for interior and textile
applications. Keep each description concise
and clear. Maximum length, 200 characters per description. Write in a single short
paragraph, no bullet points. Generate one description
per row of the CSV. Once the prompt is ready, I simply upload the CSV file we just exported
and run the prompt. The AI reads each
row of the file and automatically generates a
description for every design. From here, the process
is very simple. I just copy and paste the generated descriptions back into the description
column of my database. If needed, I can also
refine the results by giving the AI
additional instructions, for example, to adjust the tone or make the descriptions
even more concise. This method allows you to create clear professional
design descriptions in a very fast and
efficient way. It's especially useful when working with large collections, and it ensures consistency
across your entire portfolio. All right, with this done, let's dive onto the next lesson. See you now.
11. Creating the CSV for InDesign: Hello again. In this lesson, we
are going to create the final CSV file that we'll import into InDesign for
the Data Merge process. I will upload the CSV we
exported from Airtable to Google Drive and make a few final adjustments
using a spreadsheet. I'll be using Google Sheets, but you can use any spreadsheet
software you prefer. So I open the file
using Google Sheets, and here you can see
the main columns, the sku, the collection name, the description, and the colors. The thumbnail column isn't
useful at this stage, so I'm going to delete it. I also change all the columns
headers to lowercase, since uppercase
headers can sometimes cause issues when importing
the file into in design. I am going to rename main
colors to colors as well. At this point, the text
information is ready, but we are still missing
the image references. Since the CSV will be
imported into InDesign, we need to include the
image file names that InDesign will use
during the Data Merge. To do this, we will create several additional columns,
specifically for images. Let me show you how to do it. These image columns
must be named in a very specific way so that InDesign can
read them correctly. Each image column
header needs to start with a single
quotation mark, followed by the ad symbol
and then the column name. So I start by creating the first column and
naming it 'quotation mark, at, mockup WP', which will be
used for wallpaper mockups. Then I create three more
columns for fabric mockups. So again, single quotation
mark, at symbol, and then the column name
mockup F for fabric, and 1. Then I create two more
columns for fabric mockups, changing only the suffix. Finally, I add one more column
for the design thumbnails, named as single quotation mark, at symbol, and then thumbnail. You can adapt the
number and type of image columns to fit your
own catalog structure. To make this clear, I apply a background color to
the image columns. Since these columns
will contain formulas, it shouldn't be edited manually. As a good thing, this
spreadsheet can later be reused as a template
for future catalogs. So you will only need
to update the text data without rebuilding the
structure from scratch. Okay. Now, to include the formulas in the columns for the
wallpaper mockups, I am going to use the
'Concatenate formula', and I will explain this
step very clearly. First, I type the equals sign, then I write 'Concatenate', and I open parenthesis. Next, I select cell A2, which contains the
design sku number. After that, I
include a semicolon. Then I open quotation
marks and type a middle dash followed by the letters WP in
capital letters. I then add a dot and
J P G in lowercase. Finally, I close
the quotation marks and close the parenthesis. I press Enter and Accept the suggested autocomplete to apply the formula to
the entire column. Why file naming matters?. This step is
extremely important. When InDesign performs
the Data Merge, it will look for image files
with these exact names. This means the filenames
of your mockups must match the names generated
in this CSV perfectly. All right. So the
fabric mockups, I repeat the exact same
formula structure. The only thing that
changes is the suffix. I use middle dash a one dot JPG for the
first fabric image. Middle dash F3, JPG for the second and
middle dash F3, JPG, for the third one. Finally, for the thumbnails, I apply the same formula again. This time using the suffix
middle dash thumbnail dot JPG. Once applied, every row
automatically generates the correct Thumbnail
file name because all the text in this CSV will be imported
directly into InDesign. It's important to review
everything carefully. For example, in
the colors column, the values imported
directly from Airtable are separated
only by commas. I make a small adjustment and replace the final comma
with an ampersand. So the list reads more
naturally in the catalog. So this is just one example of how to structure a catalog. But if you need
additional information, feel free to simply add
more columns to this file. Once everything is checked, I rename the file using, for example, the collection name and the parent folder Sku number. And finally, I download
the file as a CSV. This is the final file
we'll use in in design, so I will need to place
it in the same folder as all the catalog images which we'll work with
in the next lesson. See you now.
12. Organizing Images and Files for the Catalogue: Hello again. In this lesson, we are going to organize all the images that will
be used in the catalog, together with the final CSV file we created in the
previous lesson. The goal is to have a single
well structured folder containing everything InDesign will need for the
Data Merge process. The first step is to create a main folder
for the catalog. I personally keep a
dedicated folder for portfolios and catalogs with sub folders for each project. For this example, I created a new folder called
Tartan Designs Catalog, and I've already
placed inside it the final CSV file we exported from Google Sheets
in the previous lesson. Now we need to add all the images that will
be part of the catalog. Ideally, Mockups should be high resolution around
300 pixels per inch, especially if the catalog
is intended for print. For this specific example, I'll be using Mockups downloaded
from Spoonflower. When you upload your
designs to Spoonflower, you can download mockups
directly from the platform. These images are 72
pixels per inch, so they are not
suitable for print, but they work perfectly for digital catalogs
and presentations. This makes Spoonflower a very practical resource for quickly creating professional-
looking catalogs. I have this collection
uploaded to Spoonflower, and it currently contains 50 designs in different
scale variations. For this catalog, I
won't include all sizes. Instead, I'll use a single reference
scale for all designs. In this case, the small size to keep the
catalog consistent. I select the first design
and copy its sku number. I always include the sku in my spoonflower
design titles, which makes this
process much easier. I download the first fabric Mockup and save it inside
the catalog folder. Before saving, I rename the file following the exact structure
defined in the CSV. I paste the sku
number, add the hyphen, then F2, and finally dot JPG. I repeat the process for
a second fabric mockup, naming it with F1, and for a third fabric, naming it F3. Next, I download the wallpaper
mockup for this design. Spoonflower provides
several wallpaper Mockups, so I simply choose one. I rename the file using the
same logic, the Sku number, a hyphen, WP in capital
letters and dot JPG. This means that for each design
included in the catalog, I need four mockup images, three fabric mockups, and
one wallpaper mockup. I am going now to repeat the same process for the rest of the designs in
the collection, and I will download each mockup
and rename it carefully, always following the
structure defined in the CSV. Alright. Once all mockups are
downloaded and renamed, we can move on to the next step. At this point, mockups are ready. The last images we need are the thumbnails
for each design. And for this, I am going to open my Illustrator file where I already have all the
patterns prepared. I am going to export
all Artboards as JPG files and save them inside
the same catalog folder. After exporting, I rename each
thumbnail image manually, so it matches the structure
defined in the CSV. Each file is renamed
using the Sku number, followed by a hyphen, the word thumbnail, and dot JPG. Depending on your workflow, this step can sometimes
be automated. In my case, since each thumbnail needs to
match a different Sku, I rename the files
manually to make sure everything matches
the CSV exactly. Once all images are in place, it's a good idea to review the folder and make sure
everything is complete. Because the naming
system is consistent, it's very easy to verify that each skew has all its
corresponding images. In this case, each design
includes five images, three fabric mockups, one wallpaper mockup,
and one thumbnail. This structure can be
adapted to your own needs by modifying the CSV and the
naming system accordingly. Now that the folder
is fully organized, we are ready to move on
to the next lesson and start within the automated
catalog in design. See you in the next lesson.
13. Designing the Body Pages Template – Part 1: Structure: Hello again. In this lesson, we are going to create the
body pages template for our catalog using Data Merge with single records
in Adobe InDesign. Now that our CSV file and
images are properly organized, we are ready to connect everything to a
structured layout. This is where the automation
process truly begins. We are no longer designing
individual pages manually. We are building a system that
will generate them for us. This process will be
divided into two parts. In this first lesson, we'll focus on building the
structure of the template. I'm starting from scratch
by creating a new document. I choose A4 format, set the orientation to
landscape, and this time, I create two pages
because we are going to design a spread structure
for the body of the catalog. I keep the margins exactly the same as in the rest of
the Catalog system, 10 millimeters on all sides. Once everything is set
correctly, I click Create. Now I have a two page
spread ready to design. On the first page, I'm going to place
the fabric mockups and home product mockups. Since I want to include
three images on this page, I first go to Layout >
Margins and Columns, change the page structure from
one column to two columns. I adjust the Gutter and
set it to 5 millimeters, so I'm working with a
clean exact number. Once I confirm, the page is
divided into two columns. Now, using the
rectangle frame tool, I create a large
vertical frame on the left side that goes from top to bottom
within the margins. For now, I fill it
with a solid color so I can clearly see where
the image will go later. Next, I need two
additional image blocks on the right side. To make sure the spacing between them is
perfectly consistent, I use a small technical trick. I create a small square measuring 5 millimeters
by 5 millimeters, which corresponds exactly
to the Gutter measurement. I place this square
in the center area of the page and use it
as a visual spacer. Then I drag guides from the top and bottom of
this square so I can position the two
image frames with exactly 5 millimeters of
separation between them. I create the top rectangle, fill it with the same color, and duplicate it,
and move it down, so it aligns perfectly
with a lower margin. This way, all three images
maintain identical spacing. Once everything is aligned, I delete the small five by
five millimeter helper square and remove any
unnecessary guides. The first page structure
is now complete. Now I move to the second page. Here, I create a
large square frame that goes from top to
bottom within the margins. I align it precisely to
the right edge using the align panel
and making sure it sits correctly inside
the margin structure. Again, I temporarily
fill it with a color to indicate that this will
contain the wallpaper mockup. At this point, the
image structure for both pages is fully defined. Now that the image
layout is ready, I begin placing the text. Before adding the title, I once again create a small five by five millimeter square to maintain consistent
spacing between the main image and
the text block. I position it, create
a guide from it, and then remove the square. Using the Type Tool, I create a text frame at the top of the second page and write 'Collection name'
as a placeholder. I apply the typography
defined in my style guide. Next, I create
another text frame just to include the
word 'Collection'. Below that, I create
another text frame for the description and apply the body typography
from the style guide. Then I create smaller text
frames for 'Ref.:' and 'Colors:'. And I apply the appropriate
typographic styles according to my
brand guidelines. To ensure consistent
vertical spacing between the description reference
and colors blocks, I select the frames and
use the align panel, choosing 'Align to Selection', and then 'Distribute
Bottom Edges'. So they are evenly spaced. Next, I create additional
text frames for the dynamic fields that will appear next to ref and colors, aligning them carefully
with the guides. And I also leave a fixed text block at the
bottom of the page for any information that will
repeat across all designs, such as scale information or
additional technical notes. On the first page, I also add a small text
block for the sku, applying the same
typographic style and positioning carefully within
the margin structure. At this stage, the
full visual template, both images and
text is complete. See you in the next lesson.
14. Designing the Body Pages Template- Part 2: Data Merge (Single Records): Now that the template
structure is designed, I open the Data Merge panel. I go to Window >,
Utilities > Data Merge. In the panel menu, I click 'Select Data Source' and
navigate to the folder where I previously saved my CSV file along with all the
organized images. I select the CSV
file and click Open. Immediately, the Data
Merge panel displays all available text
fields marked with a T icon and image fields
marked with an image icon. This confirms that
the CSV structure is correct and that InDesign
recognizes all the fields. I began by placing
the image fields. To do this, I simply drag the first mockup field into the large image frame
on the first page. The frame now shows a dashed border and displays
the field name inside. I repeat this process for the second and third
fabric mockups. Then I move to the
second page and drag the wallpaper mockup filled
into the large frame there. Now all image placeholders
are connected to the CSV. Next, I insert the text fields. I select the Sku text on the first page and click the corresponding field
in the Data Merge panel. The placeholder
appears surrounded by double angle brackets. I move to the second
page and insert the collection name field
into the title frame. Then I select the
description frame and insert the
description field. I repeat the process for
the Sku and colors fields, ensuring each placeholder
is correctly linked. At this point, the template is fully connected to
the data source. Now I activate preview. Immediately, the
layout updates to show the first design
from the CSV file. Now I check that the
sku appears correctly, that the images display properly and that
the collection name, description, and colors
fields populate as expected. If something doesn't
appear correctly, I can adjust it and recheck. Once everything looks
correct here in preview mode, I
deactivate Preview. Now, I save the file. I go to File > Save as, and I save it as an
InDesign template. For example, I name it
something like 'Data Merge, body pages, WP and Fabric' using my own
internal naming system. Then I close the file. When I reopen the template, it opens as a new
untitled document. Important, whenever we use a template that contains
data merged fields, we may need to update
the data source. If the CSV structure
remains identical, meaning the column
headers are the same, you can simply reconnect a new CSV file for a
different collection, and all the fields will
work automatically. But if the structure changes, we would need to reconnect
fields manually. This is why maintaining a consistent CSV system across collections is essential
and recommendable. Now I click 'Create Merged
Document' in the Data Merge panel. I select the range of records, and I'm going to
set one to ten as I have ten designs
included in my CSV. Under 'Records per Document Page', I confirm that 'Single
Record' is selected. In options, I choose how the images should behave
inside their frames. For example, I select 'Fill
Frames Proportionally', and then I click Okay. InDesign automatically
generates the full document with
all records applied. The merged document
opens as a new file. First, I check the
bottom panel to confirm that there are
no preflight errors. If the indicator is green, everything is
technically correct. Then I review the
document page by page, and I check for words
cut awkwardly, text overflow, line breaks that look unbalanced or any minor
spacing adjustments. This is the editorial
refinement stage. Automation builds the structure, but we will ensure the final
result looks polished. Once everything is
reviewed and corrected, I save the merged
document as a regular InDesign document inside
the collection folder. This becomes the final body
section of the catalogue. And in the next lesson, we will continue building the rest of the
catalog structure. By the end of this lesson, we now have the fully
functional body pages template powered by Data Merge. Instead of designing
every page manually, we've built a
structure system that allows us to generate catalogs
quickly and consistently. From this point forward, producing new catalogs for future collections becomes
dramatically more efficient, and that's the real power
of working with Data Merge. See you in the next lesson.
15. Designing the Overview Thumbnail Template: Hello again. In this lesson, we are going to design
the template for our thumbnail overview page using multiple records
in Adobe InDesign. I start by creating
a new document. I choose A4
landscape orientation exactly like before, and I keep the margins
at 10 millimeters to maintain consistency with the
rest of the catalog system. Even though this layout will be simpler than
the body pages, I still want it to follow
the same structural logic. This template is much
simpler than the body pages. Using the Rectangle Frame Tool, I draw a square frame that will represent the
thumbnail image. For example, I set it to
40 by 40 millimeters. I temporarily fill it with a light color so I can
clearly see the structure. Below their image, I
create two text frames. I apply the final typography
according to my style guide. It's important to style
these text frames now because Data Merge will inherit whatever
formating we apply here. Instead of writing
static labels, I immediately prefer them
to receive dynamic content. I insert placeholders
for Sku and the colors. I use the align panel to
distribute the elements evenly, so the spacing is consistent. When the structure is ready, I select all elements, group them, and
position the group neatly in the upper
left area of the page. Before continuing, I check the Preflight Panel
at the bottom. The icon is green, which means there are
no structural errors. Now I open the Data Merge Panel. From the panel menu, I select select Data Source and choose the CSV file
from my catalog folder. All fields appear correctly, just as in the previous lesson. I drag the thumbnail image
field into the image frame. Then I select the Sku text in the text frame and insert the corresponding field
from the Data Merge panel. And I do the same for
the colors field. At this stage, the template
is fully connected. No, I save the file as
an InDesign template. For example, Data Merge
thumbnail overview. And I close the file. When I reopen the template, it opens as an
untitled document. Now, I go to create
Merge document. I select the records
from the CSV, in this case, 1-10. And this time, instead of
choosing single record, I select 'Multiple Records'. But before generating
the final document, I activate 'Preview
Multiple Records'. Immediately, I can see all thumbnails appearing
across the page. Here, something very
important happens. I noticed that the preflight
panel shows errors. In this case, nine errors. They correspond to
the colors field. What's happening here is that the text frame for colors is not tall enough to contain all the information
coming from the CSV. So the text is overset. This is actually a very
good example of why Preview and Preflight are essential when working
with Data Merge. So now I cancel the merge. Then I ungroup the element and select the
colors text frame. I increase its
height, in this case, roughly doubling it to make sure it can accommodate
longer text entries. Once adjusted, I
repeat the process. 'Create Merge Document'. Select multiple records
and activate preview. Now the preflight indicator
is green, no errors. This confirms that the template
is structurally ready. Inside the multiple
records options, I can also control how the records are
distributed on the page. Under 'Layout of Records', I can choose whether the
array flows: By Rows, (left to right); or By
Columns (top to bottom). This affects the reading
order of the thumbnails. I also adjust spacing
between columns and rows. For example, I can
set 10 millimeters horizontally and vertically to maintain consistent
breathing space. Once everything looks correct and the preview is
clean, I click Okay. InDesign generates
the final page with all thumbnails placed
automatically. After the thumbnails
are generated, I select all of them, group them, and align them
relative to the page. I center the group to create
a balanced composition. Now, I add the collection
title at the top of the page. There are two ways to do this. You can apply the typography directly from your style guide. Or you can copy the title from your body page
template and paste it here to ensure
absolute consistency. Either method works as long as the styling remains consistent
across the catalog, if needed, you could also add additional
information on this page. I save this page as a regular in design document inside
the catalog folder, for example, 'Overview Thumbnails' and the name of the collection. This page can be inserted into the final
catalog document. But you can also edit it
a bit more and export it separately as a standalone PDF for pitching or presentations. Depending on your workflow, you could also include
this overview structure directly inside your main catalog template
from the beginning. I personally prefer
keeping it modular, so I can decide whether to include it depending
on the project. Now that the thumbnail overview is complete, in the next lesson, we will assemble all the pieces and build the final
catalog document. See you in the next lesson.
16. Assembling the Final Catalogue: Hello again. In this final lesson, we are going to assemble
the complete catalog. At this point, we already have three separate
documents prepared: the opening and closing pages
template with the final texts filled in, the body pages
generated with Data Merge, and the thumbnail
overview template generated with Data Merge. Now, the goal is to
bring everything together into a single
and cohesive document. I already have the openings
and endings document open. All texts are final, typography
follows the style guide, and I've also included
an additional page detailing the available
sizes of the collection. Since this collection is
offered in different scales, I created a dedicated page that clearly references all
measurements using small coded square indicators to keep everything visually
consistent and precise. I've also included
availability information, adding platform links as interactive buttons
with hyperlinks. This will allow the
catalog to function properly once exported
as an interactive PDF. Before assembling everything, I want to quickly show you
something important. You'll notice that the
Preflight panel is indicating an error. When I open it, I can see
there is a missing link. One of the logos cannot be found in its original location. To locate the issue, I double click on the error
in the Preflight panel, which takes me directly to the problematic element
in the document. The logo now shows a
red question mark icon, indicating that the file
path has been lost. To fix this, I open
the Links panel. Any missing file will appear
there with a warning icon. I double click the file name and navigate to its new location
in my folder structure. Once I relink it, the Preflight panel
turns green again. This is essential. Even if
your layout is perfect, broken links will compromise
your final export. Always verify your links
before moving forward. Now that everything is
clean and error free, I open the two
remaining documents the Body Pages document and the Overview
template document. The next step is to merge
them into one final catalog. I will assemble the catalog starting from the
Body Pages document. The reason is simple. This file contains
the largest number of pages which represent the
core content of the catalog. Structurally, it makes
more sense to build around the main body rather than around the shorter
introductory document. This Body Pages file will now become our
master catalog file. In my case, it already carries the final
name of the catalog. From this point on,
this document is the central file where
everything will be assembled. There are two ways to
approach this process. You can either create
all the pages you need in advance and then paste
the content into them, or you can create pages progressively as you copy
and paste each section. In the video, I demonstrate
the second approach, adding pages one by one and
pasting each section as I go. However, for efficiency,
you could absolutely add all required opening pages first and then paste the corresponding
content in sequence. In my Catalog Covers document, the first five pages need to be placed at the beginning
of the final catalog. I begin by copying
the cover page. Then I return to the
Body Pages document, now renamed Catalog
'Nordic Plaid Designs', create a new page; Move it to the first
position of the document. And use 'Paste in Place' to insert the cover while preserving its exact layout
and positioning. Next, I go back to
the Catalog Covers template and copy the
second and third pages. I return to the master
catalog document, create the necessary new
pages at the beginning, and paste them in place. I repeat the same process for the remaining
opening sections, ensuring that each page is
inserted in the correct order. The key here is consistency. Always use 'Paste
in Place' so that all elements maintain their precise alignment
and formatting. This guarantees
layout integrity and prevent subtle
positioning errors. Once the opening
section is in place, I move to the final pages
in the Covers Document, including contact information,
working process details, availability, and
closing content. Again, I copy the content, return to the master
catalog file, create the necessary number of pages at the end
of the document, and paste everything in place. As with the opening section, you may choose to prepare all
required pages in advance or continue working sequentially as demonstrated in the video. At this stage, the
overall structure of the catalog is
almost complete. The opening body and
closing sections are now integrated into a
single cohesive document. The last element to add is
the thumbnail overview page. I've decided to
position it after the scale reference
page so that it visually connects with a
technical information section. I create a new page in
the Body Pages document, where I want the
overview to sit, then return to the Overview
template document, copy the full page content, and paste it in place
inside the master catalog. Now all sections are integrated
into one single file. Before exporting, we perform
two levels of verification. First, I check the
Preflight panel, and the indicator is green. Meaning there are no
structural errors, no missing links, no
overset text warnings flagged technically. But technical validation
is not enough. We must also perform a
visual editorial review. While scrolling
through the document, I noticed that one word appears slightly cut
inside the text box. This is exactly why
manual review matters. Automation builds the
structure, Preflight, checks the technical integrity, but only a final visual review ensures professional quality. Go through the
catalog carefully. Check for overset text, confirm alignment,
Verify spacing, and ensure consistency
with the Style guide. Once everything looks correct, we can proceed. Now we export. If the catalog were
intended for print, we would select Adobe PDF print and typically choose
high quality print, exporting at 300 DPIs. However, since this catalog is interactive and
contains hyperlinks, I export using Adobe
PDF interactive. Inside the export settings, I ensure that all
pages are selected. The document can be exported
as spreads if desired. And that compression and image quality are
adjusted appropriately. Because my mockups are already
relatively low resolution, and this is intended
for digital viewing, I set the resolution to 72 dpi and maintain
high image quality. If needed, you can
also configure advanced settings or add password protection
under 'Security'. Then I click Export. Once exported, I open the final PDF and
review it in spread view. The catalog reads cohesively. The body pages integrate naturally with the overview
and the closing sections. The scale reference
page and thumbnails visually reinforce the
collection identity. Finally, I test all
interactive elements, the website link, the social media icons, the email link, and everything
functions correctly. And with that, the
catalog is complete. This is the final result. What we build here is
more than a catalog. It's a structured
workflow that transforms organized data into a complete professional
presentation document. We started with a properly
structured CSV file. We created a flexible template. We automated the body pages
using single records. We generated a visual overview
using multiple records. And finally, we
assembled everything into a cohesive
interactive catalog. This is the real power of Data Merge inside Adobe InDesign. It allows you to stop
thinking in terms of individual pages and start
thinking in terms of systems. Once your structure is
solid, you can regenerate, adapt, update, and scale your catalog without
rebuilding it from scratch. And that shift -
from manual layout to structure production - is what turns design process into
a professional workflow. From here, the
possibilities expand. Because when your data is clean and your templates
are well built, you are no longer
designing one catalog, you're designing a
framework that can evolve, and that's the real goal.
17. One Dataset, Multiple Targeted Catalogues: Hello again. In
this final lesson, I want to show you
the real power of the system we've built
throughout this class. The first catalog we
created step by step is an A4 landscape
document that includes both wallpaper
and fabric mockups. It presents the collection as a versatile cross-
application body of work. That is only one
possible outcome. Because everything was
structured properly, the CSV file, the image folders, and the templates, I
was able to generate two additional catalogs using
the exact same dataset. In this case, I created them
in a square format using adjusted layouts in Adobe In Design as demonstrated
in the previous lessons, and adapted Body Page templates that still
rely on Data Merge. Here, you can see the
body page template I created for the
fabric catalog. It features a modular layout with three image placeholders, corresponding to the
three fabric mockups that were already included in our original image
folder and CSV structure. And this is the template I created for the
wallpaper catalog, where the layout focuses on the wallpaper
mockup placeholder, emphasizing large scale
wall applications. You can see the final
catalogs on screen, the wallpaper focused version, and then the fabric
and Home Textile edition. And while in this example, I'm focusing on
wallpaper and fabrics. The same logic applies to
any sector: stationary, fashion, home decor,
product design, or licensing for
multiple industries. The system is not
industry specific. It's structurally flexible. To sum up, all three catalogs are based on the
same collection, the same CSV file, the same organized
image folders, and the same data merged
workflow inside Adobe InDesign. Nothing was revealed
from scratch. The only thing that
changed was how the templates were designed and how the content was curated. When your data is
structured correctly, it becomes reusable
across markets. That means you can
filter, empathize, and reposition the
exact same designs depending on who you
are presenting them to. Why is this important? Because depending on the sector or sectors you want to focus on, and depending on the type of clients you want to approach, you can adapt your
catalog accordingly. The system gives
you flexibility. You're not logged into one
fixed presentation format. When your data is structure and your
templates are modular, your catalog becomes adaptable. You can refine,
reposition and regenerate targeted versions without rebuilding everything
from scratch. The designs stay the same. The structure stays the same. What changes is the emphasis depending on who
you want to reach. And that's what makes
this workflow powerful.
18. Final Thoughts & Wrap-Up: Congratulations. If you've
reached this point, it means you've gone through
the full process from inspiration and structure to automation and targeted
catalog creation. And that's not a small thing. You didn't just
design a catalog. You build a system. You now know how to define
a strong catalog structure, build reusable templates,
organize your brand assets, create a clean CSV file, Use Data Merge inside Adobe In Design and generate adaptable catalogs for
different sectors. That's a professional workflow. And once you internalize it, it becomes part of
how you operate, not just something you learned
once. Now it's your turn. I'd love for you to apply
this system to one of your own collections and upload your catalog to
the project gallery. It doesn't need to be perfect. What matters is that you start building your own
structured workflow. I'll be checking the project, and I'm really looking
forward to seeing how you interpret and adapt the
system to your own style. If you found this class helpful, I would truly appreciate it
if you could leave a review. It really helps the class
reach more designers, and it allows me to continue creating in depth
content like this. Thank you so much for
taking this class and for investing your time in improving your
professional practice. I hope this system
helps you feel more organized, more confident, and more strategic when
presenting your work, and I hope to see you
in another class.
Beatriz Pascual, Pattern Designer & Entrepreneur
