Design Books in Adobe InDesign like a Pro

1. Introduction: Book design might not be the most visually stimulating editorial workflow, but it is certainly one of the most satisfying. It requires an incredible amount of attention to detail, precision, and a solid understanding of in design time saving features like grab fin and change, scripts, nasty styles, text variables, and more. We will start by diving into the anatomy of books, breaking down all the typical components that you would find in the front, body, and back matter. Then I will show you beautifully designed books and explain what makes their design successful. For our book project, we will begin with a raw unformatted copy of fairy tales by the Green Brothers and work through fixing errors and formatting issues across the hundreds of pages in the document. As we refine the body matter, we will add captions to unique illustrations generated with Mjourney and incorporate decorative drop caps for each story. We will also explore the benefits and challenges of working in a single long in design document versus using multiple shorter documents combined in a book file. We will also cover useful features like footnotes, notes and cross references. Next, we will focus on the front and back matter, generating a table of contents, an index of illustrations, and even an appendix of commonly used words. We will design the book cover directly in design and explore how to improve the chances, readers will pick up the book from the shelves of bookstores. Towards the end of the project, we will see how to properly use pre flight and export the book for both print and as various EPAA formats for digital reading devices. Additionally, we will touch on advanced text handling workflows that improve collaboration with writers and editors, comparing link document files with more professional tools like Adobe Incopy and also using features like track changes. And as a cherry on top, we will learn how to create custom Java scripts with hat GPT to streamline our in design workflow. By the end of this project, I'm sure you will feel confident designing books and other log format documents. 2. Book anatomy and standard formats: Before we get started with this project, I just wanted to give a quick mention about this guide that I put together, which can help you to learn about the parts of a book block. So it's generally divided into three main sections, the front matter, body matter, and back matter. The body matter is what we will be mainly working on in this project. So that's where you have all the stories or chapters or sections, but it would also normally include the footnotes, notes, and even the prologue and epilogue. While in the front matter, almost always, you would have at least the title page, then the table of contents. And then you could have a lot of additional things like preface, forward, acknowledgments, accolades, introductions, so on and so forth. And you can read about all of these in this guide. And then within this project, we will actually be also creating things that would normally go to the back matter of the book, like an index and additionally the index of illustrations. But it is worth mentioning that it really depends on the type of book that you work on that how many of these different sections or elements you would end up having in your final design. But in general, if you're interested in book design, you should definitely familiarize yourself with all of these terms. And similarly, it is also important to be familiar with the commonly used or standard book sizes and their aspect ratios. And for this project, I will be using the octavo format, which is the six by 9 " page size or 150 by 230 millimeters. If you want to see some great physical examples of all the different parts of a book, make sure to watch the next video. However, if you are eager to get started with the project, you can skip that and just jump straight to the document setup lesson. 3. Inspiration - Books: This video, I wanted to go through a few books that could be interesting to use as a reference and to learn a little bit about the terms and techniques that book designers use. And a really interesting book called the book cover is all about making a book and industrial bookbinding techniques is a good example that a book can be very different to your usual setup. So you can see this actually opens up in a very unique way. And the way this works is actually it has two parts. This part is in English, and then the same thing is there on the back in Spanish. So I can start here, and I would get the same contents, but in Spanish instead of English. So that's already quite a unique solution. But we also have a really cool combination of colors. A very high contrast between this dark, brownish color and the orange. The orange, I'm pretty sure is a pantone color. And here in the interior front flap, we already have something interesting. This is what we would call a Clopon, which is usually a brief statement about the book's production, including information about the typeface, paper, printing process, and maybe acknowledgments related to the design. So since this is obviously a book about creating books, or designing books, it's very specific. So it says where the manuscript was developed, they use Google Docs for the info graphics were drawn in Illustrator. The layout was done in in design. This is the typeface that they used, the color profile they used, and so on and so forth. So lots of additional information here. You can also see that they use 14 signatures with 12 pages each, and the binding or the stitching is actually made visible. So I'm just going to try to show this. It's revealed. That's again, one of the ideas of this book that you want to be able to see how the book binding was created. And then generally, the design of the book is also interesting or the aspect ratio of this book because it has these very tall vertical layouts. So a spread two pages together creates almost something like an A four. So an actual page is almost like just a half of an A four size. And many of the pages are actually inverted. So we have a darker background and white text, which is also unusual, but it works quite well in this case. Even though sometimes it might be a little bit too long to read text that is set like this. Here we only have these very short paragraphs and more like infographics explaining how the books are made. Now, we have our folios, the page numbers at the very bottom. We also have the book title here in the footer, and we don't actually have running head. At least I don't think there is one and no header content at all. And in terms of the font, it seems like they use that single font family Weibo which has a lot of variety. So it looks very different here on the heading compared to the deck, this intro paragraph, and then the body copy. And another cool thing I like in this book is how they use also this different direction of the text. So if I turn this around, we can see it. That is like a chapter which starts in a different orientation. And if I want to find the next chapter quickly, it's actually quite easy because I just have to look for the same orientation. In general, it's just a very unique book format. But now let's look at something a little bit more traditional. Here's a book by Scott Belsky, making ideas happen. Really, really cool book. And first of all, we have our dust jacket or case wrap, which we can take off. And then, by the way, it's a good example to show this on these hardcover books like this one. You would obviously have your front and back cover and the spine. But then we also have the wrap or jacket, where we also have the front cover, the spine, and the back cover. But then we also have the interior back flap and the interior front flap. In this case, in the interior front flap, we have an introduction to the book. On the back cover, we have the accolades, which is praise or endorsements by critics or authors. And then on the interior back flap, we have a short biography of the author. Now, if you put this away, then let's take a look at the actual hardcover and the contents of the book. So the front matter starts with the half title. This is the page that only contains the title of the book without the subtitle or author's name. Then we have the title page, which also has a tagline overcoming the obstacles between vision and reality, the author's name and the publisher's name. Then we have dedication. This is a brief message where the author dedicates the book to someone or a group of people. And then here on the left or reversal side of the spread, we have the copyright page, which can include legal information. The edition, the publisher, the ISBN code is also here. And usually this is where it's mentioned, who did the cover art. And we can also see the font used was Jensen Mt. Now moving further in, we have a lovely table of contents, where we have this front section which would be still considered part of the front matter of the book, and then the actual body matter starts here where we have the first part, then we have the chapters, and within the chapters, we have the sections, and that's basically how it continues. And it's really nicely formatted. It's very clear and quick and easy to find the hierarchy between the different elements, so the parts, the chapters, and the sections or subchapters. And then at the end of the table of contents, it's also very clearly indicated that this would be the back matter of the book, which contains additional information that follows the main content. There can be references here, indexes and other supplementary material. Now we have another half title here. And then we move into the front matter, and then it just carries on. We have a really nicely formatted text justified with hyphenation, no space between the paragraphs, first line indent. And by the way, if we go back a little bit, you can see in this case, even at the beginning of this section, we still have a first line indent. So that's an option that you can decide whether you need or not. I normally would have this not indented. When there is already something that begins, there is no need for an additional indent most of the time. Like within this box, we can see here, they didn't use an indent or first line indent. They only use the first line indent for the rest of the paragraphs. Like the way the headings or the titles are write aligned, and we get a lot of negative space around it. So it really stands out. It's a really easy thing to find whenever you go through the book. And I also like the way the first three words are capitalized, also set in bold and set in a different, more condensed font. That really stands out and it's a great entry point to help us get started reading this part of the book. Terms of the header, we have the title of the book here, and then we have a running head, which refers to the section or the chapter that we are in. And you can see my little scribbles here. I made some notes when I was going through it. Then we have a consistent left indent on certain sections like these that can be conversations or something that needs to be highlighted or isolated from the rest of the text. And if we jump to the back of this book, we can also see a great example of an index where we can see these organized sections. So we would have the first level entries or parent entries, like action. And within that, we have a couple of child or second level index entries. And of course, wherever these are mentioned in the book, we will see the page titles for it. And if a topic is discussed over a couple of pages, they would just have a dash there. So, for instance, the meetings is discussed from the 78th to the 81st pages. 4. Inspiration - More books: Now let's look at a beautiful book, again, a hardcover book I already took the sleeve off. We can see a great example of a lovely finish here. We actually have a quote from the book. So instead of the title being here, the text is there. We don't actually see any reference to the title or the author on this inside part of the case, which is interesting. But there is a little hint to this being the June, obviously, the desert and the moon. And then if we go in here, we have the end paper here with the illustration of the worm, and then we go in to the front meta, some additional novels by the same author. Then we have the title page and already mentioning who wrote the foreword for this book, and we have, again, the copyright page here on the left, there's the forward. And we can see that the page numbers or the folio is set in Roman numerals in the front matter, and that continues until we get to obviously the table of contents normally doesn't show the page number. Then we have a half title page again, and then the actual body matter starts, and now we have the Arabic numerals in the folio. So you can just turn over a couple of pages, and we can also see a commonly used technique. So within a chapter, you can still have some division in the copy. Of course, if there is a quotation from something, in this case, it's a quote from someone's diary. Princess Eruln's diary. But yeah, what I wanted to show is we can still have some breaks within the text, which indicates a subsection in the chapter or sometimes referred to as chapter break. Let me just see if I can find one. I saw one earlier on one of these pages. Let me just see. Yeah, there we have one. So again, after this short pause or break, we again have no first line indent, but then all the other paragraphs would have the first line indent. Yeah, again, it's a beautiful book, and we can also find at the end a couple of interesting things. So we have an appendix or glossary. In this case, it's terms that are unique to this story that we can find here. The terms themselves are all set in bold to separate them and to make it easier to find them. And then there's also a little break to separate the different letters. So we have all the terms starting with B, then a little break then the one starting with C and so on and so forth. Now here's a small book HegatyO creativity. There are no rules. Great, little read, highly recommended. I love how it has this red and yellow, really strong colors already at the front. Then we turn into black and white. We can see a picture of the author, and then we have a half title. And then we get into this very unique setup where we have words separated between the spreads. So if we read this there or empty page, no single letter on each page ruse. So that is once again, the title of the book, but it was written over so many pages. So you could consider this, I don't know, a quarter title or even less than that because it took actually a couple of spreads to have this half title section covered. A really cool and unique thing. And this is something that I wanted to emphasize here that whenever you design a book, just like with everything in design, it is very important to give your book a character, so make it memorable. So make people relate not only to the contents of the book, but the actual physical object itself. And this book has a lot of character, for instance. So we have pages with scribbles over it, really feels personal. It's almost like the author was scribbling here. We have some crazy solutions and ideas here. Let me just find another funny page. There's also, again, I think, like, pages where normally, you wouldn't set texts like this, even if it's set so big because you want to avoid the creep where it's hard to read the text. But in this case, we are breaking the rules, so why not? And it's really cool. I really like it. And yeah, just in general, this book has a lot of character, and it's really charming and something that we would remember. Now, similarly to this, this book also is just an amazing thing to hold, has an amazing feel to it. We have the embossed text, and it's just really richly decorated and very elegantly designed. I love how the actual page edges are all black. But of course, the pages themselves are set in white. So even though the inside of the book is more traditional, there's not much uniqueness here. The actual cover really gives it unique experience. It's a great material to hold as well. And one additional thing I wanted to show just briefly because it's something I mentioned throughout the project. It's especially important when you're choosing your body copy for your book. It's the typographic color and the text block density. So for instance, here we have the Treasure Island book. And if we get into the body matter, we can see like this spread, for instance, feels a little bit more dense compared to some of the other books we've seen so far. And that can be because of the smaller font size that we have here, but also it can be because we have narrower margins on all of the edges. So this book has a bit higher textblock density. And this is the term that describes the overall compactness or looseness of the textblock. And like I said, font size, line spacing or letting, letter spacing or tracking, and margins influence this mainly. But then we also have typographic color, which refers to the overall shade or appearance of the text on the page. And again, this is something that is influenced by the margins, line spacing, word spacing, and the density of the text. But I normally say that the typographic color really depends on the font that is chosen. So in this case, again, it feels like it's a darker shade. So we're not talking about actual color like black or I don't know, yellow. We're talking about more like shades of color. So this book has a darker typographic color. And then we have a book by John Cleese about creativity, which again, has a very different feel, much larger font size. And because the book itself is quite small, there's not much text that fits on a spread, but we also have a lot of inner margin here and generally a lot of leading as well. So this book has a very low text block density, and because of that and also because of the font that was chosen here, it also have a higher or brighter typographic color. And both of these terms refer to the visual weight of the book, which is really a crucial part of the reading experience. And I'm going to talk about this in more detail. Once we are choosing fonts in our book project. I just wanted to make sure that you see some examples of this in action. Maybe just one last reference to negative space. That's also something that's crucial. You have to always use this to create pause within the experience, but also to make it easier to find certain sections in a page. So in case of this book, all the titles or headings are set the same way. So always have the same amount of negative space on the top. And then maybe just one final mention since I have this book in my hand is how nice this complimentary color pairing is between the end paper and the cloth covering of the hardcover. So, yeah, that's, again, a beautiful pairing of colors that we have here. 5. Setting up the document: First step of every project has to be the creation of a new document. You probably already know this, but it's under the file menu menu, and there's document there. Within this dialogue box, I always recommend to turn the preview option on so you can see the document you are creating already in the background. So if I change value, for instance, the width, I can see straightaway updating in the background. And for this project, I would like you to use inches as the units. It's just easier to set up the size in this. So this is the octavo format, the six by 9 " document size. You are welcome to use another size if you want, but this will work very well for this project. And if you want to follow along, I recommend using the same values. Now, it's important that the orientation has to be in portray. Facing pages, you have to turn on. Also, primary text frame is crucial for this project, so make sure you have that on. And we only need one page to start with. But the start page number, I would recommend to set to number two. So this way, we will be starting with the spread instead of a single page. Don't need columns. And to begin with, we don't need to change the margins, but we will refine these later. And since we won't be having any full page images or any images that will be going all the way to the edges, we also won't need to use bleed. And also the slug, I will only be using it for the cover, but we will come back to that much later in the project. So for now, this is the good starting point that we want. And of course, we can already give this name. So I will call this grim book body. And since I already have one by that name, I will also just put the word tutorial in there. You don't have to type that. It's just only in my case. And I'm going to also save this as a preset. It's recommended to do that if you work with books often. So I'm just going to call this Octa book. Hand safe preset. So that's going to be available in the future from the saved category. All right. So now that we have everything ready, we can just create this new document. And as you can see, I rearrange my panel slightly or customize them for this project. I like to keep the pages panel open, and I will probably keep it a little bit narrower, something like that. But if you haven't changed the setting already, I would recommend to right click somewhere around here where the pages show up and choose view pages horizontally. So this way, you will be able to see more pages in a smaller or narrower panel because we will have a lot of pages in this project. And besides this, we will be using the paragraph styles most of the time. Then we will need a few character styles and also object styles, so it's worth having those open, too. Any additional panels that we will need, we can open later. But I know, for instance, we will be using scripts. So from the window menu utilities, you can already open this up. This can be tugged in here on the right, just so we can easily access it. When I click on this, I will be able to see what's inside. Another panel that we will be using is the text wrap, so I'm just going to drop that in here as well. And then any additional panels that we will work with, we can add there. But if you want to also save your workspace, whenever you work on books, you can just turn this into one. So you go up here on the top right, you choose new workspace, and then I'm just going to call it book design. Let's click Okay. So now we can feel much more comfortable since we can see we are working on a book. Now, first of all, since we use the primary text frame feature, we can already see that showing up here. And if I jump to my parent pages, I can also see that these text frames are created here. And if we go to the view menu, under Extras, we can choose show text threads, and that's going to tell us that there is already a connection between the verso and rectal sides of our spread or left and right side. And the reason why we are using this, of course, is because we will be importing a lot of text, so hundreds of pages worth of text, and using a primary text frame automatically sets up the smart text reflow for us, which by the way, is indicated here on the left. So that little icon there represents that this is our primary text flow and is going to work on this page because we also see the icon right here. Now one important thing that we need to change is the margins and the size of the text frame, because for a book, it's actually better to have more empty space around the edges, especially on the outer edges and on the bottom edge. And before I go into changing the margins, I just wanted to also mention an important setting. It's in the preferences from the in design menu. If you are on a PC, would be under edit preferences. And this particular option is inside the type category. So if you go there, you will find a smart text reflow you can see here there is an option to delete empty pages automatically. That is actually very useful. So I would recommend to turn it on if you don't already have it enabled. And once you've done that, you can come back to the parent page. And here, what I would like to do now is to fix the margins because for books, we need more margins, especially on the outages and on the bottom. That's just simply how books work better. So whether it's printed or in an eBook format, I always recommend to follow the standards or at least do something similar to what has worked for centuries. 6. Using the Van De Graaf canon for defining margins: And there is actually a very old traditional technique called fundagraph cannon, which can help you to define the margins. Now, to be able to do this, all you have to do is to use the line tool and draw a couple of lines, starting from the bottom left corner, all the way to the top right. And of course, we will need to see these lines. So let's just add the stroke color to it. Then let's draw another one from the bottom left to the top right. Once again, I'm just going to change the color on that one. And then when we click away, if we increase the stroke size and then draw, then we don't have to do this every time. So I can just draw another one from the bottom left corner to the top right corner of this page and do this also on the right side. And the lines should snap to the points within the page. And so far, these four lines or guides created a symmetrical structure. However, at this point, all we have to do is to find the intersection of these two lines here on the right side. And if this doesn't work perfectly, just zoom a little bit closer. Holding down the Shift key, you can make sure that this line is going to be straight and just drag it all the way up to the top edge of the page. And then from that point, we want to draw one more line, the last line. So from up here, we want to draw down to this other intersection point on the left page. And by the way, if you're zoomed out, you can always go back, use your direct selection tool. And select the point that you created, align it if it wasn't perfectly aligned. But now that we have these lines in place, I can select my text frame and I can start adjusting it. So the top left corner would have to go in this point here, and then the right side of this needs to go there. So again, that point need to align with this diagonal that we created along the spread. And then the bottom edge has to come all the way up here. So the corner has to align with that point. Now you can see that compared to the default margins that we have in in design, this is a much smaller area within which the text would flow based on the fundograph canon. Now, again, I'm not saying that we have to follow this, but it's a good guide for us. So this is actually quite close to what we need, and I can use the frame as a comparison because now I can go in and adjust the margins. And just to make things simpler, I'm going to hide these lines. So let's just hide them. The layers panel, I could do that quickly. Now notice that I still have my pages selected, the pattern pages when I go to the at menu and choose margins and columns. I still have the measurements set to inches, but I'm going to turn off the chain at this point, and I'm going to change the top margin to 1 ". I'm going to make the outside margin also 1 ". Notice how that came closer to what we have set already for the frame, but still allows for a little bit wider space for the text. Now for the inside, I want to have 0.75 ". Again, that is close to the original text frame that we set up here. It's actually slightly wider. And then the bottom, I'm going to set to 1.5 ". So that's the largest margin, but it's still not as wide or tall as what we created with the cannon technique. These are the values that I recommend to use. And of course, if this is something that you like, you can save this into your document template that we created earlier, just so you don't have to remember these values next time whenever you start a book project. I'm going to click Okay, and at this point, all we have to do is to quickly align our frame and resize it to the margins. Do the same thing, of course, here on the left side as well. So let's drag that in place. And now we have a good looking book format. So comfortable space around all the edges and generally just a good sense of proportion between inner and outer edges and between the top and bottom edges. So one more time, if I go back to turn back these lines, we can see that we are quite close. So this points supposed to be there. This point is supposed to be there, and this point is supposed to be somewhere around here. But again, like I said, we use this method or technique to go in the right direction, but we don't have to stick to it. We can refine and update it according to our needs. The reason why I like to have my frame size is slightly wider and taller is because it's going to allow to fit more copy on a spread, which will result in less pages in the end, and that's always a good thing because we are saving cost on print. And in case of a PDF, we are reducing the file size. But now that we use these lines, we can actually delete them. You can save them if you want for later. I'm just going to delete them just so they are not in the way. We will come back to the parent page later. I just wanted to show you one additional thing since we will be using the baseline grid for this project. This is something that we can reveal already here. So view grids and guides show baseline grid. The reason why I use those specific values for the margins, especially the top and the bottom margin, is because it's also going to align to the baseline. So you can see that these lines perfectly match the margins, so they fit very well. And in case you are wondering, the baseline grid is something you can find in the preferences that was Command or Control K on the keyboard to get to it quickly. And then on the grids, this is the default setting for baseline grid. So it has the following values that you can see here. And in case you are using different margin sizes, you might want to change this feature from relative to top of page to top margin, which might help to align it. But I can just keep it on top of page, and it's still going to work fine. In case you want to keep the baseline grid on, but you feel like it's a little bit too intrusive, you can always change its color. For instance, light gray could work quite nicely if I click okay. It will update straightaway. 7. Importing the text: Now that we have our book template ready, we can move back to the actual first page of this document, and it's time to import the text. But before we do that, I just wanted to mention a couple of things. First, I wanted to show you this website gutenberg.org is the URL. This is where I downloaded the book from, which we will be using for this project. And it's a huge resource. As you can see, there's over 70,000 free eBooks. Now, if I search for Grim Tales, the first one that comes up is the one that we'll be using. I notice here that we have actually a lot of options to choose from what we want to download. We have the read online options, so we can see it on the web. There's a couple of different ePub options. There's Kindle or older Kindle option. And then there is also the plain text, which we will actually be using for this project. But I wanted to show you how this book looks like in the browser. So as you can see, it's already formatted. It has an interactive table of contents, and we have a nicely formatted text here. Of course, this works on a browser, and if we adjust it, the text will flow according to the page width or browser but the most important thing I wanted to show here is that there is already a formatting for the poems and the rest of the copy. The story titles are already separated and formatted differently from the body copy, and then we could just scroll through. And it's pretty much the same thing repeating throughout the whole thing. And there's quite a lot of text in here, as you can see. I already downloaded these files for you, but if you wish to practice going through this project with a different book, maybe after you've done this one with the GrimsFairy tales, you are more than welcome to come to the Gutenberg website and download your favorite book. However, within the project folder, you will find a couple of different variations. So you will have a Word file and EPOp file, and you will have two rich text format documents. These are the RTF files, one called original and one called corrected. The reason I have all of these various options is just to be able to show you what happens in each case. So if I go back to in Design and I have this text frame selected, I can press Command or Control D on the keyboard to access the file place command. That's something you can find here. So I'm just going to press the keyboard shortcat and then from my files copy, I'm going to select first the Word file and notice that there is an option here, Showimport options. You want to keep that turned on. And then when you press Open, it's going to give you a couple of options. Out of which probably the most important one is what do you want to do with the styles that are defined within the Word file? So here by default, it says it's going to import all the styles automatically. And in case there is something already defined in your in design file, it's going to use that over the ones that are coming in from the Word file. But you can also choose to redefine the in design styles with the imported styles. Or if you choose auto rename, then you might end up getting duplicate styles like body, body copy, and so on and so forth. If you need even more control, you can even choose customized style Import, which will give you the style mapping dialogue where you can actually see already a preview of all the styles defined in the Word file that will be imported. In case you have any conflicts, it's also going to tell you that. But right now because we don't have any defined styles yet in this document, there's not going to be any conflict, and I don't have to worry about. There's a lot of other options here like the table of contents text, whether you want to include that while you are importing the copy or not. So that can actually be ignored and left out during the placement process. And if you wish to remove all styles and formatting, you can even choose this option right here. I'm just going to keep the preserved styles option on and I click Okay, just so we can see what happens. Straightaway, we run into a problem here. Depending on the formatting of the Word file, you can get issues like this when text doesn't render correctly. And one thing that I would like to point out is that even if you undo this last step, all the styles that came in with this import and even swatches, like, as you can see here, we have word names within the swatches. They will all stay in the document. Have to actually do one additional undo, which I'm just doing Commando Control Z on the keyboard to assure that you don't have any leftovers from this import. So you can check your stay panels. You can check your swatches. If there is nothing that was not there by default, that means that you went back enough in the steps to get rid of all of that. And unless you have a very professionally prepared word file, that is set to the specifications that in design can work with, I would always recommend to work with a plain text format that you can mold, shape, and refine to the exact specifications that you want to use. And that's what we are going to do here. It might take longer, but it's going to teach you a couple of very useful techniques. Having said that, I want to just remind you that if you want to skip this stage, you still have the option to choose the corrected RTF file because the original plain text file that comes from the Gutenberg website actually has quite a lot of issues. Most important problem with it is that it has line breaks at the end of each line. So as you can see here, when I change the width of the document, maybe if I go a bit further down, you can see it better. It doesn't update, and if I move it further down, you can see how the lines are getting messed up. While with the corrected version that I also have available, you have a perfect wrapping, so the text moves around as expected. And it also has a lot of other things tied up. Like it doesn't have all the empty lines, multiple empty lines that we would have in the original file. I also went ahead and removed a table of contents and a couple of additional texts that we didn't need. But I still think that it's probably better to work with the original file because like I said, we will learn a couple of valuable lessons on the way. However, I just wanted to give you a shortcut in case you want to skip this or in case you get stuck refining the original text, you can just jump ahead in a way and use this text instead. So I'm going to choose original, but like I said, you can always come to the corrected version if you want to, and I'm going to click Open. And since we had the Show Import options on, we still have all the same options here as before with the Word file. I'm not going to change anything on this. I'm just going to click Okay. And as you can see, we already have the first page filled in, but it's going to take a little bit longer for all of the texts to come in because in designing is going to generate hundreds of pages, and that is why I like to have the pages panel always open because it's going to give us a much better idea of what we are dealing with. So at the bottom, we can see we have 524 pages. And if I increase the width of the pages panel, we can see them a little better. So we can scroll through and see, yes, we definitely have a lot of pages at the moment, but it's going to reduce once we refine the format. So this is what we will have to work with for the rest of the project. But before we move into refining the text, there's a few things I wanted to do here. That's actually this part here we don't need, so I can just delete this. And this section here, the GrimsFairy tales, up to this point, we can just cut and put in a separate text frame using the type tool, drop it on your pasteboard here on the left. And we will come back to this later. We can just keep it here for now. And then the table of contents and all the empty spaces before it, we can delete. And then this bit here, we can also delete. We will have that in the front meta. We want the text frame to essentially start with the first story title, which is the Golden Bird. At the very end of the document, you can jump to by clicking on this icon here, as spread. That's a quick way to do it. There's actually also one additional thing that we can put onto the pasteboard. It actually starts a little bit further up. We have all of this additional copy that we can remove. So once you find this bit, the end of project, this is what you need to click in. And then to make it easier to select all the remaining texts, press Commando Control V on the keyboard. Which will open up the story editor, and there you will be able to make this selection faster. So just select that line. Maybe even you can go up a little bit higher, all the empty spaces, scroll down all the way to the bottom. So all of this is just like copyright information and the source, the Guttenberg website, which we can delete and then just delete one more line break. And this section here is, again, not part of the story. It's actually going to go to the back matter of the book, so we can just cut this out and delete the empty lines, close the story editor by pressing Command and Control Y, and then just like at the beginning, we can set up an empty frame here on the pasteboard and just paste that copy in and make it big enough to hold the text. Yeah, something like that. So this is about the author's Brother's Grim. So now we have the copy ready, and we have exactly 500 pages and 250 spreads. So that's a nice round number to start working with. And I wonder how much is going to end up once we get to the end of the formatting. 8. Dividing up the book into smaller sections (if necessary): At this point, you might be wondering, is it a smart choice to have all these pages in a single in design file? And the answer is, in this case, yes, because within the body matter where we have all the stories, it's going to be easier to move back and forth between the stories and refine the copy compared to having them in individual in design files. So in case we decided to separate each of the stories into separate in design files, that would lead to around 64. I think there's 64 or 65 stories in this that would be a lot of files. Now having said that, in case you feel like in design is sluggish because you have so many pages in this document. So if your computer can't handle working with such a big file, what you can do is to separate it. Maybe every hundred pages, you can move to a separate file. And I'm just going to show you this. So if I go all the way to the end, so 501 in this case, and then come up to maybe 401 or 400 to keep the spreads together, we can right click on all of this. And by the way, the way I made the selection is by holding down the Shift so I selected the one at the end and then Shift clicked on this 400th page. And then right click, choose move pages. And instead of current document, you will have to have a new document prepared into which you will be able to move these. So I'm just going to cancel out of this and I create a new document. And since I already have my template saved, which by the way, I updated with the margins that we are working with, I can just create quickly. And then here, now that I have my untitled document, I can jump back to the previous one. Again, I'm just going to jump to page 400. That's Commando Control J. And then having that page selected, I can come all the way to the bottom, shift click on the last page, then right click, move pages. And instead of current document, we will choose untitled seven, in this case. And since there is nothing in the document, it doesn't really matter where it's going to be placed in. And we could delete these pages, but because we have an auto flow, it's automatically going to be regenerated, so we don't have to worry about that. Let's just click Okay. And if we switch to the untitled document, can see that only the text from the last hundred pages came in. However, there is one issue here. We just cut in the middle of a story. That's obviously something you want to avoid. So I'm just going to undo this step. So coming back here to our original 500 pages long document, we just have to look for one of the pages that's going to work well like this one. So that's 402. That's a start of a story. So select from that point down move pages again into the untitled document. Let's click Okay, and you just have to remember which was the text that you already moved. One good technique that you can do is to highlight the text and change it to red. So that's the one that's already in the other one, just as a note for yourself. And then going into the untitle document. But you might notice, depending on how the text is formatted, there may be some additional text still managed to come through that you didn't want. And the easiest way to fix that is by pressing Commando Control Y, the story editor, and then we can see that the King of the Golden Mountain is the one we wanted to start with. So there's just a little bit of extra text, probably one additional paragraph. We can just delete from here, and then now we have the right formatting. And for some reason, this first page here is not connected. So I'm just going to click on the output, connect onto the right, and now the text flows to the left. And if we've done everything correctly, this document now should have all that last hundred pages separated, and we could save this and come back to it later. And of course, you can repeat the same steps until you have, in this case, five separate in design documents. Not going to do this. Like I said, I feel like my computer can handle working with this entire book without dividing it up. But I just thought it's important to mention this technique in case your computer won't be able to handle this project otherwise. So I'm just going to undo a couple of steps here until the formatting goes back to the way I wanted it, and I'm just going to save this file just so I have it as an example, but we won't need that, so I close it and I just jump back to the beginning of this document. And in the next video, we can finally start fixing the issues with this imported text. 9. Finding poems with Find/Change GREP: You might recall me mentioning that we have quite a lot of issues with this text. The first and most significant one is that we have lots of line breaks where there shouldn't be. And the way we can preview these or keep track of them is by going to the type menu and choose show hidden characters, and then if I zoom a little bit closer, we can already see the line breaks showing up here. We also have quite a lot of unnecessary line breaks like these two line breaks here. And then if I go further down, we will have between stories, lots of line breaks, necessarily. So we have four there. We have two here. So these will all need to be tidied up. But one thing that I wanted to point out also is that if I double click inside the text is that currently, all the text is actually not using my basic paragraph formatting. That is because even though we were importing from a Word document, even an RTF file would transfer its formatting and it would force it on in design. So what I recommend to do is to press Command or Control A while you have your text frame selected. That's going to select all the copy. And then from the Paragraph Styles panel, you can click on this icon to remove any overrides. So that's going to reformat the text, and that's actually going to reduce slightly the amount of pages that we have already, and it will reset the text to in designs default, Mini and P 12 points size. So that's already one thing that we fixed here. Now, to get rid of empty lines, we could use a query from the fine change feature. This is from the edit menu, and you will find it here. Fine change. The shortcut I always use is Commando Control F. So if you go here, first thing you can do is to go to the drop down. And from amongst the default queries that you can find here, one that is very useful, it's called multiple return to single return. So if you choose that, it's just a very simple grab code. So it would find two line breaks, and it would change it to a single break. So if I choose find next, it's going to already identify that we have three here. Or we can go to the next instance, and that is going to be between two paragraphs, or we can go to the next one and notice that between paragraphs, we have currently two line breaks, while between the original lines in the text file, we have individual line breaks. And here's the problem. If you use this query, at this point, you will lose track of where the original paragraphs were, and even the story titles might merge into the rest of the text, and it would become impossible to identify where things are. So instead of making things easier, you would end up actually making things worse for yourself. So I'm just going to go through this quickly just to show you that it does a good job, and it would work perfectly if that was the only issue with this document. But right now we have a lot more problems that we will have to fix. Like here, you can see it actually has done a really good job highlighting that. And by the way, there's a useful keyboard shortcat. If you have any text selected, you can't use the space bar to pan around. You have to use instead the option or old key. So whenever text is selected, there is an alternative keyboard shortcut, which still allows you to pan around without affecting the text. So, like I said, we are not going to touch these multiple line breaks at this point. Instead, we will start by separating and styling the poems first. So there's a couple of poems in the book, like this one right here, no care, no sorrow, so on and so forth. So that I want to be highlighted and separated from the rest of the copy. The reason to start with this is because a poem we have line breaks between the lines. So essentially, each line of the poem is going to act like a paragraph, which is very easy to cause conflicts with these other lines where we will have to get rid of these line breaks in between sentences. So like, all of these will have to be removed, but I don't want these to be affected. So we isolate the poems first. That's our first step. And of course, we won't be doing this by going through the whole copy. Instead, we will be using Fine change with a smart grab definition. But before we can do that, I am going to create a new paragraph style. So I click away from everything, alter option, click on the plus sign in the Paragraph Styles panel. We'll make sure that we already get the dialogue box, and we can just type in poem. And it shouldn't have any formatting options. It's based on no paragraph style, and I don't need anything else checked here. The only option I want right now is the paragraph shading, which I want to turn on, and let's just set this to Magenta for now. That's just a way to highlight it. So you don't want to add this to the CC library, nothing else needs to change. Let's just click Okay. So there's our poem style already created. And maybe just one thing that I can amend here, if I right click and edit the style definition is to set up a first shortcut. I'm going to use option or Old one. So within the shortcut area, you can assign that and click Okay. And that's the shortcut we will also see up here. So that's just going to make it easier to apply it in case we miss some instances throughout the story. So now we can use Commando Control on the keyboard. I actually went ahead and created a query already called POAM which looks quite complicated, and obviously, it would be hard to copy from my screen. So I prepared a separate PDF in the exercise FIs folder where you can find any grab that I use throughout this project. And it also explains exactly what every element of it is doing. So in case you are interested how it works, you will be able to learn all its components. So what I would like you to do is to open up that PDF, copy the grab that I'm using here, and paste it in the find wall area, but make sure that you are using the grab feature. So not texts, you are looking for grab then what you want to also make sure is that under change format, you want to click on this icon here and you want to target the poem style. So that's the paragraph side that we created. This essentially means that it's going to find all instances of poems with this grab expression and then is going to apply that style. So it's not going to actually change the text itself, it's just going to assign that paragraph style formatting. If I start doing Fine Next, it's going to show me all the instances within the copy and hopefully, it's going to find most of it. But I have already seen a few that it skipped. So I am just going to say, change all for this. I found 92 replacements. We can click Okay, click Done, and we can just check maybe on the previous pages. Yeah, I can see one here that wasn't targeted. So I'm going to use again another grab expression slightly different. I'm going to just see if it finds any that hasn't been already highlighted. Seems to be finding the same. I'm just going to assign the poem style to this as well, and I'm going to say change all. So I found an additional 55 replacements. And then just to be sure I have one more with this one, it's a much longer expression. I'm just going to again, see what it's finding. Most of the instances are already updated. Again, this should be using the poem, and I'm just going to say change all. So 33 additional replacements has been made. Now, if at this point, you go through after applying these and you still find a few that wasn't updated, you can just highlight them and use the keyboard shortcut that we created old or option one, and I can just manually apply them. Now, it's quite a lot of texts to go through and fix, so I wouldn't expect you to do this. Unless you want to really have a perfect final result, you can go through this at this point. You can also do this later. So for now, I'm just going to go through and maybe find a few of these instances, apply style there manually as well, and then feel like we are pretty much done. So I can see most of the poems are already highlighted. 10. Finding remaining poems manually with the Story Editor: To be honest, the easiest way to go through the whole copy is to use the story editor. So that's Command or Control Y. And then here you will be able to see on the left side whether the basic paragraph is being used or the poem style is used. So we can just quickly skim through it and we can see which one is which. You can also just use the up and down arrow, and that's basically just scans through the whole thing, and we can potentially find maybe a few instances that didn't get the styling. Let me just go a little bit faster than this. So that's poem, poem. That's correct. Poem there, yes. This one is using poem. That one is using poem, poem. Yeah. We can just use the mouse scroll up and down. Here is one where I can again just use the keyboard shortcut to apply it. That's correct. This is actually not correct right here, so we can reassign the basic paragraph on it, and then we can go down. The poem is there. So this would still take time to go through and thoroughly check if everything is correct or not. But using those grab expressions should give you a very close result. Like, I would say, 95% of the poems should be already highlighted. Yeah, there's some stories where there's no poems at all. While others have these short poems in them, there are some instances where there's just single lines. Like this one here, we actually need all of these to be poems and then scrolling down a bit more. We actually found one more here where it hasn't been assigned yet. Let's go a bit further down. There's another one which the grab couldn't find and there is actually this one, the little red riding hood, which would have a couple of conversational lines that can trip those graph expressions up, and as we can see, it turned them into poems, but these are actually not poems. So we can just highlight all of this and reassign the basic paragraph on them. Again, there's no poems here. So that's all basic paragraphs, and these also are just basic paragraphs. So we can fix it quickly. And that's why I like to use the story editor because we can do this very quick. So these both are poems. That's also a poem. By the way, you can just click inside the line because that's a whole paragraph. It's going to automatically apply the style on the whole. You don't have to highlight it all the time. Let's see, there's another one here that wasn't assigned, and then these are actually not poems. So I can highlight all of these and say basic paragraph going further down. Again, I think we are pretty much find from here on. So these are poems, poems. That's looking good. That's one I found again. Let's just fix that. And I'm just going to go through the whole document to make sure that I don't have anything missed out. You can do this in your own time, and then in the next video, we can move on fixing the additional issues with our copy. 11. Fixing copy: To save you time, if you don't want to look for all the poems, I actually saved a version of this file called Green Book Body 01 Poems fixed. This is also in the exercise file folder. This would have everything perfectly assigned. So if you want to just make sure that you are using the right fam, I think, you can open this up. If you are a perfectionist like myself, you want to make sure there's no mistakes in your copy, and you can just follow along working with this. Now what we need to do here is to finally get rid of all of these unnecessary broken sentences. So mid sentences, we have these line breaks which we need to get rid of. And I prepared the query for this as well. Once again, you have the code saved in the PDF where all the grab expressions are listed for this project. I saved it called remove unnecessary line breaks. And it's a very simple code, actually. But what's very important is that we want to make sure that it's not going to make changes to the poems. And I'm going to explain why. But the way we can do this is by specifying that we only want to find this if the formatting is set to basic paragraph. So if I select that and click Okay, that's going to be edited there. So if I choose Fine next, you can see it's finding all of those line breaks perfectly. And what it's also doing is that it's going to skip that empty line break, which is there to show where the division between the two paragraphs is. So it's going to skip that. And it should go through everything, and I'm not going to go all the way to the poem. Instead, I'm just going to say change all, and it should find 7,580 replacements. So I'm just going to click Okay, and then done. It might take a while for the page numbers to update, and you also might need to wait a little bit. But from close to 500 pages, now we went down to 284, which is much better, of course. And if I go just a little bit further down, I can find the second story, Hansen Luck where, as you can see, our poem or the first poem in the book is actually kept intact. And what I mean by that is that it didn't remove these line breaks at the end of each line because the same grab expression that I created, if not limited to the basic paragraph formatting, would actually put these all into a single paragraph. So the separate lines of the poem would end up being all merged together. And I can just show you this quickly if I go back into find change. I can remove this limitation, the fine format limitation. And if I say find next, notice how it found that line break. And if I would say, change at this point, see how it merged the two lines together. I go find next, change, and find next, change. And yeah, so we end up having all of these merge together, and even the lines between the poem and the rest of the copy would be removed. So that's clearly not something that I want to do here. And also, by the way, make sure that you don't run this expression twice because then, again, you would end up losing all the paragraph breaks that are necessary to divide the paragraphs. So I'm just going to go back and undo these last couple of changes. I want my poem to be back to normal. So if I just quickly go through, I should see all of the poems still in the original formatting. But the good news is that the text is now looking so much healthier, so we don't have all the unnecessary line breaks there. Now what we need to do next is to fix the story titles. Now, at this point, we can actually use that query that I showed earlier, which removes the empty lines because now we fix most of the problems that we had originally. So we can go back to Fine change and choose the multiple return to single return option. So we can just go to Fine Next, and I can see many of these. So let's just say change all. 221 replacements were made. Let's click Done, and we should be able to see how this looks. Yep. So now the only thing, of course, is that the titles or story titles are merged a little bit together with the other paragraphs. At least visibly, they are closer to each other, but they are still independent paragraphs, which is perfectly fine for now. We also don't have empty lines before and after the poems, which, again, is useful. We don't want that. So, yeah, it's looking much better already. Now, what we want to do next is to create a placeholder style for our body copy. So I'm just going to create a new style while having nothing selected, and I'm just going to call this body. And we can also create a new style for the story title. So I'm just going to call it story title. And again, we can use the find change feature where we want to go into the text and find what we can keep empty. We can also make the change to empty, and we just want to use the Fine format function. To find any text that is currently using the basic paragraph and click Okay, and then we want to change that to body copy or the body style. Now, this is going to change everything apart from the poems. So if we say change all, it's going to do 97 replacements. Let's just say done. And in case you get a red highlight on the text, you might want to go back and edit the body copy style and make sure that it's not based on the poem. So you can just say you want it to be based on no paragraph style or you want it to be based on the basic paragraph, whichever you prefer. I'm actually going to choose the no paragraph style option. Because we use the shading for the poem, that's actually something that we have to take off here. So let's just turn that off. So that was that highlight that showed up there. So if we go back to general, now it should say nothing here. The shading seems like it's still applied here, but it's actually turned off, so you don't have to worry about that. We click Okay, now it should look like this. And if I go into the story editor, Command or Control Y, now all of these paragraphs should say body on the left side, which is perfect. The only issue is that the story titles are also using the body paragraph style, but this is something that we can fix now. For this, we will be using another fine change query. Again, we are using the grab option, and I've saved this already, so I can just come back to it quickly. But again, you have the code saved in the PDF. Notice that there is one additional option here at the bottom that I added, and this is to change the title case. So not only we will be applying the story title paragraph style to these all capital letter instances or lines. But we will also be reformatting them to title case. So we will be removing the all capital letters, and we will have the accurate title case formatting. But just so you can see how this works, I'm going to set that up from scratch. So first, make sure you copy paste this code in the fine wat section. The change to should be completely empty, and then you want to go to this icon, the change format. First of all, we want to make sure we assign the story title paragraph style. And then we can go to the change case category. And here we want to choose title case. So from uppercase, we are converting the text to title case. It's an extremely useful feature, and this actually was recently edited in design. So before it was not possible to do this through fine change, now you can do it, which is brilliant. And this is a great example of showing that you can even run multiple formatting changes. So not only we are applying our placeholder paragraph style to these instances of text, but also we are converting the case. So the fine what is in place, and we can just test this out. If I say fine next, it finds the first story title. Then it jumps to the second story, which is Hans in Luck. The third one, fourth one, traveling musicians, Old Sultan, and so on and so forth. So it seems like perfectly highlighting all of this text. So now I can just say change all, and it should say 63 replacements were made. So that's perfect. Let's click Okay. Then let's click Done and then zoom a little bit closer here onto the text. And now this text looks very similar to the body copy, but don't forget if we check this in the story editor, we should be able to see that the highlighted text right there is now using the dedicated story title paragraph style. And we could keep scrolling down, and then we will see the next one and so on and so forth. At this point, if you're still finding some empty lines like this one here, you can run that query one more time. Remember, it is a default or standard query, the multiple return to single return option. We can just say find next, and it actually only finds a few of these. And instead of searching in the whole document, I want to search within this story. So I change the search area to story and let's do find next. Yeah, that's the one. I can just remove the formatting change, and let's just see, Okay, actually, that's the only instance of this. So let's change all one replacements was made. Let's say done. And now we are good to go. We fixed most of the issues. There's only a couple of additional things that we have to do before we can move on to actually properly formatting our text. 12. Using a custom JavaScript for formatting the first paragraph in each story: So far, we managed to rely on the fine change feature using grab codes to identify the paragraph styles that we wanted to assign or the ones that we wanted to avoid. But here is a tricky one. So you can see that we have the story title already assigned here. The easiest way to see this is if we go back to the story editor. So story title right there, then the body copy until we reach the next story title. Hansen Lock, the second story. Then again, we see the body copy, and so on and so forth. Now, of course, we have in between the poems as well, the other style that we use so far and that we introduced. But for the formatting of this book, I will need the first instance of the body copy in each of the stories to have its own dedicated paragraph style. Is because in the first paragraph of every story, I want to use drop caps. So these large initial letters. And for that reason, we need to separate them, but it would be a very tricky thing to do. So essentially, we would want to find every first instance of the body copy throughout the whole story. And the easiest way to refer to it is every instance of the body copy that is preceded by the story title paragraph style. This is actually something that goes beyond what you can do with fine change. So it actually already goes over that limit. And this is when in design scripts come to the rescue. I'm actually show you how I created a brand new script specifically for this task. So it's not a script that exists or that I copy it from someone else. I created this by using Chet GPT. So let me show you how this works because I find this fascinating for someone like myself who doesn't know much about coding, especially nothing about Java script that I managed to create a little script that works perfectly well in in design. It's just mind blowing, really, and it only took me around half an hour. So what I have done in Chat GPT is that I simply asked, Can you find text that is the first instance of a paragraph style in a story? And then hat GPT is saying, unfortunately, the built in grab find and change won't work, but you can use scripting instead. And it starts writing the script. At first, it was very simple. Then I started going back and forth, testing it out. There were a few issues in the beginning, but then it started to work well. I even uploaded an error message that I got in design when I was running the script at first, and it's crazy that HGPT even understands this, although it's just an image, but it recognizes the text, and according to that, it updated the script. So like I said, it's a couple of back and forth until I came up with the final script or hGPT created the final script for and this is actually something that you can find in the Exercise Files folder. It's called assign body first dot JS. So that's the JavaScript file. And what you need to do to be able to use this is to copy it into the folder where in design is holding all the user scripts. And the way you can find this is to go to the scripts panel, which is Window, utilities scripts, and then go to the user folder, right click and choose Reveal in Finder. And so that's where you need to copy and paste this JavaScript file into. And you don't even have to restart in design. I will immediately show up here in the scripts, and you can start using it. Now, to see the script itself, you can see it here in dream Weeaver. So it's not that long, but it is extremely useful. And I'm going to show you how it works. But before I do, I would like to also create a new paragraph style. Again, this is just going to be a placeholder style that we can properly format later on. For now, I just want to be able to see where it is applied. So I'm going to duplicate the existing body paragraph style. So right duplicate style. And let's give this body first name. It can actually be based on the body style. So that's a useful feature here because these two will be very, very similar with some minor changes on the first instance where we introduced the drop cap, but all other aspects pretty much can be matching. So that's why based on is a useful option here. So that's all we had to do, and maybe just so we can see when this style is going to be applied in our text, I'm going to add the paragraph shading option and maybe change it to yellow this time. So let's click Okay. That's all we had to do there. And now let's test out the script. So I'm going to double click on it. And here we get a nice little dialogue box where we can choose the preceding paragraph style. So that's the one before the paragraph that we want to target. So this is going to be the story title. Then the target style is the one that we want to make changes to. That's the next body paragraph style. And then the new style that we want to apply is called body first. So we are converting every first instance of the body paragraph styles to body first paragraph style. Only do this whenever the body is preceded by the story title. And this is important because otherwise, we would be also targeting any instances right after a poem. So after a poem paragraph style, we could still have a first instance of a body paragraph style. But that's why we need these three to be selected. And look, I even included an option to update all without showing messages, which means that it won't stop after every change. So we can just run this as like a batch process, like fine change all. It's similar to that. If I click Okay, so it's extremely fast as you can see, and it even tells me that the total replacements are 62. Brilliant. We can click Okay, and I can already see the first instance is in the perfect place. So that's the first paragraph within this story. Then we go to the next story, hunts in Luck. Again, first paragraph is highlighted, meaning that is the body first paragraph style. Then I can see after the poem, it's not applied, which is perfect. Again, after a poem, it's not applied. Only in the next story, again, the first paragraph is now using this new paragraph style. And so on and so forth, again, I can see the traveling musicians, although the title, the story title is here at the bottom of the column, I can see that the next paragraph is highlighted. So we've done it. It works perfectly well, and it saved us a lot of time and headache. And what I mainly want you to remember and learn from this is that with AI tools like Ched GPT, now you can actually create your own script fairly quickly and easily, once again, without knowing anything about code. Just having a problem that you can't solve in in design and something that you have to deal with often, and it's just waste a lot of time. From now on, all you have to do is to just ask your friendly AI assistant to create a new script for you that you can use in in design. 13. Choosing typeface for body copy: We arrived at a crucial point in our book project. We have to make a decision on what font shall we use for the body copy. Now, obviously, this is one of the most important decisions you have to make because this will affect readability, legibility, and just a general feel of how the reading experience is going to be like. Fund that you decide to use for the body copy is going to be around 95% of the contents of the entire book, and there are many considerations to take into account to ensure that you choose the right fund for your project. I'm going to walk you some of these, but if you are interested to learn more about typography and how it can improve your projects, I recommend to check out our graphic design theory typography course. But we cover working with text in general in much more depth. First of all, let's just check what font we have right here on the screen. So this is Minion Pro, and this is actually already a very good choice for book text. So if I zoom a little bit closer, we can see that this is actually a really comfortable text to read, especially if I turn off all the hidden characters. So yeah, this already feels quite good, even without any formatting applied to this yet. So we don't have justification. We didn't fix the hyphens. We don't have indents yet. There's a lot of tweaks we will be doing to this text to make it more readable. But for now, it's already looking quite. Now here's the three main goals or aims you want to achieve when choosing your body copy. First is readability, how comfortable it is to read the text. I'm not even talking about legibility, because that's usually not an issue with books. So we would put strange colored text on against strange colored background where the colors are clashing and things like that. But we definitely need to pay attention to readability, which is more about the how comfortable it is to read the text or whether it's going to get tiring to read the text after an hour or two. So we're assessing the level of comfort of reading text. And then second requirement or goal is versatility. So we want to have a variety within the font family that we will be choosing. And to be honest, for body copy, we don't need that many variations, and we don't actually need a huge font family which has all the different variations that we can think of. For body copy, we probably need around six to ten different styles, out of which we most likely will end up using only two or three. In terms of versatility, we have a fairly easy choice. We just don't want to pick any fonts that has only a single style because that's going to be limiting. And at this point, let me just jump to Adobe fonts because a couple of things are easiest to show here. So if I go to the Browse O, we will be able to see some fonts. But more importantly, we will be able to see the filters on the left side. Now, I don't really like looking for fonts by tags. Like to use the classification and properties. These are much more professional ways of assessing or choosing fonts. So one thing that is almost certain is that I would like to use a Serif font for my body copy. And the reason for that is because those small strokes, the serifs help guide the eyed along multiple lines of text. And although we think of Serif fonts, usually more useful actually also work really well on screen, so they can actually be used for ePubs, as well. So I'm just going to stick to Serif font. And instead of seeing images, I'm going to turn off this feature here and I'm going to choose list. And what I just by choosing Serif, we can see a few fonts that could work well for books like IVR is looking quite nice. But let's just narrow this down further. So we already talked about versatility, which can easily be set by increasing the number of fonts in the family to minimum five. And we don't have to limit the maximum value, but if you want, you can also drag this down. I'm just going to keep that all the way on the top. And again, we can see now we have 379 font families left based on this criteria. Now, in terms of the additional properties that we have here, for body copy, most likely you would want to choose always the one in the middle. So the extremes are never good for body copy. For instance, like with contrast, you don't want to have too much contrast within the characters. So if I just select that, you can immediately tell that these one really work well for body copy. And instead of getting started, I'm just going to put some text in here so we can see how it looks. Maybe let's just pick another text like that one. Yeah this first one still could work. But when the text is much smaller, we can do also here, resize the text, I can get tiring to read the text with too much contrast. So we want to use a medium contrast. And similarly, we want the width of the characters or set width to also be an average or normal size, so not too white characters. Once again, if I choose white characters, that's definitely not convenient to read. And the same way, it is also not convenient to read very narrow condensed characters like these. Of course, that would help with economy, meaning that we could fit more text on a page if you are using narrower set width. And that's actually our third main criteria. We want to work with a fund that improves the economy of our design, meaning we want to save cost on paper, so we don't want to end up having an extra hundred pages in our book just because we chose a wider set so let me choose again, the middle ground. And similarly to these two attributes, the, again, we want to keep it somewhere in the middle. We definitely don't want to have low excite because that really reduces readability of the text. So we want to keep it either medium excite or taller or higher excite. Either of these two options could work well for body copy. However, you don't want to end up having your height too close to the cap height because then it will be hard to differentiate the capital letters, which can result in difficulty of finding where sentences start. So again, the middle ground is the best for body copy. Now, we definitely want to have italics in our font family. So let's just make sure that is included. We also want to make sure that the font is going to have both capital and lower case characters. So that's the standard option, so we don't want caps only. And the other features here are less relevant. So we can just check how many fonts we are left with. So 101 font families. That's still a lot of options. And let's just increase the text size and take a look at this. And some of these look really good. However, now we are seeing the Italic version of each of these fonts. That is unfortunately not something we can change here in the preview. So as soon as you turn on Italics here, it's going to actually preview the Italic version of them. So normally, I just actually take this off. So from 101, we go up only to 109. That means that there's only eight font families that would not include italics out of the by specifying that we need at least five different weights or styles in the font family, most of them would already have italics in it. So we can see some really good fonts here. Somehow, we still ended up having a decorative or stylized font here, which, of course, we don't want to use. But like I said, this is a good starting point to already narrow down our search and keep in mind the three main things that we talked about readability, versatility and economy. 14. Testing and comparing typefaces: Now jumping back into in design, I prepared this file that you can also open up. It's called Font test. This is just to see variations of body copy side by side, so we can compare them really well. And by the way, this is a preview of roughly how our page is going to turn out once we have all the styling in place. So first of all, on the left side, here we have Tisa P in the middle, we have Meriwether, and on the right, we have Mini and Pro, which we've already seen before. I chose to put these three side by side because there are certain aspects I can demonstrate really well with these. One of which is the economy that we already talked about, which you can already see here, even though all of these are set to the same font size, nine point. So you can see 9.9 point and nine point, and the leading is set to 11 points. They still have quite a big variation on how much text can fit on the same page. So if I just make this bigger again, we can see that this text actually didn't even fit on the page. That one and that one fit nicely. This probably actually fits more text than the one on the left. So minium Pro in terms of economy is definitely the winner, but not necessarily in readability. So if we go into our settings for the text that we have here, I can change the first definition of this and maybe reduce the size down to eight points and also maybe the leading down to ten points. So once again, this is the font in the middle called Merriweather. Even with one point smaller text size, it just about fits in this text frame. So you can see it ends up on the word though, which is the same on the left and on the right. We can do the same thing on the text on the right, the Minion Pro. We can just increase the size on that. So instead of nine points, we can go up to ten, and maybe we can set the leading to 12, let's click Okay. Again, even though we increase the size there, the text still fits on the page. What I wanted to demonstrate here is that certain fonts, even though might look very similar, based on the properties of the characters in the font, like the set width and also the tracking, you might need to adjust the font size slightly to get a similar density of text. And that's actually a very crucial aspect of book design, the text block density, which generally describes the overall looseness or compactness of the text block. High density text blocks can feel very crowded and again, tiring on the eyes, while a lower density block can feel more open and airy. To alter the block density, the main things that you normally want to use besides the font size and the right font that you choose to work with is to adjust the leading and the tracking. I can just show an example of this quickly here. If I select some of the text right there and I use more leading. It's obviously quite extreme. Maybe if we just use the settings in here, so I just go into the middle one and inside the basic character formats, we can start increasing the leading. And the reason why it's not changing is because it's already aligned to the baseline grid. I'm just going to turn that off under the indented spacing, so we don't want to align it right now. So let's just try it again. So increasing the leading there in the background, we can already see it updating. So when we compare the two together now, we definitely have a higher density on the left and a lower density here. And just like with everything else, you want to balance things out. So you don't want your text to be too dense, but you also don't want too much space between lines or between the characters because that can also reduce the readability. So you don't want to get to the other extreme when there's just too much negative space between the text. We've adjusted the vertical spacing with leading. But I can show you also a similar thing happens when we do tracking. I'm just using older option right arrow to increase the tracking like that. Again, it spreads out the text more, and we have much less of the original text fitting on the page. And it's interesting to see that even just by adjusting leading and tracking it already feels a bit like now these fonts got bigger compared to how they were before. So it's almost as if we increase the font size just by reducing the density of the text block. And while we are doing this, we are also affecting one additional thing which we call as typographic color, which refers to the overall shade or appearance of the text on the page. So by introducing more white space between the characters and also between the lines, we are increasing the brightness of our typographic color. And this is a term, again, that doesn't actually refer to the color like red and black. It just simply refers to the shade we perceive when we look at the text block. So whether it's more darker or brighter. And both in terms of typographic color and text block density, the middle ground is the best. So you don't want it to be too extremely dark and condensed. So essentially, you don't want to be on either of the extremes that we already described here. But just to be able to see the other extreme, I'm going to make this text more condensed on the left, so I just reduce the leading and I will also reduce the tracking so clearly, that is, again, another extreme. So we have extremely condensed block on the left, and we have a dark typographic color. While here, we have a much more airy and loose text block with a brighter typographic color, and then we have the middle ground on the right. So to summarize, besides choosing the right font family that you can apply to your body copy, you also have these additional decisions that you make, how you are going to format it. And I highly recommend to spend some time exploring different fonts which you can apply in this test file, look at them side by side. Also keep tweaking these attributes like leading and tracking to see how the text behaves before you make a final decision on which font family you end up using in your project. 15. Formatting the body copy: Based on all the considerations that we covered so far about the body copy, I made the decision to use the font Tisa Pro, which is an Adobe font family that you can install. And this is something I'm going to apply on my text. So I'm going to right click on the body copy, and I'm going to choose this font family here. So I'm just going to type in Tisa Pro. Let's select that. And we can see how that looks in the back. Of course, we want it to be smaller. So I will use nine points, and I'm going to do not 10.8 leading, which would be 120% compared to the size of the characters. I'm going to use a slightly more spaced out leading. So I'll go just slightly up 11 points. And you can see that small change actually makes quite a big difference there. So if we zoom closer, I can maybe show it on this side where we don't have that highlight. So if I go back to body and we just adjust this one aspect. So auto adding looks like that, and then just slightly more 0.2 extra points already feels much better. If you want, you can go even up to 12 points, and that's going to have a much more open text block, so further reducing the density. I let you decide which one you prefer. For now, I'm going to keep it on 11 points because I have economy in mind as well. I don't want to end up having too many pages, but notice how we already reduced the page number down to 177. So if I just go back a couple of steps, before we did this, we had 100 extra pages. That's because we had a larger font size. So after these few changes, we got down to 177 pages. So that is looking already much better. Now one of the important things I want to make sure we have is justification. So if we go into the body style, again, the body, we want to choose the indens spacing instead of left to be justify. And while we are here, I also want to add a first line indent. This is in inches because we have the document units set to inches. But if you want, of course, you can type in millimeters as well or points. But for now, I'm just going to use 0.25 inch. I think that's already a good amount of indent. So we can just say, Okay. But remember how we set our body first style to be connected to the body style or be based on it. And the indent is actually something I don't want in the body first. We will have drop caps in there instead. So I'm just going to go in body first, and I'm going to overrule or override this by saying, I don't want the indent right here. So this is obviously only going to affect the first paragraphs in each story, not the others. And I just noticed that even my story title is having an indent on it, which means that by accident that also is based on the body copy. So I'm just going to update this. I'm going to edit story title. And yeah, it is based on the body, which it shouldn't be. I'm just going to say based on the basic paragraph because we will be using a completely different font on this one, not the Tisa pro family. It doesn't have to be connected in any way. And we will come back to this later. I just wanted to fix that aspect. But now, this is looking good. When you introduce justification, there's a couple of additional refinements you have to pay attention to first of all, you want to make sure that you have hyphenation allowed. Otherwise, you will end up having rivers within the text. And by rivers, we mean the spaces that are lined up on top of each other and that feel like creating division between the text or like a crack inside the text. Of course, that's not an issue right here because our text frame is quite wide, and we already have hyphenation on. But just to demonstrate this to you, if I go into the body copy style and I remove hyphenation for now, let's just click Okay. And so that was before, and that is after, and it's already slightly worse. But if I just reduce the frame width, we will already start to see more of these rivers appearing in the text. So yeah, we can see definitely more of it showing up, there's one there. There's another one right here. And there's also some here. So, yeah, that's definitely something you want to avoid. And that is why we have more wider text frame, and also that's why we have hyphens. But there's a couple of important settings that I like to change for both justification and hyphenation, which again, we can do from within the body copy style. So let's just go first to hyphenation. So here are a couple of settings that we can adjust. Firstly, I want to increase this value up to seven from five, so I don't want to hyphenate words that are less than seven characters. The default option was that in design can already start hyphenating words that are made of five letters. Then I also want to restrict that it shouldn't start hyphenating after the first two letters of the word. I want this to be set to four. Similarly, I also don't want the last two letters or words to be separated. I want at least three letters to move to the next line. And then hyphen limit and hyphenation zone actually work together. It means that within 0.5 " of vertical space, we would allow to show three hyphens. So it can happen that hyphens might end up being quite close to each other. Again, I'm going to reduce that down to two. And then besides all of these settings, you can also use this slide to improve the spacing or to have fewer hyphens. So by moving it further to the right, you will end up having less hyphens, but the spacing might not be as good between the characters. Or if you want to make sure that there is definitely no rivers in your copy, you would want to go towards better spacing. I generally keep this in the middle. So once you have these settings on, I think it does a good job with the hyphenation. Right now on my screen, I can only spot one hyphenation right there. But besides this, I also want to make tweaks to the justification settings. And again, this is just to improve the overall spacing of the characters in the lines. So the first thing I want to do is to change the word spacing to 120% maximum value. The letter spacing, I want to set a minimum 2% and a maximum 2%. And the glyph scaling, I normally would set to 98% minimum and 102% maximum value. What this actually means is that I even allow a slight horizontal distortion of my characters whenever in design is struggling to get a good balance within a line. And I also allowed a slight tweak to the tracking or letter spacing. But it is such a small amount that it would actually be impossible to see these. But these subtle changes will actually make a big difference to the overall flow and readability of the text throughout the book. So let me just click Okay, and after these changes, we can see if I go back and then forward, we can see the whole page like this. So this is before the adjustments to the hyphenation and justification, and this is after. Again, before and after. It's a very subtle improvement, but believe me, it's there if you know what you're looking for. 16. Refining the body copy: There is one additional thing that we have to pay attention to when it comes to hyphenation, and that is the optical margin alignment, which is a feature that will allow us to have these hyphens go beyond the edge of the text frame and not just hyphens, but also punctuation. So if I come to a page where I can see some hyphens, I can't actually find any right now. We did such a good job here. That it's almost completely impossible to find a hyphen. There is actually one right there, so let me just zoom a little bit closer. So this is the themselves separated. And we also have a couple of other punctuation here like the period, the comma further up, and the semicolon. So yeah, once we apply the optical margin alignment, we will see these update. But we have to remember that this feature is something that we can only apply through an object style. Now first, let's create the object style without having anything selected. I click here on the plus sign within the Object Styles panel or Option clicking on it will bring up the dialogue box as well, and we can just type in text. And then from the left side, we want to find story options and just simply choose optical margin alignment. You don't really have to change this value that can stay the way it is. Let's click Okay. And I'm just going to remember we were on page 22. Because I have to go now to the parent page and select both text frames, both left and right, and then choose the text object style and make sure that there are no overrides. So let's click on clear overrides. Now, by applying these, I also introduce the stroke around the frames, which I didn't want. I'm just going to edit the style and go back and make sure I have all of these things turned off. And if we have the preview on, we will see the updating. So we want to go to the stroke options, and we want to make sure that there is no color assigned. And you also actually want to make sure that there is no paragraph style assigned through this object style, so you want to turn that off. You can actually turn off most of these other options, but I'm just going to click Okay. I think the rest of the settings won't make a difference for us. So coming back to our actual pages, you might want to select both sides of the frames on the first spread, and you want to make sure that you remove the overwrites, so clear overwrites. So if we go back to our text, we can see hyphenations are now outside of the text frame. So again, it's a very subtle thing. We can see maybe also on this side, punctuation like comma and full stop at the end of the line can also end up outside of the text frame, also here on the first line. And there's actually one additional thing that I just remembered to go back and adjust for the hyphenation. So we go back here. We also don't want to hyphenate last words. That means last word of a paragraph, and we also don't want to hyphenate across columns, which would mean in this case, between pages. So that's definitely something I want to avoid. So now that's updated. We obviously have our body first paragraph based on the body. So both of these should update, but we can just double check. If I right click on Edit body first, yeah, it's still based on that one. So that's going to inherit everything that we set up. So we can just double check hyphenation. Yeah, all the settings are there. And for justification as well, everything that we worked on is carried on to the child style, which is our body first style. One additional but crucial thing that we have to make sure that we turn on is the baseline grid to make sure that the text aligns to it. So I just turned it back on, but this is something you can find in the view menu grids and then show baseline grid. There's also a keyboard shortcut assigned to it if you want to use that. So when I zoom in closer, I can see that currently the body copy is not aligned to this. And the way we can make sure it does. We go back in here and under indents and space we want the aligned to grid to be set to all lines. So once we do that, that's going to again, affect the document quite a lot. Can click Okay. And at the moment, none of the other styles will align to the baseline grid. So the poems and the story titles won't be aligning to it, but everything else will. So we can find a spread like this where we have only body copy, and it definitely looks much neater. For now, I'm not going to do any more changes to the body copy style because we already fixed most of the important things. There's further refinements we can do to it later, but that's going to look better once we have all the other styles set up. So in the next video, we can move on to refining and formatting the variant of our body copy, the body first paragraph style. 17. Drop caps techniques: Now the main difference between the first paragraph in the body copy compared to the rest we already introduced, we removed the first line in dent, which is only necessary between the paragraphs. It's not necessary here at the top because that's the starting paragraph. But instead of that, we will be introducing the drop cap feature. Now, first of all, I want to remove this highlight from body first, so I just go inside it and the paragraph shading, we can set it back to none and turn it off as well. The reason why I set it back to none because this way it's not going to show up here in the style settings. It's actually something we can also do for the body style because remember there also we used it in the beginning. So if I just turn it back on and then set it to none and then turn it off once again, it's not going to show up at all in the style settings. So we can double check now like I said, it's not going to show up. So even if you are introducing features temporarily, it's good to completely remove them, not just turning them off. Otherwise, it just takes up unnecessary space in the style settings, and it can get confusing when you have a lot of settings applied. So right now, the only override compared to the body style is that we don't have a first line indent, so that's set to zero to eliminate that but we want to go into drop caps and nasty styles, and we want to increase this up to maybe three lines. Later, we can increase this further. But for now, I think that is looking quite good. And if you want to keep things simple, that's really all that you need to do. But let me show you a couple of stylistic choices that you can have here. First of all, you can have a different font applied to the drop cap, which would differentiate it even more, and it would introduce some flavor and style to our so what we want to do here is to create a new character style for this. This is going to be used specifically for the drop cap, so I'm just going to choose that. I would like to see a preview of this. I'm just going to turn on preview. And the font that I would like to use for this is called kick. It's an interesting name. Again, it's an Adobe font. You can download this if you want to use it. Now, it has two styles, I believe, but I will only use the brush style, and I'll click Okay. And there you go. This is a very nice font, highly decorative. Might be hard to read. So in terms of legibility is not the best choice, but we can maybe just increase the size of it a little bit even more. Obviously, five might be a little bit extreme, maybe four lines. Yeah, that is looking better, and we can just click Okay, and to see how this looks on other pages, we can just find the next instance of it. That's an S. Let's just go a bit further. There's a T. It looks cool, and that one's there, yeah, another A, A, These are the most common ones to start a story. There's an O, which would be in once upon a time, but here it's just says once in the summertime there's another Oh, so and so forth. So, yeah, it's not bad. Of course, you can be much more subtle and choosing a font that is more legible. But instead of using a font, I'm actually going to use images because I wanted to make this book even more like a fairy tale. I actually went ahead and generated a whole alphabet of decorative letters in mid journey. Now, I just wanted to show this to you that it actually takes quite long to experiment and get all the alphabet right in the beginning, I had all kinds of different variations here from which I ended up using this style because I really liked how this looks, and I feel like it's still legible enough but has a lot of flavor to it. And then it took a while to get this consistent. I just used that first version as a style reference. And basically, I was using the prompt decorative initial letter for a fairy tale, red ery letter with white floral ornaments on white background. So that's why I used, and to keep it consistent, I was using more of the style references later on. And in mid journey, you can even run batch processes up to ten prompts at a time. So using the same prompt by just changing the letters in between them. So that saves some time, but it still took a while to get all of these ready. And I have them prepared for you in the decorative initial. Inside the exercise file folder, so you can go through them and check them. And there's actually one thing that I haven't done for all of these yet because I wanted to show it to you here in this lesson. So if I just double click on Letter B, for instance, notice how its background is not completely white. That can be easily fixed by pressing Commando Control L in Photoshop to bring up the levels dialog box, and then use the white eyedropper or the White point eyedropper and just simply click on the background. And immediately that's fixed. We can click Okay, save this and close. So that's something that you can do for all of the letters if you are generating them yourself. But for this alphabet, I already went ahead and did this by the time you are going to go through the files. So let's jump back to in design and starting with this first letter here, what I'm going to do is to place this image. So I'm going to just place it on the page somewhere. I select that file, open, and then click and drag. For now, I'm just going to keep it around that size, maybe slightly bigger like that. And what I want is to cut this Commando Control X, double click inside the text before the first character, and then press Commando Control V. So this is going to be an inline text. And the most important thing here that you have to remember is that it's not going to replace that original character that started the paragraph. So you don't want to end up having two as in this case. What you can do is to delete this or even better, you can set a conditional formatting on it, which you can use to hide all of these letters throughout the document without deleting them. So the way we can do this is by getting the conditional text panel open, which you will find in the window menu, type and tables, conditional text. So let's get that open here. And first, every text by default is set to be unconditional. But in this case, I would like to create new conditions. So this first letter, I'm going to assign to the condition normal drop cap. Then I click Okay, and that's already eddied, but it hasn't been applied to my selected text yet. I have to tick this little option here, and if I click away from it, that little zig zag underline represents the condition on it. And because the image we placed inside the text frame, it became an inline text, meaning I can also highlight it just like text, and I can set another condition to it. I'm just going to call it image drop cap, and then it's going to have a red VV underline. This is obviously something you can change if you want, I'm just going to go with the default settings. And just like before, I have to make sure the little tick is also assigned to it. So now we can see the two conditions that we created. And the great thing about this is that if I turn off the image drop cap, notice how immediately it switches or transitions the normal drop cap in place. So simply by just toggling these conditions, I can go back and forth between the two and what's important is that you don't want to have both of these on at the same time. So if you turn off the image drop cap, obviously, that only gives you the normal drop cap. But if I want to have the image drop cap, I would have to turn off the normal drop cap. So it's either one or the other. And by the way, if you don't want to see the indicators of conditional text, that's something that you can hide, or in case you keep the indicator set to show, of course, if you are looking at your document in preview mode by pressing W, they won't be visible again. One additional subtle change that I would recommend to implement if you are going down this route is that when you are assigning the condition to your normal character, so not the image character, you should also include the space right after that character to be included. So I would also assign that to be in the normal drop cap condition. And the reason for that is that if I now turn this off, the word certain goes straight to the edge of the image, which by looking at this in preview, gives a much better result. So this was before and this is the result after. And that's a great thing that you can also set conditions to spaces, not just the actual text. Now, setting the conditions is actually something you will have to do for every story individually. I don't think there is an easy way to automate this. And that is why I said, this is an optional feature. If you want to do it and you want to do it throughout the book, it's going to give you some extra work. So not only you will have to place in the images, but you also will have to set up these conditions. 18. Refining image drop caps: Before moving on, I also wanted to tweak this slightly because if you are using an image like this, you probably want to use text wrap together with it. First, I'm just going to drag it down a little bit, so it sinks into the text and aligns more to the top edge of the first line, maybe something like that. Now, if I have this image frame selected, I can assign the text wrap quickly from the control bar here on the top. So wrap around bounding box like that. But if you alter option, click on this icon, it will bring up the tax wrap panel, and we can probably turn off the chain here and maybe increase the right offset a little bit, something like that. It can be maybe a little bit less like that, and perhaps we can also increase the bottom offset just a little bit more in case the text underneath gets too close to our drop cap. Now, I'm happy with the settings here, so I can drop my tax wrap panel back where it was. Perhaps we'll move this ever so slightly down. So let's take a look at this from a distance. Yeah, that's looking good. However, there's a little bit too much negative space underneath. So I'm going to fix that by going in, selecting the image, and then holding down Command or Control shift to increase the size of it. Like that. Let's drag it down again, and probably we can get rid of this text wrap underneath. That's just gets in the way. Yeah, that's looking better. Let's just drag it down a little bit even more, make it slightly bigger. That. So it's taking up actually five lines space, which is still okay, and now it looks much more balanced. I like the way this looks. And I just wanted to show you quickly how you can repeat this for the next story. So the easiest thing to do would be to highlight this in the text. So you can either go here and highlight it like that, or if you're not certain you're selecting the right thing, just press Command or Control Y to go into the story editor and then highlight your anchored object there. By the way, notice that there is a little icon here, meaning that there is some conditional text being hidden at there in that position. But we don't have to worry about that. Just copy the anchored or inline image and then go to the next story, which is hunts in Luck. Put your cursory in there just before the first character and then paste. And the great thing is that it already has the same formatting. It also has the text wrap assigned to it. However, if that's something that you want to control on multiple instances at the same time, I would advise to also save this as an object style. So having this selected, we can go into the object styles, alter option, click on the new style and call this drop cap image. And just double check on the text wrap, it should have the right offset and it has the text wrap feature assigned. So we can just click Okay, and then while this frame is selected, also make sure that option is assigned, so it's linked to it. And since we set this up, let's make sure that it's also assigned here at the first instance. All right. So now these two are done, we just have to update this with the other letter that we need here. So in this case, it starts with S. So let's have this frame selected, press Command or Control D, and then find S from our folder and we can just update it looking good. And then we just have to also remember to set up the conditions. So I just go back to type and tables, conditional text. It probably would make sense to keep this here on the right while we are working with this. So I'm just going to highlight S here, which is a normal drop. And immediately it disappeared because we have it hidden. And then we also want to highlight the image, which is an image drop cap, and that actually already is applied because we copied the original instance which had a condition already applied to it. So that's something you don't have to worry about. You just have to worry about hiding the duplicate initial letter by assigning the normal drop cap, which we've already done here, so all is good. This is looking good. Maybe one additional thing that you can do once you have your instance in place is to crop. The edges a little bit in. So for certain characters like S, which is a little bit narrower, we can crop it just slightly like that, and then it looks already much better. Now, let's just do this paste in again in another one. So the third story, things will get faster the more we do it. So just paste in the original A. Then having this selected, we go into Finder, and this time, we need a So let's just select the T and then drop it in here. You can do fireplace or Drag and Drop, whichever you prefer. I just noticed that here I haven't updated the background yet. That's actually a stylistic option. You can keep it colored like this if you want, but I'm going to go in Photoshop and update this quickly. That's option or old Double click. We'll open it up in Photoshop. Command or Control L for levels, and then set the white point, click Okay, save, close, and then come back and it should update here also. But in case it doesn't update, just double click on the little icon here, which you will see in normal view. And now it's looking great. Let's not forget to assign the condition normal drop cap to the first letter. And in this case, I don't think we need to crop the edges. This is looking already nice and balanced. And that is all I wanted to do for the body first paragraph style. And in the next video, we can move on to format the story title style. 19. Formatting the story title (heading): Time to finally format our story title, which is also going to give a lot of character to our design. So here is the first instance on this page, and we have already our style defined story title, which essentially is the heading in this document. So I'm just going to right click on that and start editing it. I want to change, first of all, the font. Now, the font I am going to use is, again, another Adobe font that you can download and synchronize. It's called Fairy Tale JF. So that's the one right there. If I click into the next frame, we can already see it updating here. Now for the size, I probably want this to be bigger like around 30 points. Maybe we can tweak this later, but I quite like the way that looks. The leading for it, I will probably reduce down to 30 points when there's some story titles that are quite long. They will end up being in two lines. I don't want them to be spread out too much. I want to keep them fairly close to each other. And I would like this to be centered, for sure. So I go into indensed spacing, change the alignment to center. Is looking quite nice. And I also want to have space after this. So I'm just going to increase that probably around this much space. If I click Okay, we can check this in normal view. That's actually two lines because we are using the baseline grid. That's how it's going to look like. And at this point, you can decide whether you want to keep this text in black, or perhaps you want to repeat the color that we have on the drop cap, so this red color. And in case you want to do that, what I would recommend to do is to use the eyedropper tool, that's E on the keyboard. And then hold down the shift key while clicking on this image. Let's just sample a color from here maybe. So it's a very vibrant red. We can save this into the swatches by clicking on the plus sign, and we can even name this. So instead of using the name with color value, we can just type in grim red. I think that's a fitting one, especially because we have a little red riding code amongst these stories and also a couple of other stories that references red. So for now, we can just use it like that, but also additionally important to change this from RGB to CMYK. And since I'm using CMYK values, I probably want to even these numbers out a bit. Instead of 92, I will probably keep these both 90. So that's probably a better color there that we can work with. And we can click Okay. So now that we created that swatch, we can actually go into our swatches and select all these watches without having anything selected in our document and delete them. Actually a faster way is to go to the panel menu and choose Select All unused. Just make sure to don't delete the green red and delete them. I notice that we have the magenta here because we are using that on the poems at the moment, the shading. I'm not going to delete that just yet, but we have our color saved nicely so we can go into the story title paragraph style. And on the character color, we can choose green red. Let's click Okay and just go back a little bit. That is looking really nice. I love this font. I think it's really good. It works really well for fairy tales. But now there's one additional thing I wanted to do, and this is going to become more important once we start putting in the images or illustrations for the stories. And that is to keep the beginning of a new story always on the right side or on the rectal page, because the format that I want to use is to always have the illustration just when the story starts on the left side. So there is a very simple and easy way to do this. Again, we have to go back into our style formatting. And under keep options, there is a way to restrict where this text can appear. I want this text to appear always on the next odd page. So if we do that, see how immediately it moves the text here on the right side and keeps that left side empty. And the great thing about this is that all of the stories will always consistently start on the rectal or right side of our spread. Let's just see the next one as well. Yeah, that works perfectly. Now, here's another stylistic choice that is completely up to you whether you introduce this or not. I just want to show you how you can do this technically in case you wish to do it. So in some books, they would start the title, not all the way on the top edge of the tax frame, but it would actually start a little bit further down, giving some negative space on the top. Again, a more dramatic way to introduce the story. So instead of starting straight on the top, gives it a little bit of a pause, like visual pause before it starts. So what we need is some space before this paragraph. Now, to actually achieve this, we have to be tricky because the default feature that you would normally use for this won't work here because there is no copy before this text. So that's the first one within the text. So if I were to go in here and edit the story title, and the one that you would normally want to use is the space before. So if I just increase that up to, let's just say 1 ", you see, it's not affecting this instance of the text. But if I go to the next story, for example, even there, it's not going to move it because there's literally nothing before it. So that's actually not something that we can use in this case. I'm just going to go back edit story title and remove that setting. So that's not working. Instead, like I said, we have to be a little bit tricky and use the paragraph rules feature instead. Want to use the rule above. So let's just turn that on. And we want to change the offset of this. If you start increasing it, holding down the Shift key is going to keep up further away from the text like that. And if you turn on the keep in frame, that's going to make sure that that rule will always be inside the frame and aligned to the top edge of the text frame. But of course, we don't actually want to see that line there, so all we have to do is to set the color to none. So it's an invisible line, but we can still control how much space we want before this paragraph probably that's already enough. So we have one, two, three, four, five, six lines down by using 1.25 " offset. And then we can click Okay, and we can check this without having the baseline grid. You can see it in full screen as well, just to better judge how this looks. And, yeah, I quite like that dramatic pause at the beginning. I feel like it works well, and it really visually distinguishes always when a story starts compared to the rest of the pages. And that is all we have to do to our story title. In the next video, we will be creating a new style for story subtitles or subheadings. 20. Formatting the story subtitle (sub-heading): The entire book, there's actually only two stories where there will be story subtitles or subheadings. And one of these instances is here, the Adventures of Chanticlear and Partlet. The first title is right here, and it actually starts with number one, how they went to the mountains to eat nuts. And then if we go a bit further into the story, we will find number two. And number three. Once we format this, I will show you where the other story is in the book. And I'm going to create a brand new style, so it won't be based on anything that we already have here. I will just alter option click here to create the style first. I don't want it to be based on anything, so I'm going to choose basic paragraph. And it already picked up a couple of things here, so I can just say reset to base. And let's just call this story subtitle. And the first thing I want to apply is that it should be also using the same font as the body copy. But this time, I am going to use probably bold or extra bold. We'll see which one works better, and we want to increase this maybe up to 15 points. We also want the alignment to be center. And for now, I think that is enough. We can refine this later. Let's just click Okay and apply it here on this first line. So I'm just going to move the story subtitle down here and we can click on. See how it looks. By the way, in the paragraph size panel, I like to lay out my styles in the same order as they appear within the book. So I would normally put the story title on top, then the story subtitle. Then comes the body first, actually. That's the next one, then the body, and then the poem. So that just makes a little bit more sense to see them in this order. But now, coming back here, you can actually decide to remove that number one if you want, but that's how it was in the original book. So I'm going to keep that there. And what I'm going to do is to just change the case of this, which we can override by going into the type settings and go to change case. And I want this to be title case. Looks good. Maybe even sentence case, if you want. Let's just go back again. Sentence case. Yeah, I feel like that looks better, since we already have a title case on the main title, here I feel like that looks better. And this is probably a little bit too big. So if I zoom out, now looking at these two next to each other, I feel like we have a little bit of competition going on between these two. So I don't want this to be so intense. I'm just going to go back to subtitle editing, and let's just reduce it probably down to 13 points. That will be enough. Yeah, that's looking good. But just like with the title, I want to have a little bit more space, so I increase the spacing after, and that is probably enough. I will click Okay, and we just need to apply this to the other instances now. So let's move to the next one, which is right here. Can select it, and by the way, you can do a quick apply. Whenever you have texts like that, you press Commando Control Enter, and then you can just choose story subtitle. And then we also have to make sure that this is changed to the same case that we used before. So sentence case, and I just noticed that we also have to introduce the space before option for this. So I will come back to story subtitle, and we need to have Idense spacing space before. Probably a little bit more there twice as much as space after. I feel like that is looking good. By the way, I just noticed that names are also set to lowercase now. So we have to just fix that manually like that. Mr. Also should be, and this should be K. Yeah, it's looking better. Now let's go back up here and check how our spacing looks like. Now, since we introduced the space before for this text, and we already have space after this one, it might feel a little bit too much empty or negative space there. So in this case, I would probably have a separate version for the first instance of a story subtitle within a story. So that can be a variant of this. Right click on the story subtitle and choose duplicate style. Of course, it should be based on the original, and I'm just going to call it first. Just like with the body copy, we have a first instance of this as well, and in this case, I want to remove the space before. So that way, we are not duplicating the space, and if I select this and switch it onto that, that's already looking much better. Let's go back to the next page, and this is looking nice. And then we can do the third one as well. Let's just choose the story subtitle for that. Let's just also update this to sentence case. So we go type, change case, sentence case, and then just manually fix the names. Another name right there. Alright, that's looking good. And now you might want to consider having these sub stories or subtitles also only appear on the top of a text frame. So instead of showing up somewhere in the bottom, like in these cases, we can go into the story subtitle. Edit that. And then from keep options, we can say start paragraph in next column. So we are not as strict as with the story title, which always starts on the next ot page. Here, we just simply say next column, and then we can click Okay. But because the two variants of the story subtitle are connected, we have to make sure that the first instance doesn't have this feature in it. So we go into keep options and we turn it off there. So we can allow that to appear anywhere. So now if you click Okay, this is how it looks so that is also why it's good to have these two variants to differentiate the first instance to the second and the third and so on and so forth. So now they are looking quite good. They are starting on separate pages, but they are not starting further down like a new story would start. So that's also why it's good to have that negative space here on the top. Again, it visually differentiates the hierarchy between this page, for instance, and this one but there's still something that I don't like about this text, and that's the way the words are divided or the text is divided between the lines. So in this case, for instance, I would put a soft break, which is shift enter here. So it would have the names on the top and then that text. So it's a little bit more balanced. Let's just see this first one. This is actually fine because it fits in a single line. And then let's just check the third one. Okay, again, we can probably separate it right there. 21. Refining the story subtitles: Now you can also choose to separate the number into a new line like this. Number three, and just to see how this would look like. I'm using soft breaks there. Another soft break. That's probably even better. I like the numbers to be separate, and perhaps these numbers can actually have that color assigned to them that we are using on the titles. And this is actually something that we can do with a nested character style for which I'm going to just create the character style here, so create new style. Let's give this a name. I'm going to call it grim red, and I'm just going to make sure it's based on nothing that we already have here. We choose the grim red color for it and click Okay. And now that's created, we can go back to our story subtitle. Edit that. And under drop caps and nested styles, we can choose to have a new nesty style, edit, the cream red, and we want it to go through the first words. And that works perfectly. However, it seems like it also affected the font that's used it brought in the drop cap font. So I just have to go back to that character style to fix that. It's strange because it seems like it's not using that, but still in here, it was added. So we just have to delete these, keep those cells empty, and update. Now it's going to use the same font as the rest of the story subtitle. If I zoom back a bit, that's number one, number two, and number three. Works perfectly. Looking really good. And while we're here, I just also noticed that because this story had this subtitle, it also didn't pick up on the first paragraph, which should be the body first. So I'm just going to update this quickly. And this brings us to another issue. What happens if our text is starting with a quotation mark so what will happen to the drop cap? Do we need a quotation drop cap as well? And the answer is yes, you should have the quotation mark as part of the text. So I am going to have a variant of the letter T where this is necessary, which will be amongst the image files. I'm not going to worry about it right now, but that's just something that you have to keep in mind. And also, when you are setting the conditions and you want to hide these characters, you will have to hide both the T and the quotation mark. Then obviously it's up to you whether you want to have these drop caps to show up in each of these sub stories or just in the first one. And in case you make a decision that only the first substory should have that drop cap, you should still have a variant of your body first, which still doesn't have the first line in dent, but it just doesn't have the drop cap. So to show this to you, I would come here and say, for the body first, I want to duplicate and I'm going to call this body First in sub story. And for this one, I'm going to remove the drop cap, set it down to one. Also, don't change the character style, and I want to have no indent, which is already fine. Can click Okay, and then I can just assign that here. There you go. So this is how it would look like. And the same thing here, this first paragraph should be that. And if you recall, I mentioned that there are actually two stories throughout the book with sub stories in it. The first one we already done, and the next one is the wedding of misses Fox. The easiest way to find it is to search for text, find change, the wedding of Miss and it should find it already. There it is. And here we have an issue because the story title has been applied to the first story, which is the subst but we can just update this quickly. So that's the story subtitle first, jumps back there, we have another problem here because here we don't have numbers. So again, for this, we might need another variant, but let's just see the rest of this story. So we go to the second story. Let's do again story subtitle. This is not the first anymore because that's the second story. And the salad, that's already another story. So this fairy tale has only two subs stories, and now it's up to you whether you want to do this as an actual style that you set up, or you will just do it as a manual override. You can actually highlight the text and change it back to black. And in some cases, that's perfectly fine. So if there's only two instances of formatting, you might not need to save it as a style. You can just do that manual override to keep it black. 22. Formatting the poems: We arrive to one of our final paragraph styles that we need to refine and that's the poem. So remember, we highlighted these in this pink or magenta color, but that's something that we will fix now. First of all, we need to right click on the poem style to open up the settings for it, and we want to make sure this shading is removed. So not only the tick has to be turned off, but also we want to set the color to none and then turn off the shading. This way, it's not going to be visible in the format. What we want also is to change the font to Tisa pro. So the same font we are using for the body copy. We want the size also to be nine and the leading to be 11. Yeah, that is looking good. But we want to make sure that visually looks different. So I will set this to medium italic. Looks quite good. We can also maybe try light italic. That perhaps is even better, but we just have to check from a distance to make sure that it is going to work fine and it's still going to be legible enough from a distance. So I want to go into indent and spacing, and I want to make sure that there is a left indent here. So let's just push this quite far in. Maybe 075 should be good. And then we want to have space before, probably around zero, one, 25 inch. But we also want to make sure that there is no space between the paragraphs. So that feature here is a really useful one. We want this to be set to 0 ". And this is looking really nice already. We can click Okay and just zoom back and check the spread from a distance. I feel like that is looking good, but there's one small tweak that I would also do. For Italic formatting, I normally like to also introduce a little bit more track. So we can go into the poem, right click, edit, and on the basic character formatting, I want to go into tracking, and let's just do 25. Yeah, that might be a little bit too much, maybe ten or 20. Maybe we can type in manually or 15. I think 15 is going to be enough. Yeah, that is looking good. So if I turn off the preview, we can see before and after. Just a very subtle adjustment, but it helps to make this more legible and readable. So let's click Okay, and let's just look at another instance. Yeah, this is looking very nice as well. Let's go to another instance right there, looking good. And by the way, this is not using the baseline grid because I feel like that might be a little bit too restrictive, and it actually helps to differentiate this more from the body copy. So by having it almost floating in midair makes it completely different and elevated in a way. Now, remember our script that we created for changing the body copies first instances throughout the whole book. There's actually one additional thing that we could consider doing. Normally we would only use a first line indent on a paragraph when there is another paragraph right above it. But in this case, where we have a poem, there's actually a big empty or negative space above this paragraph. So there's literally no point of having this indent right here. That's something that I would normally call an overkill, so it's completely unnecessary. And remember that we already set up a paragraph style called Body First in sub story, which actually has the same setup, so it's just normally the body copy, but without the indent on it. So we could actually apply that after every instance of poem. But instead of doing this manually throughout the whole book, let's try to run the script that we created. So we go to Window menu utilities and choose scripts. And if you remember, it was called Assign Body First. Make sure that nothing is selected in the text. We can double click on this and in this case, we want to look for the poem. That's the preceding paragraph style. The target paragraph style should be a body paragraph, the one right there, and we want to change that to the body first in sub story. Then I want to run this as a batch process throughout the whole document, so I'm going to have this tick on, and then I click Okay. And see, we got 94 instances of that. So that means that there are 94 poems throughout the whole book. Let's click Okay, and we should see this already updated throughout the book. So there is a small poem here. Yeah. There's no intent after it, then we can check on another page. Let's just find another poem. Of course, when I I won't find it, but there's one here. Yeah, that's looking perfect. Let's move to the next one. Again, looking great, no intent there. And I believe that the script did a good job, so I'm not going to go through the whole book. I'm going to trust that the script did a good job fixing this. There's one last thing that we have to make sure that we assign on the poem, and that is the feature to make sure that poems are not separated between pages. So let's see if we can find an instance for this. I'm just going to use the fine change that's Commando Control F, and we want to find not text, but a formatting. So in this case, we are looking for poems, paragraph style, and then go find next, and then we can just quickly skim through. There is already one here that might be spread across two pages, but now it's actually starting on top of that page. Let's go find next. Yeah, these are not divided, not divided. Let me move this to the side. No divided. Okay, that's again, close to the top. And by the way, we can already see something that we will fix here later a ido. We will fix that soon. Uh, yeah. I actually don't Oh, there is one here. Again, I think that's a single line, yeah. So that's fine. Yeah, these are looking okay. But here I just noticed one issue. For some reason, there is no space between this paragraph and this. And I honestly can't tell why it's happening here and here, but not in the other instances. So everything else seems to be fine. So in some cases like this, I would just go and add a soft break in there just to create some additional space, which will be very similar to the other spaces that we have here. Again, I'm 100% sure why this is happening. I'm just going to do a quick test if I move this text down a bit. Yeah, it's not because of the baseline grid, and I can also check in here. There is actually no more break there. And this is using the poem without any overrides, and this is using the body first in substory without any overrides. So, yeah, I can't really think of any reasons for this to be close to each other. It shouldn't be like this, but for some reason, it is. So I'm just going to add the soft break there as well like that, and that should fix these two instances. But what I wanted to look for is an instance where the poem is divided between pages. And I don't seem to find any instances of that. However, it would still be good to be cautious and set this feature up just in case it would ever happen. Like, for instance, here, I'm just going to make this text frame slightly taller and then the text gets separated. So we can see the first line of that poem went to the left side. So to fix this, we go into poem, edit it. And under the keep options, we want to make sure the keep with previous is turned on. So that means all the similar styled text or the text that's using the same paragraph style will be kept together. So keep with previous, and then we can just click Okay, so that fixes it, and we can just set this back to where it was. And that's all we needed to do to the poem paragraph style. Now we can again concentrate on further refinements on the body copy. 23. Improvements to the body copy: Even though we spent already quite a lot of time refining the body copy, there's still quite a lot that we can do to improve it. Firstly, I just wanted to show this in case you decide to use an actual font for your drop caps. Like this one is a good example where we have the text extremely closely wrapped next to the drop cap, which is an I in this case. So the quick fix for this is to put the cursor right between these two letters, the first and the second, and hold an alter option key and then press right arrow. So you are adding kerning to increase the offset of spacing, and that's a nice way of fixing it. That unfortunately is something that you have to do individually wherever you feel like it's an issue. And also, you don't really have to worry about this in case you decide to go down the route of using images for your drop caps. It's a very subtle thing again, but you can see the difference before and after, even in this full page format. But there are much more serious issues that we still have with our body copy, like the fact that we have orphans and videos allowed. So here we have, for instance, the last line of the paragraph separated from the rest of the paragraph. And we also have the first line of a paragraph separated from the rest of the paragraph. So both orphans and videos, we can see there. This is actually something that we can fix very easily by going back to the body style, edit that. And then under the keep options, we want to say keep lines together at the start and end of paragraphs. And normally two lines should be enough. Otherwise, it can get too restrictive and it ends up creating lots of empty space on pages. But you can see simply just by doing this, if I go back, there is that instance and that instance, which is also fixed, but also this will be fixed after. So no orphans, no widows anymore. So that was easy. Now, let me find another issue that we normally refer to as runs like this word here, a single word at the end of a paragraph. So that's something that also doesn't look too good. And in case you already done the other projects in this course, you would know what to do, but I'm just going to show anyway, going to create a new character style. Which I am just going to call no break. It shouldn't be based on anything and it shouldn't have any settings. So no character color should be assigned to it. All I want is from the basic character formats to have the no break option turned on. Then I click Okay. And this feature is like a glue. It makes sure that anything that you use with this is going to be kept together, so it can't be separated between lines or columns or frames. So once we have that setup, we can go inside our body copy, right, click on that and go into grab style. Create a new grab style with the no break character style. And for the text, we want to type in the following code curly brackets, 15, curly brackets, dollar sign. Then we click away. And after typing this, something strange happens. It seems like my text disappeared. So the code is in already, which means that I want the last line of a paragraph to be minimum 15 characters long. That's what this code does. But the problem here, it seems is that in the character style, even though I tried not to include any additional features apart from the no break, it ended up using the color non option as well. So when you remove a color and you specify it to be none, that actually ends up in the style. So a good practice to do whenever you create a new character style once you already have other styles in the document is always to reset it back to base and then assign the feature you want in this case, the no break. And once we do that, see, it's already looking much better. So let's click Okay and then zoom back a bit. And as we go through the document, we will see that there's no short last lines anymore. So that's another issue, the issue of runs, also fixed. Now let's concentrate on another typical problem, and that is to end up having Is at the end of a paragraph or a A. That would be the first word within a sentence. These, again, are not ideal to have at the end of a line. It's aesthetically not that pleasing, and it's up to you whether you want to introduce this or not, but I always like to do this for books for this, we will again be using the no break feature, and we'll set this up as a new grab style in the body copy. So we're going to edit body copy, grab style, and we want to create a new grab style, which will also be using the no break character style. And all you need to type in here is space, I space, then the pipe icon or vertical bar, which is shift backslash, then space again, A and space. So if you click AA, it should already work. But I just realized that we also have to factor in the instances when there is a quotation mark next to the characters. So we have to add that in there as well. So another vertical bar, which is like O or dividing these criteria. So we want to have also an instance where we have space quotation mark I followed by a space. And if you just click away, it already is going to fix that. But we should do the same for the A, preceded by a quotation mark. So we make sure that there's a space there, then vertical bar or pipe space quotation mark A, followed by a space. And then click Away. Now it should fix all of these four instances. So we can click Okay, and we shouldn't be seeing this problem anymore in the document, but a good way of testing out a new grab style that you introduced is to temporarily turn off the no break feature within the no break character style. So if I just turn that off, we can see that one coming back. Turning the no break back on again, it fixes it. So once again before the text will go back up there, and then if I do no break, it's going to go down, and we can find another instance of this. Once again, this one is without the quotation mark. So if I turn back the no break like we had it before, just turn it back on completely it's going to fix that problem. So yes, we can see this is working throughout the whole document. So we've done a good job with that grab. 24. Final GREP for body copy: There's actually one additional grab style that I would like to introduce, and that's for highlighting any word that is in capital letters. I believe there's only one story in this book where it appears or maybe two. So in Rumpel Steelskin, there's a couple of instances. So we can see Tom, Jami, John, and Rumpel Steelskin obviously, also capitalize, but there's also additional ones here. So here, the character is trying to guess the name of Rumpel Steelskin and that's what we want to change. So for this, I am going to create a new character style without having anything selected. Let's just do that alter option, click on that. And even though I didn't have anything selected, it's still picked up the based on option. So we just say none, and I'm going to change the character style to highlight. That's what normally I would call this. And then we want to change the font style, probably just simply to italic. Let's see if we find it. Scroll down a bit. It should be here, probably a bit further down. I would just type in the whole thing. It's easier Italic right there. Okay? Let's click Okay. And what we want to do is to go inside the body copy. Edit body copy, grab style, and new grab style. This time we want to use the highlight character style. And what we want to type in here is backslash B, which is the word boundary, then square brackets, A Z, close square bracket, meaning all capital letters we are looking for. Then we had a plus sign that this is repeated one or more times and then we have another word boundary backslash B. If I click away, this should already work, but for some reason, we can't see any changes. So let me just go back to my highlight character style, and just temporarily, I'm going to assign the red color. I was right. It was actually already working. We just didn't choose a font style that's actually part of the Tisa Pro family. So to avoid this happening, it's probably best to choose Tisa Pro, and then it's going to revert to a font that's available. So the name for the Italic style is actually regular Italic. So we have to make sure we are accurately choosing the name. So to avoid this happening, always make sure to include both the font family and the font style. You just have to remember to use this highlight style only on text, which is already set in Tap. Otherwise, there will be a clashing override on the font itself. Now that we fix this problem, we can go into character color, and we can go back to black, which should be the color used here. And if you feel like the regular italic is not different enough or doesn't have enough contrast from the rest of the body copy, you can, of course, change this to either light italic, which I believe we've seen already earlier. Yeah, that's looking quite good. Or we can make this medium italic, which will make it bolder. Whichever you prefer, I actually feel like the light italic is more subtle because we already have the text capitalized. It doesn't have to be even bolder. That's almost like shouting. So I'm just going to keep it like this. But maybe I'm going to increase the tracking by ten points. Let's see how that looks. Yeah, that's quite nice. Maybe it can go up to 15. That's probably even better. And we can click Okay. Now, if you don't want these capitalized words to be hyphenated, like in this case, we have one instance. We can also include the no break feature within highlight. So we can go back there, and then we remember that's under here, the basic character formats, and once we include no break, now it's going to reformat that text. And that is looking really good. The only instance where it might not be perfect is where it says Mr. Rumpel steel scheme, but that's just simply how it was in the original text. So this wasn't capitalized however, that doesn't mean that we can't apply this manually. So we can just highlight that text and say that should also be highlight, which will use the same formatting as on the rest of the name. We can just double check if we can see this anywhere else in the text. It's probably not going to happen again throughout the book. As I said, I believe this might be the only story when we have capitalized words we can use the fine change to look throughout the whole document. Again, instead of finding text, we can just look for the character style highlight to see where it occurs. Let's just go through quickly. And there is actually a big problem here. I just noticed that it applied this style on all the words where we have a single eye so that is a problem because that, of course, is a capital letter that makes up an entire word. That's how we define our grap code. So we have to make sure this is fixed. I'm just going to say done. It's great that I check this. So I can just zoom a little bit closer to make sure we can see this. It's a very subtle thing. It would have been horrible to end up having the book formatted like this. So we have to go into the body copy. Edit, grab styles, and this code needs to be updated. So that plus sign, just so you know, is the repeat one or more times option. But we can be more specific than that. So between the word boundaries and after specifying that we are looking for all the capital letters, so we will use curly brackets, open and close, then put number two there. So that means we need at least two capital letters next to each other. Then we will put a comma, which means that there is no upper limit, so it can be two or more. Now we can click away, and let's just keep an eye on these eyes in the text, and they are fixed now. Let's click Okay. We can go back to our fine change, and let's look for the next instance of this style. Yeah, that works perfectly there. That was actually capitalized in the text, and this is a good way of highlighting it. Again, we have little red cap, little red riding hood. That's perfect. And then we can go through the text again as a home and then there are the names here, and I believe that's all the instances we have. So this is also another good practice to get into using the Fine change command wherever you applied a change to a formatting or you introduced a new formatting, especially if you are using grab styles to make sure that the styling is only applied wherever it was necessary and it doesn't generate any unexpected conflicts like the one we've just seen with the eyes throughout the book. 25. Setting up the illustrations: Now it's finally time to turn our attention to the illustrations in the book. So we've dealt with a lot of formatting on the text. I'm sure you are bored of looking at text by now. So it would be a nice change of pace to work with some illustrations. And I'm on the first spread, and here we have an empty text frame on the left side. And what I'm going to do is to create an empty frame. This will be using for the image, so it's a placeholder, and I make it exactly the same size as our text frame, right? There. Now, you don't have to worry about removing the text frame from behind this. But if you want to do that, you can delete it. It's not going to affect anything. I'm just going to put this up here, aligning it to the baseline grid. And now that we have this frame selected, we can press Commando Control D, and from the exercise file folder, under illustrations, you should be able to find at least these ten images. At the time of recording this course, I only have ten of the stories created as illustrations. But by the time you watch this course, you might have all of the additional ones, if I have time to work on them. But for this first story, we need the golden bird image, and let's just place this. Now, it came in already nicely. What we can do is to have this fill the frame proportionally, make sure it's there, and it's looking really nice. That's exactly how I imagined it. We will have the caption below it, so there's enough space for that. And in case you want to have round corners, you can set that up here with this little yellow square. Just click on it and drag the corners in. Potentially, we can have corners like that. It's completely up to you whether you want this or not. And by the way, if you use corners, you can also change the style of them. There's a couple of different options here like the inverse rounded corners quite nice. Perhaps that's something that I will end up using for this project. To make it easier to change this later on, if I change my mind, I'm going to save this as an object style. So having this frame selected, I will come down here and create a new object style, and I'll call it image. Let's just click Okay. Now we can assign it, and now it's connected. So on this first spread, we didn't really have to worry about placing this image because it's always going to be next to the first story. However, as we go further into the book, we might have problems along the way if we don't tie them together. For instance, if we decide to change the font size and we end up having more pages than we needed before, then most likely the text and image won't stay connected to each other and they might get separated. So what I'm going to do here is to come back to my image frame, copy this. Jump back to the next story, and then I'm going to paste here on the left side. So whenever you choose paste in place, it should always place it exactly in the same position. Notice how I actually changed my keyboard shortcuts. The default paste shortcut commando Control V is usually assigned to this option while I swap them around. So most of the time, like 90% of the time, I want to paste in place instead of just simply paste. So that's what I recommend using for you as well, and that's something you can change in the edit keyboard shortcut section. But without wasting any time on that, I would like to show you what happens here if we don't have these two connected to each other. So like I said, what happens if we change the size of the body copy, for instance, if I go in here and maybe instead of nine points, we decide to use ten points. Now, so far, we don't see a big difference. However, there is actually text behind this image. So if you have a keen eye, you probably spotted that already. But that was not the main problem because there's still not enough text here on the left side to push this story to the next page. So I'm just going to go back and change the size one more time. So let's just go up to 13 points, and that should be enough, right there. Now this image is separated, so they are not connected to each other, and that's why that's going to happen. So let me go back one and two steps, go back to the way we had our text formatted before. And the first thing that I want to do to make sure that this image is not going to overlap any text is that we will set up a text wrap on it. So having the image selected, I'm going to use this wrap around bounding box option, or you can also use the jump object if you want. And don't forget to update the image object style based on this. So let's right click on that and choose redefine style. Now, just to test this again, if I go back to change my body copy to 12 points like before, where before it came up underneath the image, now it jumps onto the right side. But the image still gets separated. So it's still something that we have to fix. So I'm going to undo that last step. And now that we have the text wrap ready, the next thing we need to do is to anchor this just before the story title. So what we can do is to grab this little icon right here on the top right corner, the BlueField square and drag that just before the first letter in the story. Right there. Now, I also have an indication, this dashline showing where the anchored object is anchored, too, but this is not something that you see by default. You have to go to the view menu, and on the extras, you can find this. So this is the anchored object control. I like to keep this on, and I suggest for you as well to keep it on. And simply just by doing this, it would work perfectly. Unless there's some text showing up here on this page. So if the previous story flows a bit further and actually some text is left here, then there would be a problem. And the reason for that is because this is a very specific scenario where we have an anchored object that is currently not in line image. It's just simply anchored like this outside of the text frame, where we are planning to use text wrap. However, in case of a primary tax flow, that text wrap is going to be ignored. So the primary tax flow is overriding the text wrap. It automatically ignores it. So let me just demonstrate this to you. I'm just going to copy this couple of paragraphs here at the end and just paste it in once and twice. And immediately, we can see the issue. The text is going over the image. Now, just to show you, if I select the image, by the way, if you hold on Commando Control click on top of a frame, you can switch between the two frames. So we have text frame and the image frame on top of each other. So if I select the image, and I know that's selected right now because I see the dash line, I can double check in the text wrap options that even though it has a wrap around bounding box enabled, the text is still showing up there. And I also wanted to show you that if I have the text frame selected and I press Commando Control B, the ignore text wrap feature for the text frame options is not turned on. So that normally is a way of ignoring text wrap by using this feature. But once again, that's not the reason why the text wrap is ignored. In this case, it is because it's a primary tax flow. So that is always prioritized over an anchored images text wrap. I have to admit this is quite confusing, and it took a while for me as well to wrap my head around this. No pun intended there. But there is a solution to fix this. First, I'm just going to get rid of all of that text, so I don't end up having duplicates and I come back here and I just double check that the anchoring is still in place. However, I'm going to remove this anchoring now. I right click on it and choose anchored object release. Okay, no connection. Now I'm going to cut this image, go up one page. And then I'm going to paste it here on the left side and notice how the text wrap is showing up straightaway. However, just temporarily for now, I'm going to turn the text wrap off because what I want to do is to anchor it right after this paragraph. So I'm going to press Enter. There is a new line. We can set this two basic paragraph. Then I'm going to select the image. Cut it out, double click inside here, and paste. And that's all we had to do because there is obviously not enough space here for the image to show up, it automatically went to the next frame. Now, the only time this image would still get separated from this text on the right side if there was no text here in this side. So for instance, if I delete all of this text, let's just delete a little bit even more. Notice how now it moves back and on the next spread, there is an empty space for the image. So to avoid this, we have to be clever once again. And we have to assign a paragraph style for the image. So we already have an object style for it. And by the way, I'm just going to make sure that there is no overwrite, so I clear all overrts and it should put back the text wrap. So now we can create that paragraph style. I'm going to make sure that nothing is selected, and I alter option, click on the new paragraph style option. I don't want this to be based on anything, and I want the style name to be image, or you can call it inline image, whichever makes sense to you. And you want to go to the keep options, and you want to say start paragraph on next even page. So it will make sure that it always shows up on the next even page, which is the verso or left side of the spread. So that's perfect. Let's click Okay. And now what we need to do is to go into story Editor. So that's Command or Control Y. And once this window comes up, we can see the little anchor icon. So this is our inline image, which I can highlight. And right now, we can see it's using the basic paragraph formatting. But as soon as I apply the image style to it, it's going to update here. So that's the only content in this line, and it's now using the image paragraph style, which will force this image to only show up always on the left side of the spread. So there is no way this will be separated from the corresponding story that starts on the right side. So let's just do a quick test on this. If I change the body copy once again, let's do something extreme 15 points. After a little bit of weight, we can see that our image and the story is perfectly linked. By the way, we need to update this image. It's still the golden bird. I'm going to select it, press Command D, and then get the hunts in Luck image. So let's just paste that in. So, yes, the text and the image is perfectly linked, even when there is no text on the previous page. So that is automatically and the image comes onto the next spread. So now we can set our body copy back to nine points. It's always good to do these little tests and see how everything is reformatted throughout the whole book. And this is why having the pages panel always open is a good idea because I can immediately see how we have this spread kept together, and there's our other one as well kept together. Just to practice this setup, I'm going to do this for another story. Let's just move on to the traveling musicians. This is the fourth story in the book. So first of all, we will need to copy our image frame, select this, copy, and then come on this page or actually go to the spread before this. And then there in the copy, we will just create a new line, set that to image, and then paste the image in. And then we can just update it, have this image selected, press Command D, and then we need the traveling musicians. Space that in. And by the way, whenever the image comes in and you feel like a detail is a little bit too close to the edge, you can just hover over it and then use the content grabber to drag it left and right. You can hold down the Shift gate to make sure it doesn't go up and down and is looking much better. And by the way, this is the reason I chose to keep the frame size of the image exactly the same size as the text frame because by making it taller or wider than the actual text frame can cause problems with the way the flow works and the way inline images move around. Now you will have to place in the images one by one. But once you have all of this setup, it shouldn't take you more than probably 20 minutes altogether, even if you want to do all the stories. But you can just keep some of the pages empty because in many books, there's no illustrations for every story. In this case, it's completely up to you whether you want to do all the images or just a few of them until you understand how this feature works. 26. Adding captions to the illustrations: Now that we have some of these illustrations in place, I would like to show you how to set up the captions. But first, I wanted to also show you that I already prepared some metadata for each of these in Adobe Bridge. This is the application I find it easiest to amend the IPTC metadata elements. However, you can also use Photoshop for this if you want. But these are the elements that are used. So I actually have a little description here in the headline area. I have the story title in the title. I like to keep these two separate because I might decide to use one or the other, or maybe both of them together. And the reason I chose the title and the headline is because some of these images are the original images created in mid journey, and they actually have their original prompt and details in the description metadata field. So I didn't want to override that. So that's why I ended up using the headline instead of description. But let's jump back into in design and first set up how we want the captions to work. So if we go to the object menu on the captions, we can choose captions setup. And then here we first just want to keep things simple. And I want this to show the headline, which is the main description of what we see in the images or illustrations. So that's all I want to see here. But if I wanted to, I could include some text before and after. And, of course, we can use a paragraph style for this. For now, I'm just going to keep it on no paragraph style. We can update this later. And a useful feature that I like to turn on is this group caption with image. This will make sure that the two won't get disconnected by accident, and the default alignment and offset, I will also keep the way it is. So I'm just going to click Okay, and let's just test this out. By selecting the image, we can go to the object menu. And then from the captions, we can generate a live caption or a static caption. I'm going to explain what's the difference between the two. For now, I'm just going to choose static caption, and we can see that showing up straightaway here at the bottom. So this is not bad, but of course, we need a little bit more space between the caption and the image. So I'm just going to undo this last step when the static caption was generated. And having the image selected, I go back to caption setup first, and I'm going to increase the space between them. Maybe zero, 25 " should be enough. At this point, I will also define a paragraph style. So let's just create one for the caption. I don't need this to be connected to the body copy. I'm just going to say no paragraph style reset to base. Let's click Okay. The headline is still there, below image, grouping is on, we can click Okay. And now we can go back to object captions and generate static caption for now. Yeah, that is looking much better. Now we can go into the caption style, and let's just format this. Of course, I will use the same font. This a pro. Most likely, I will keep it regular and the size can be less than 12. It can actually be probably the same size as the body copy. But this one I'm going to set to center alignment, and perhaps we can use italic, like light italic or regular italic. Let's see which one looks better. Yeah, I feel like light Italic looks quite nice. Let's just zoom a little bit closer. Yeah, I quite like the way this looks. Very subtle. It doesn't have to be too strong because the image is the main thing on that page that we want our readers to pay attention to. Now, the good thing about using a style, of course, is that we will be able to update them throughout the whole book later on if we change our mind. Now, unfortunately, one disadvantage of working with captions is that you won't be able to easily update their definition. So for instance, if I wanted to go back into the caption setup by having this instance selected here by changing things like alignment. If I want it to be above the image or below or changing the offset, even changing what I want to include from the metadata, this is actually something that won't be able to update on an existing caption that you already created, whether that's a static or a live caption. So you will have to regenerate them if you want to use that updated version. And the way you do that when you group the caption together with the image is that first you have to ungroup them. That's Command or Control Shift G. You have to then select that caption and delete, then select the image again. And instead of going through the menus on the top, you can also just right click, go to captions and generate static caption. And as you can see, now it's showing up on top of the image. So the caption setup is preserved, but it's not going to update on already existing captions in your document. Now besides this, we also have one other issue that we have to deal with, and that's the fact that we can't actually generate captions on anchored or inline images. So just to show this to you, here on the second image, if I right click and choose captions, I can't actually generate any captions because this is already anchored or inline. Now to avoid this, what you have to do is to just do things in the right order. First, you need to place in the image, generate the caption, and then place it inside the text flow. So let me demonstrate this to you. I'm going to delete this image. So it's completely gone, and I'm going to paste in the original image that we used before. I will replace this using Commando Control D with Hans in Luck image. Then I'm going to generate the caption, right click captions, generate static caption, and the caption comes in perfectly at the bottom, exactly how I wanted it, and it's grouped together with the image. Now I can cut this, go to the previous page, paste, and then temporarily, I'm just going to double click on this group to select the image, turn off the text wrap just while we do the anchoring. Now I can click away, click back on the group, and actually, we need to also have an empty line edit here where we can then select the group and anchor it in. Now we can double click in that line and we can assign the image paragraph style. Now, that style you might remember is going to push the image down to the next even page. But what will happen is that the image will show up outside of the original frame because in design in the background, change this from an inline image to a custom positioned anchored object. This is to allow this group to still show up on this page. Otherwise, if it was still set to inline, it wouldn't fit in the text frame because right now this group is larger than the text frame. So we have the image and the caption that needs to stay in here. We have to do really is just to reposition this to be in the right place. And to be honest, instead of manually adjusting it and moving it around, it would be more professional to adjust the anchoring options. So I'm just going to drag it out here again, right click on it and choose anchored object options. And then instead of having the reference point being on the bottom right, I'm going to set top left. And then the X offset should be zero, and also the Y offset should be zero. So this means that the top left corner of the image is aligned to the top left corner of the text frame. So this is perfect. We can click Okay, and we can just test again if our primary tax flow is still working fine and the image is going to still be connected to the text. I will do my usual body copy size increase test, and we can jump to the page where the images, still connected. We also have this other spread still connected. So, yeah, it works perfectly fine. We can undo this change. And there's actually just two minor things we have to still fix. One is to add the text wrap back. So I'm going to select this text frame, choose wrap around bounding box, and then finally, I will have the whole group selected. Go back to the anchored object options and notice how it's a little bit further down from the top edge of the frame. And that is because the Y relative to is set to baseline instead of cap height. So as soon as I do that, I can click Okay, and now we can check. It is almost perfect. There's a tiny little difference between the edge there and there, but that should be fine. I don't think anyone will notice that, especially because we won't have that edge visible here on the right side thanks to the big negative space that we introduced above the story title. It is quite of a complex and long winded workflow if you want to introduce captions on your images. So it further complicates the steps that we have to go through. But all of these exercises are great for us to understand how in design works and what happens when we have conflicting tasks that we have to somehow harmonize and do it in the same project. 27. Live vs Static captions: Let me show you what's the advantage of using a live caption over a static caption. Again, what I'm going to do here is to delete this image and bring in our original template from the first page without its caption. I'll just paste this here on the left side, and I might need to remove one line break here to make sure that the text comes back the way it was. That was that additional line break for setting up the image as an inline object. But now, what I want to do is to go to this image, right click and then choose captions, generate live caption. It should look very similar to how the previous one was working. But the main difference here is that this caption will be able to update whenever the metadata of this image changes. So just to show this to you, if we go back to bridge and I select that image, I can change the headline slightly. So instead of a silver cage, I'm just going to type bronze and I will type this in capitals just so we can see it and I change this accept the changes, come back to in design. And here you would expect this to automatically show up in the copy but it just simply tells us that there are some changes that were made to this image. So first, we have to make sure the image is selected and double click on the little exclamation mark that's going to fix the linking, and that will result in the live caption to update. So we can see that happening there. While if I go back to the first page, the static caption will not update. It just stays whatever it was originally. However, it's worth mentioning that even if you just change the metadata of an image, it still has to be updated, so I'm just going to double click on that as well. So the images now linked correctly to the updated version of the image, but still the caption is not updated. Now, let's see what happens if we go to this live caption version and we do the same setup. So we place it into our text flow. I'm going to cut this out, go to the previous page, drop it in, and then go inside the group, turn off text wrap for now. Then select the whole thing, add a line break here on the right side, then anchoring this into there, and then double click inside that line and choose image, which will push it down to the next spread like before. Then here we just have to select this. Right click, choose anchored object options, and we want the reference point on the top, the offsets to be zero and the line to be set to cap height. Now let's click Okay. And this is where the live caption will become extremely useful because what we can do here is to double click on this group, having the image selected, I can press Commando Control D, and I can actually replace the image with the right illustration that we need here, the traveling musicians. And as soon as I place that in, we can see that the live caption is updated here at the bottom. However, there is one other issue here. Live captions generate in a way that they can only take up the space that they originally had, so they can't flow automatically within the text frame. So even if I go in and select this text frame right there and drag it down, it's not going to make any changes because the live caption behaves like a tax variable, which cannot be divided between lines. So it's just going to end up compressing it into the available space. If the text frame was wider like this, it's going to start improving straightaway. But because the text is much more here than a single line, it would really need a lot of space for it to become legible. Now, I'm going to go back a few steps, and this is why I wouldn't recommend using live captions, even though there is some advantage to it. I just don't like the fact that it is obviously stretched instead of being rendered properly. So I came back to this point, and I'm going to now use the static caption. However, I just want to warn you that whenever you use this feature, you have to always be careful not to have any style selected, especially not the no break style selected. It happened to me a couple of times in the past. I just want to demonstrate this again to you because it can really give you a lot of headache if this ever occurs. So I'm going to choose no break, and I'm going to go to the captions, choose generate static caption. And there you go. It seems like the text doesn't even appear, but what actually is happening here is that it automatically assigned the selected character style, not just the paragraph style that we defined in the caption setup. And basically, the no break character style means that it won't allow this text to wrap into multiple lines. So it will try to keep it in a single line, and it actually won't even show it at all. What you want to do to avoid this happening is to deselect everything and then click on no character style and basic paragraph styles. Then select your image, right click, choose captions and generate static caption. And Via now it's working perfectly. So even though we have multiple lines in this description, it worked really well. And now we just have to do that dance of moving this into the text flow, like before, we are going to cut this out, put it on this page. Then double click, remove the text wrap from the image temporarily. Then click away, select the group, actually create the empty line here on the right side, then select the group, anchor it in there. Double click inside line and choose image. And then we can go down to the next page. And we can fix the alignment of this image here. And at this point, you can either drag this in place or you can go into the anchored object options and just reset the reference point, set this to zero and zero, and set the Y relative to cap height. And that's all you needed to do. Just around ten to 15 steps that you have to follow exactly in the right order to get things right. Unfortunately, that's the case within design. Sometimes you have to dance around the limitations and restrictions to get the result that you are after. 28. Setting up the Parent page: We finally got to a point that I feel like we could set up our parent page formatting, so we can go back there and we can start with the page number. Let's just create a text frame for this here at the bottom. Most likely we will place it in the middle of the page or at least the middle of the existing text frame. So I'm just going to come down here and we can align these two frames to each other. If they don't want to snap to each other, you can have a guide edit here and also on the other side. Just add that, and then we can now align them to each other. So that's going to be for our folio or page number, and we will have the same on the right side. So I'm just going to set up guides there as well for our margins, and this should be aligned to there. I'm just going to double click inside here, and I will use the type insert special character, marker current page number. It's a very easy one to find. You can remember it's also easy keyboard shortcut if you want. Once you place that in, you can assign one of our paragraph styles to it. Probably we can use the story subtitle that is actually already in red the way that was set up. That could work quite well. For this, we might change this later. F now, I'm just going to duplicate this old or option shift drag to the right side. And we can check how this looks on the pages. All right? There is already one issue here, the caption and the folio is clashing. They are overlapping each other. So I'm just going to drag this down probably all the way there. Let's just drag this one down as well. There. Now let's take a look. Yeah, it's looking much better. Number three, we can see the pages in full screen. We can just go through them quickly. Yeah, all of these page numbers are looking nice. I quite like the fact that they are red. They are creating a good little framing in the composition for us. So, yeah, I like this. And now on the top in the header section, I would like to have a running head that's going to show us which story we are reading. So even on pages where we don't see the title anymore, we will still know which story it corresponds to. And then we also want to show the title of the book that would make sense. So what we need to do is to come back to the parent page and then duplicate that folio frame, which we can drag up here, and then let's just zoom a little bit closer. We can remove the page number marker. And instead, we are going to place in a text variable, which you can find from the type menu, text variables, insert variable. Now, here on the left side, we probably want to have the running header. So let's just add that. And then we want to go back into the text variables area and choose define. And then when you find the running header, just click on Edit, and you have to link this to the paragraph style that you are using for the story titles, which is going to be right here. So story title, and then we can click Okay and done, and then we can jump to one of our pages. And we can see how this works. So, for instance, this one is the Willow wren, and the bear, and then here we have the frog prints. Then we have cat and mouse in partnership and so on and so forth, it continues. And this feature would be fine unless we have images on the left side. So here there is still corresponding running head to the story. But if I go back here, notice that even though this is the traveling musicians story, the running head is still showing the previous story title. Now, to avoid this happening, what I suggest to do is to have an alternative parent page design, which we'll be using for the spreads wherever a story begins. So let's create this by right clicking on A parent and choose duplicate parent spread A parent. And then on this one, we can just delete the running heather. And in case you want to connect these two parents to each other, you can do that by right clicking on this and choose parent options for B parent. And then you could say, this should be based on a parent. But I'm not going to do that because it's fairly easy. In this case, we literally will have these two parent pages to work with. What I'm going to do is to change their names. So the original one, I'm going to rename to be body. Instead of parent, that's the body copy pages. And then this one can be called the title. That's the title page. Now, if you go through the document on the first spread, we don't have to worry about this causing issues because there is actually no instance of story title on this page, but you can still apply the new parent page to this if you want. So all you have to do is to select the spread and hold an alter option key and click on B title. And we can see this updating here on the thumbnails, and also we can see that there is no placeholder here on the top anymore. You can jump to the next page, and again, having it selected, the whole spread, I just der option, click on B title, and it will do its formatting, and now it looks good. But of course, on the next page, we still have the running cater and then here as well. And then we just have to keep going through the whole document and update these pages accordingly. Now, one major downside of this workflow is that the parent pages will be staying always on the exact page numbers where you assign them to, so they won't be able to flow with the copy. They are not connected or anchored, like the way we set up the images anchored to the beginning of each story. There's unfortunately no way of fixing this. The only proper solution to avoid this happening would be to break up the entire body of the book into individual in design files for each of the stories, which I'm going to show you at the end of the workflow. So you will see all the advantages of doing things that way. But for now, while we are stuck with a single in design document, let's try to work around the limitations once again. It's all about being creative of how we use the available tools. So instead of relying on multiple versions of the parent page, I'm going to show you another technique. I will actually delete the B title. So let's just go in and delete this one. And I'm going to make sure that the A parent or A body is applied to every page. I'm just going to say apply parent to pages, and I choose all pages. So that should put back everything the way it was before, meaning that we have, again, this text showing up here, which shouldn't be visible on this page. So the rest of the story is fine, like here as well. But once there is an image on the left side, it still shows the previous story title. So here is the fix that you can do. Use the empty frame tool or the rectangle tool is probably even better and just make a frame over this section here, then set the stroke to none and the fill to paper. Which basically just means that we are hiding the text in here. So I'm just going to drag this down a bit, make sure it fits. And also on this side, I just like to use the margins. So if I move this down, the text is still under it, the running cad, but I'm going to keep this cover on top of it, and to make sure that this travels together with the text. So even if I end up having more text before this spread, it should still be connected to it. We just simply have to anchor. And since this is just an empty frame, no text inside it, we can anchor it right here at the beginning of this line. And now if I change my body copy, again, just the size of it, we can test how this is going to work. Increase this again to 15 points. So our text is reflowing in the document. We can go down to the spread just before the spread with the image. And we still have the title there. But on the next page, we have this nice little cover that is traveling with the story title, so it's hiding the running head on the page where we don't want to see it. So it almost becomes like a conditional running head, but with this clever work around that we created. Now, the only problem is that you will have to place this into every story title in the document. But I'm going to show you a quick way of doing that. First, I'm just going to undo the change on the body copy size. Remember that this is an anchored object that will show up in the story editor view. So there is our anchored object. That's that empty frame. If I copy this and go to another page like this, I can just click in there and paste, and there is already our frame perfectly connected. Now, to save even more time, you can use the find change option, and you can say you are looking for the paragraph style, not character style, but paragraph style called story title. Click Okay, and then just say fine next. Click at the beginning and paste. Then find next. Click at the beginning and paste. Then find next. Click at the beginning and paste. Let me just move this up a little bit here, maybe zoom out so we can see it better. Find next, click at the beginning and paste. Then double click inside the text to make sure it moves onto the next instance. Again, paste and so on and so forth. It will still take some time to do this, but it's much faster. Simply just copy pasting these elements in and using the fine change, you can very quickly jump between the story title instances. Now, one last element that I wanted to include on the parent page is the title of the book for which I can just use the same text frame that we have here on the left. I'm going to drag this here on the right, double click inside, remove the running heather, and I'm just going to type in GrimsFairy tales. It actually worked out quite nicely that style that we used before, having the name in red and the rest in black. Of course, you can change this later. Again, I was a bit lazy not creating new styles for this. I'm just using the story subtitle, but it actually looks quite nice. Let's just see how it turns out on the pages. Yeah, it looks good. Looks good. I feel like that's quite nice for now. Like I said, because it's set up as a paragraph style and using the parent page design, it's a very quick thing that we can update later on if we want to. And one final note that I wanted to mention since we are talking about the parent page setup and hiding the running head. Here, I'm just going to paste in that box that we created earlier. But notice that we have an extremely long story title. That's the only one that is too long for it to render properly on the running head area. Similarly to the live caption, the text variables will also be squashed into the text frame that they have. They won't be able to render properly. And there's only two ways that we can fix this. One is by updating that style that we use for this. So I believe it was the story subtitle. If we edit that and reduce the size maybe down to, let's just say nine, that's already good. And to be honest, that's probably big enough to be up here. Or alternatively, what you can also do is to override this particular instance of the running head that comes from the parent page. You do that by Command or Control, Shift clicking on this text frame, then double click and select all the text, then right click and choose convert variable to text, and immediately that's going to fix it. So we can see that now the text is there and it keeps the original size, but now it fits into two lines. Would probably go for the option of creating a dedicated style for our running head, which will be smaller in size. So right now it is using the story subtitle. If we go back to the parent page, we can see that's the one it's using. I'm just going to create a duplicate for this, and it can be based on the subtitle. But what I'm going to call this is running head. And this is where I will be using this only, and I will reduce the size down to nine points. And maybe instead of bold, we can just have it medium. Let's click Okay, and then I'm just going to apply it here, running head, and probably we can also use the running head here on the right side. Now, let's go back to that page where we had that extremely long title, and now it looks perfect. So the story of the youth who went forth to learn what fear was, and now we don't have issue rendering that. And there won't be anything longer than this throughout the book. 29. Using Sections to separate stories into independent documents: We got really far with our book design project. We worked on the formatting of the text. We dealt with the images and the captions. We also set up the parent page, and we can see that things are coming together really nicely. At the moment, I ended up having 260 pages. That's mainly thanks to the fact that we start every story on a new spread, having that empty place ready for the images to go in. And by getting this far, we can already see that there's definitely advantages of keeping all the texts in a single document. Because we can easily jump back and forth, make global changes very quickly, and also see it straightaway updating. However, in design can really slow down when you have this many pages open all at the same time. And depending on your computer, you might already be struggling to see the updates live. So I really feel like it's time to see how things would work out if we were to use independent in design files for each of the stories in this book. And that way, you will be able to make a more informed decision whether you prefer to work with a single file or multiple files. This is the workflow when we start using the in design book format. Now, I already prepared some of the stories which you will be able to find as independent documents in design files. You can see the first story, the golden bird has three spreads, and that is nicely separated as one in design document. Then we have the second story, hunts in Luck. That's the same length, again, three spreads. And then we also have the traveling musicians, which is two spreads long. And then I also have Rapunzel. Can see that's again, two spreads. But I wanted to show you what's the easiest and fastest way to separate a long document into these smaller chunks or separate documents. So I'm just going to jump back here, and I will go to page 100. That's Commando Control J on the keyboard, and there I prepared another story with the image and also the nice decorative drop cap that we have. So again, this is just four pages or two spreads. I'm going to scroll down a bit. We can see right here. Now, one of the first things that we haven't used so far, and that can be useful in such a long document is the feature called sections. So if I want to mark this story to be a section, all I have to do is to highlight these pages, hold down the Shift key, select the first page and the last, and then you can right click on this and choose numbering and section options. And in this dialogue box, all you have to choose is to say start section. If you want the page numbering to change from this point on, you can adjust that, but I'm just going to keep it on automatic page numbering. For the section marker, we could include the title of this story just so we can better reference it later on. It's a very tricky name to write Rumpel steel skin. Let's just put in all right, and then we can just click Okay. Now, what you will notice is that there is a little section marker appearing here. However, even though I selected these four pages, it didn't end at that point. So the section is going to continue from this point on. So to make sure to completely isolate it from the rest of the document, we have to actually select this page right here, which is the next story, Clever Gretel. And we have to again right click and choose numbering and section options. And in this case, again, make sure the start section is turned on, and I'm just going to type in the title of the story. Now, these two little triangles here indicate the section. So if I click on this, notice how it highlights all the pages at the back of the book. Or if I click on this one, now it properly highlights only just that story. And of course, every design document by default would have a section starter marker at the beginning on the first page. So I can also easily select all the pages up till the next section, which we defined on the hundredth page. Sections in general, I mainly used to quickly and easily select certain parts of the document, but they could also be used to inform our table of contents that we will be talking about later. However, this is not a requirement to set up a table of contents because simply just by using paragraph styles, you will be able to generate a perfect table of contents. But like I said, we will discuss that later. For now, all I wanted to show you here is how can we then break this four pages out or not break it, but simply just copy it into a new in design document. So the best way to do this is to create a new document, a placeholder first. That's Command or Control N on the keyboard, and then make sure that you use that preset that we created earlier on, the Octavo one, which should have the same settings, I can then just click Create. So there's my untitled document. Now I can jump back to the main document using this little arrow when you have multiple documents, opening is the easiest way to navigate through them. I'm just going to jump back to this, and it should already have these pages selected. If not, I'm just going to click on the little section marker, and then right click and choose move pages. And the main thing in this dialogue box is you want to check that the destination is set to the end of the document, but more importantly, you want to target the untitled document. So that's selected. And of course, we don't really want to delete these pages after moving them. So in this global long format document, we still want to keep this story. We don't want to lose it from here. So let's just go and click Okay, and then let's navigate back to our untitled document, which we have these four pages brought in, but it still has these empty pages at the beginning. We can just delete this spread. So highlight that, delete, and then we should have the whole story. This thumbnail is just not refreshing at the moment. Maybe if we switch away, switch pack. Yeah, sometimes that happens in design that we can't actually see the text there, but it's all here. So it came in perfectly. We have the parent page also brought in, which by the way, we renamed to a Body. That's why I didn't just update the default A parent in this document. But more importantly, we brought also all the styles in, so paragraph styles, character styles, and object styles as well. And yeah, we can see it looks great. The images came in perfectly as well. So all is looking good. And we could just now save this document. However, unfortunately, there is one thing we have to fix manually, and that's the text variables. That's not something that you can set up as a template, and it's not going to be carried between documents correctly. So for this, we have to go into the type menu, text variables, define. And remember, we were using running Heather. So let's just edit this, and we just have to make sure it's assigned to story title. So we click Okay and then done, we don't actually have to do anything else because it's already set up on the parent page design, and it should be coming up here on the top. Now, because we have only this story in this document, there won't be an issue here on the first page. So even if I remove that blank frame that we added in an earlier lesson, that's not going to be causing any problems. 30. Creating a Book file: Now notice that the page numbering starts on number two for each of these documents that we created. But this is the great thing about using a book file is that these will all be able to continue from one story to the next. So in design, we'll be able to automatically update these page numbers depending how we put the stories together. And this is what I would like to show you now. So let's just make sure we save this story. I already have this folder here, and I know that this story is the 25th in the original order. So I'm just going to type in the difficult name again. Hopefully, I spelled it correctly. Let's just save it as a normal in design document. Now we can actually even close these documents, so they don't have to be open. I'm just going to close each of them, and we will have our original large document open. Now we can go to the file menu and choose new book. So this is the historical moment that we actually create a book file, even though this is a book project, it took quite long to get to this point. Now, I'm going to put the book not inside the same folder where these are. Probably it's better to put it outside in the main folder that we have for this project, but we can also place it in there for now. We can always move it later. So I'm just going to call it grim fairy tales. And let's just click Save. And the interesting thing about the book file is that it's not an actual document that we can see. It's just simply appears as a panel in design. And what we need to do here is to use the plus sign to add documents. And we can actually select all of these that I generated, and we can just say open. And it's going to put them in the same order as we see them in the folder. However, we will be able to change their order easily by simply just dragging them up or down here. So I can move that down or back up again. And that's one of the big advantages of working with a book file that you get to do that instead of going into this long document, trying to find where a story starts, where it ends, and then extremely carefully moving them up and down in the pages panel to make sure that they go in the right place or using the move pages option as well, because, of course, that's not only between documents, but as you've seen, you can use it to move pages within the document as well. That's essentially so much easier doing it this way. However, we can see one issue here straightaway, and that is the fact that the page numbers seems to be overlapping. So all of these documents that originally had their start page number at two is still on page number two. So that's not the way we wanted this to work. So I'm going to double click on Hans In Luck, which will automatically open this file. And I'm just going to drop this here above the page span off and now so we can keep track of our document and the pages within each of these documents. And notice that here we have our little section marker. If I double click on that, it actually says start page numbering at two. However, now that this is part of a book file, we want to make sure that this is changed to automatic page numbering. Once you select that and you click Okay, it will automatically recognize that this document is part of a book, so it should continue from page number eight. Which is correct. So that's how long the Golden bird story was ended up to seven pages long, and then this is now correct. The little gray circle, by the way, indicates an open document. So this one currently is open. Unfortunately, I don't know of a way of quickly updating all the documents, so like batch updating all of them. You actually can select a document here and then go to the panel menu and choose document numbering options. So not book page numbering options. You want the document numbering options. And that's actually just going to do exactly the same thing, what we have done before, it opens the document, gets us this dialogue box, and then we can just choose the same option and click Okay, and now it's updated. So it doesn't really save much time. It would be amazing if you could just select all and say change numbering preference. What you can do is to select multiple files and double click to open both at the same time. So now I can just come here, change automatic numbering, and also this other one should be automatic numbering. And once we have them all set up, now we can see that all the page numbers are correct. So at this point, I normally would recommend to save each of these files and you can close them if you want. We can see the little circles disappearing. I can close that, save and close. And then also don't forget to save the book file. So any changes you've done here, maybe you move things up and down. You can also save that, save the book. 31. Syncing documents within the Book: Now we arrive to one of the other most important advantages of working with a book file, and that's the fact that you can synchronize almost every aspect of these documents between each other. So, of course, having everything in a single document makes things easier in that sense that we already have everything in one place. While now that we broke up the original book into these separate story documents, you might be wondering what happens if you, for instance, change the story title style. So let's try this out. I'm just going to open up maybe the first book, and I will come to the story title, and I'm going to change the color because that's probably the easiest thing to track. So I will change it to blue instead of red. Right? That's a nice contrast, by the way, instead of having everything in red. This looks quite nice. But what happens if I open up another book? So automatically, there is no change here. However, if I click on this icon to synchronize the styles and swatches with the style source, this is going to update. And this little icon here indicates the style source document. So that's like your master document in terms of styles for the book. So that one is already updated. Perhaps you want to also save it just to make sure that is going to be registered, that change. And then if we click on the synchronized option, notice how we see the color updating, and I don't really need to see this dialogue box again. So I just say don't show again, click Okay, and we can just check if I open up another document. At first, it's not going to show the changes. But again, if we click on the synchronize option, it's going to update just like the other document. However, if you want to update multiple files, just simply select the ones that you want to target. And even without those being open, if you click on synchronize, it should work for those as well. So if I open Rapunzel, and the other one, we can see that they've been updated. So when you use the synchronized option, you need to make sure that you select the documents that you want to synchronize, and it doesn't matter whether they are currently open or not. So let's try this again if I come back to my original document. And by the way, this panel is a great way to jump between the documents. You can just double click on them to quickly access. So I came back to the style source, which is this one, and I'm going to update the story title, set it back to the red color that we had there before. So I'm going to choose our grim red, and let's click Okay. That's updated nicely. And now we can save this document, select all the other ones, and then synchronize. And then let's just go back to them and we can see that one is red, red, red, and red. It's important to mention and to know what is actually getting synchronized. So if we go to the panel menu, the book panels menu, there is a synchronized options feature. If you click on that, you will see what are the default elements that are synchronized. And the only option that is not turned on by default is the parent pages. I recommend to have this turned on, as well as long as you want to make sure that the parent pages are consistent. But the reason why this is off by default is because you might have completely different parent page designs between your chapters of your book. So this really depends on the project you work on case by case, you can decide whether you want to synchronize this. And similarly, you can also decide whether it is necessary for you to synchronize certain other things like table styles, cell styles, and so on and so forth. So you, of course, don't want to create conflicts. The more automation you allow for in design, the more things can go wrong in general. One good news here is that notice how tax variables are also synchronized by default. So you don't actually have to do that change manually each time in case you are amending the definitions of your tax variables like the running cat. We only had to do that when we were breaking out some pages from our large document and separating them into these individual documents. But now that they are all part of the same book, they will be able to update according to our style source document. So if I come back to this again, if I, for instance, define a new text variable, which I can do from the type menu, text variables, define. If I create something new here, that's again, something that can be synchronized throughout the whole book between all of these documents that we created. Also important to mention that in design by default would consider these documents within the book chapters. And within an in design file, you can actually only have a single chapter. So even if you have a long document like this one, where we have all the pages together, you can actually define multiple chapters within that single file. You can create sections, but not chapters. So you can consider the sections feature in a way replacement for the way a book file would work when it is divided into separate documents. Since we are talking about sections, I just wanted to show you that there is actually a section marker option as well. So if I go to my parent page and I'm just going to create a duplicate frame here, which I can use for the section marker, I can bring this in by putting my cursor here, go to type menu, insert special character marker, section marker. That's a variable that's going to update. And if I come to my section that I defined and I named Rumpul Steelskin, notice how that's automatically generated. Remember when we were struggling with the running cad showing up here on the left side, showing the previous story, that wouldn't be an issue if we are using section markers instead of a running cad relying on the first instance of a paragraph style. But obviously, the requirement for this to work is that you need to set up sections for all of the stories, and each of those sections would have to be named correctly so they can then show up here in the header. 32. Additional advantages of a Book file: Before we move on, I also wanted to make it clear what are the additional advantages of having separated document files like these or how they can make our life easier. Well, first of all, there will be less restrictions on how we place in our starting image because obviously they will always show up on the first page. So we won't actually need to anchor them anymore. Right now, this is still anchored in the story. So if I go into the story editor, we can see the anchored object there, just right in front of the story title. So that is actually not necessary anymore. I can just right click here and choose anchored object release. But because we had an extra line break, we actually have to delete that. So here on the right side, I'm just going to go down one step and delete the empty line. Otherwise, that would push the story to the next ot page. That's the way our keep options is currently set up, and even that is not a requirement when we are working in an independent document format like this. But now that the image is not anchored or locked into that format that we had before, it also means that we are not restricted in its size anymore. So I could easily make a larger illustration if I wanted to that expands beyond the original text frame. So what I'm going to do here is ungroup this image from its caption. That's command or Control Shift G. Going to delete the caption as well for now, and I'm going to just double click on a corner point of this, and we can see that the actual image was wider than what fits into the text frame. Now, I could decide to make this even bigger if I wanted to utilize the page even more, maybe drag it up all the way here, and that's a good solution of covering up the text up there. And then I can just go in and generate the caption. But here is one of the other issues of separating a document at a later point and using an untitled document template to fill in the information in that the caption setup is also not carried onto the Empty document, similarly to the text variables not being carried on. And that's actually something that's also not synchronized between books. If you remember synchronized options, didn't include caption setup. So you just have to be very careful about this. If you are using captions throughout the book and you want to have separate documents created for it, then instead of using the file new document feature for each of the new stories, instead, you would want to use the template feature because an in design template file can record the caption setup. Anything else that wouldn't be synchronized when you are moving pages between documents or when you're using the synchronized feature in a book file. Now, let me just show you how I would set up my template. I would go into object captions caption setup. And if you remember, we were using the headline metadata feature, and we were using the caption paragraph style, and we also chose to group the caption together with the image. So we can click Okay. This one here can be deleted. I select this image again just to test this out, go to captions, generate static caption, and that is looking good, but we actually had more space between this and the image. And just so I can check how much space that was, I'll come back to my original document. So it's 0.25 inch. I'm just going to jump back again to this one. Undo this last step and go back again to caption setup, and I'm just going to change the 0.25 I N. That's inches. Let's click Okay, and then let's test it again, captions, generate static caption. And now that all of this has been set up, we could delete all of the pages and elements from this document and then save it as a template. So we can just go to File, Save As, and save it as an in design template. So I'm going to just do this quickly as well. What you can do is to delete everything, the actual content I'm just going to delete all of the text. So the story is removed from here. We can also delete this image. So we just have a blank document like that, and then we can just save this as a template file, save as, and I'm going to save it within my story doc as Green fairy tales. And I will actually type in here capital letters template and change the file format to design 2024 template and then save. So the good thing about this is that whenever you open this file, it's automatically going to turn into an untitled document, which I can demonstrate to you if I go file, open, choose the template, and there it is. And most importantly, if I go to object captions caption setup, notice how it has that recorded already exactly the settings that we used before. So even though it's an untitled document, it already has more features included than what would be carried over when you're moving pages from your source document into this. Just one final note here, in case you have a very repetitive structure in between the stories that you have in the separate documents, you might even be able to set up either data merge or XML Import to automatically populate the images and the copy to go into their relevant places and automate the generation of each of the stories. So if you haven't started with a long document where everything's been set up already and you are doing things from scratch story by story, this type of automation potentially could work for certain projects like this one both the data Match and XML Import is something that we cover in a lot more detail in the catalog project. 33. Setting up the Table of Contents: Now it's time to talk about another extremely useful feature, the table of contents. And I'm going to show you how to set this up. Either you are using a single document or you are using a book format. And we will also see how to use multiple table of contents for the same book project, where a second table of contents could be for listing all the illustrations throughout the book, which in book design, we would normally refer to as the index of illustrations. But first, let's start with the normal table of contents that will list all the stories in the book. And this is normally something we would place before the actual contents in the front matter. So for this, I'm going to add some pages. I'll choose Insert pages feature, and I will say I want it at the start of the document. Let's just create two pages for now, and I'm going to use the no parent option for this for now. We can obviously update that later. So let's just click Okay. Now, this is definitely useful to have as a separate section. So I'm going to already come back to this other spread and right click, choose numbering and section options, start a new section. I'm not going to change the number to one because I still want these pages to start as a spread. So I'm going to just keep it like this and I will click Okay. But then I get a warning message that I already have a page number two in the other section, and this is going to cause a conflict later on. But I'm aware of this. So thank you in design for reminding me. I am just going to come back to this section now and I'm going to right click and choose numbering and section options. And I'm going to actually change the style of the numbers here. Two Roman numerals, and then let's click Okay. So now there shouldn't be a conflict because in our front matter of the book, we have a different page numbering option set up, so they won't be conflicting with each other. And now that we have this new blank section and blank spread that we created, I just noticed that the margins are not synchronized because we said we don't want to use any parent page, but this is something we can quickly fix by holding down Alter option key and clicking on the parent page name. So immediately, everything is coming but notice how it also removed the right side of this spread, and that is because it also applied the primary text flow or the smart tax flow feature for which our preference was to delete any empty pages. But we don't have to worry about this because this will be generated automatically once we place in the table of contents. So I'm just going to save these changes for now because things are looking good. Even this new formatting of our page number is already visible here at the bottom, which is great. And now, what I want to do is to go to the layout menu. And actually create the table of contents. So let's click on this. And this is quite a big dialogue box with lots of options, especially when you turn on the more options, so it gives you even more options. But I will try to explain this and make it as simple as possible to understand what's happening. So first of all, we can decide what we want the title to be. So I'm just going to type in table of contents. That's actually just a static text that's going to be placed at the top of the table of contents element. The most important thing here is to decide which paragraph styles we want to track from this document. And of course, we definitely want to track our story title. So I'm just going to drop that in here. Then we want to also track our story subtitle first and our story subtitle. However, by default, these will all be created as new levels. So level one, level two, and Level three. You can change the levels down here, so we can make the two story variants the same level. So they should be both level two. And before you generate this, one feature you have to be very careful about is this one. You want to decide what style you want to use for these entries within the table of contents. So of course, we can use something that we already used in the book, but most of the time, it is better to use something different. I will just set it for the TOC body text for now. So instead of same style, I'm going to use that or you can even just choose the basic paragraph option for now. This is actually something you have to choose for each of the entries. So let's just change it for all of them. Basic paragraph should be fine now. And then if we click Okay, we just have to click in this empty frame here on the page, and it should generate the table of contents for us. Now notice how it automatically shifted everything to the right side. That is because it ended up using the story title for the main text that appears on the top, and that is actually a happy accident. I didn't even plan to do that, but it works quite nicely. It also generated an additional spread thanks to the Smart text reflow feature, and things are looking quite good. So we can see all of our stories, the page numbers, and we can also see those sub stories. The only issue there is because we were using the soft break between the numbers and the story title. It's not looking that great at the moment, but we can fix this later. What's more important is that we most likely want to use the same font that we are using throughout the book. So to be able to apply the same font, most likely, it's easiest if we duplicate our body paragraph style. So let's just create that and we can call it TOC entry. For now, I'm just going to call it that. We can then decide to create level one and level two entry slightly differently. But I would like to base this on the body. So that way, most of those features will be carried on here. The only thing I want to remove is the indent, so that's not necessary. And I probably want to include the space between these paragraphs. So I will choose 0.1 inch for now. Let's just click Okay. And then to update the table of contents, you have to go into the layout menu again, choose table of contents, and then you want to select the first entry, change this from basic paragraph to TOC entry. Then the next one as well, TOC entry, and then the third one as well, the same. Again, you can't select multiple entries at the same time to change their values. You have to do this one by one. But that's all I wanted to change for now. So let's just click Okay again. And it should automatically update the table of contents for us. We can just say, I don't need to see this message again. Let's click Okay, and this is looking much nicer apart from these sub stories. And yeah, we can see we needed more pages now, so it's just generated the additional pages, and that is looking good. Now, one additional thing that I would prefer to have is to have these page numbers lined up nicely next to each other. And probably the best thing to do, especially because we have this very long title right here, to have them lined up all the way to the right edge of the frame. And to do this, we just have to go back to the table of contents settings. And again, for each entry, we have to repeat this. So between entry and number option right now is set to a tab character. Now, if you highlight this and delete it, you can replace it from this little drop down with the right indent tab. And that's the code for it, carrot Y. You can just copy that and put it in these other ones, or you can just replace the T with a Y. It's even easier. And then once again, we can click Okay, and that will update, and that is looking much nicer. So yeah, that I like. Now, if you want these to be a bit closer to the titles, we could try to drag this table of contents frame a bit to the left, and then we can see whether it's going to update on these other pages because we are not doing this on the parent page. It's going to be considered a local override. But we can just move this in the center of the page and we can remember the settings or the size that we want to use for this, and then we can apply that on the other pages. So for instance, in this case, I can set the wits to 3.75, something like that. And then we can just make sure that it's aligned to the right edge of the margin. It's looking quite good. And then we can just do the same thing here. So 3.75, we can even copy this value to make it easier for the other frames. Let's do it like that. Copy this value. We can then drag this to the right. Then this one, again, we do the same size and drag it to the right, and then we can move down and also copy it in here. So most likely we won't need more pages than this. So this is usually all that we had to do here. 34. Refining the Table of Contents: However, notice that already because this text is too long, it's going to cause a problem there. It again, behaves like a text variable, which is getting stretched if there is not enough space. But you have to remember that we used actually quite a lot of features for our original body paragraph style. So it might not be a smart idea to carry all of those over to this new style because it could inherit things that we definitely don't need here. So I mean, if I go in here, we actually have grab styles in here, which is not necessary for a table of contents. Under indense spacing, we have less justify, which again, we probably don't need align to grid using baseline grid, not really necessary for table of contents. So what I actually recommend most of the time is to just remember the font that you used and maybe the leading and then go to the general options and choose reset to base. And probably even just say you want to base everything on the basic paragraph then just set up the values that are important. In this case, this pro, nine points and leading we can just keep it on the default or we can set it to 11 points. And without doing anything else, if I just click Okay, this is going to fix one thing already. Here, we can see that the page number could actually fit underneath this long title. Because I didn't include the space between the paragraphs, now, all of the entries actually fit on two pages. At this point, if I want the table of contents to start on the left side of this spread, we could also fix that by creating a new style for this text. So I'm just going to highlight it here and create a new style. I'm going to double click on it, and I will type in TOC title. And we can just check if there is anything here we want to remove. Most importantly, I want to remove the keep options. So I will say anywhere, and that should already look good. Perhaps just one additional thing for the TOC title, I'm just going to keep this together. I'll go back without having anything selected. I would like this not to have that paragraph rule, so I will turn that off, so it can start on top of the page as well. And now just to make sure that this is actually registered within the table of contents, not just a manual over right here. I'm going to say the title should be using the TOC title. So when I click Okay, I shouldn't see any updates here, but I can just try this out by going to layout update table of contents, and it should render it perfectly like that. Now, one thing that we can also do is to drag this down here just so it starts on the same height as the other page. It's probably a little bit more organized that way. And if you are not happy about the line breaking here on the right, you can decide to increase the text frame. Of course, that's going to be a quick fix. And now we just have to deal with the sub story problem that we have here on the left side. Now, first of all, for this, we could create a new paragraph style just to make them look also visually different. So we can go in and create a new style based on the original TOC entry, and I'll just call it level two, entry level. Two. We can base this on the original one. And then what I want to change here is to set this to maybe the same regular italic or light italic. Not sure which one will look better. Let's just go with light Italic. And then we can just go back to table of contents and choose the story subtitle first, which should be TOC entry level two. And this one as well, that variant should be TOC entry level two. Let's click Okay, and now they update it nicely. But one additional thing that would be good and the advantage of having a dedicated style for this is to have them indented slightly to the right, which would allow, again, a visual clue that these belong to this main story here. So if I go back here, I can just edit that level two, and let's include the left indent. Can decide how much we want. Probably 025 will be enough. So let's click Okay. And then the easiest way to make sure that these numbers don't show up in the table of contents is to create a dedicated style for those or just simply remove the style from them within the document. So if I go to these pages, that's page 59. Let's just fix this quickly. We have that number, and I think this was actually already done as a manual override. So it's using the story subtitle first at the moment. But I'm going to create a duplicate style for this, and I'm just going to call it story subtitle number. That will make sense. Based on story subtitle, yeah, that's good. Let's click Okay. Now, we just have to make sure that we apply this on all of these other instances. You could use Fine change for this. I'm just going to do this quickly manually like that one. And I think we just have to go in because I see it moving to the left side. We have to update this to use the keep options and start in next column. Let's click Okay. I think that's how it was set up before. So that's fine. That's fine. And then this one should also be the story subtitle number. Yeah, it's fine. And I just remember there is actually one additional story in the book, the wedding of misses Fox, which also has these subtitles, which, by the way, is already showing up fine here in the table of contents. Luckily, there's no actual number in there that we divide, so we didn't have to update it. It's just good to remember where these special cases are within the book. And then if we come back to the table of contents and select the frame and choose layout update table of contents, we would expect these to be fixed here on the left side as well. But as expected, there is still something wrong, and I know exactly what's wrong here. So if we jump back to 59, remember what I've done here. Again, I tried to save time, but I actually messed things up that I created this new paragraph style, the one called story subtitle number, where I specify that every time this number shows up, it needs to be on the top of the next frame. And it works fine here for number two and number three. But if I apply this actually on number one, it's going to push this onto the next page. So what happens is that we have the title, and then there is no copy. So to fix this, what we need is another style that we have to define. Or alternatively, if you don't want to set up additional styles, an easier way is to just select that text and go to the paragraph styles, drop down and choose break link to style. So this is something I sometimes use, although I prefer to have styles for everything, sometimes it can just get a little bit complicated. Now you see having this selected, there is no style assigned. And if I press Command or Control Y, we can see within the story editor, we can see for number one, it says no paragraph style. So that is actually what I wanted. I'm going to close this. And I'm just going to double check that this text here should still have a paragraph style. Oh, yeah, there is another issue here. We created a soft break between this line and number one. So that doesn't allow these to work as two separate paragraphs. So I'm just going to remove that and add a no more break. And then highlight this and choose story subtitle first, which now because we separated the number and the text doesn't actually need that nested style that we originally created for the first word, so I'm just going to delete that. Just click Okay. So this is fine. That is also fine because it doesn't have any style on it. Now let's move on to the next page. So this text right here should be story subtitle. And then this number up here can be assigned to the story subtitle number that we created because this one is starting on the top of a page. Or you can also just say break link to style. However, since I already set that up, I'm going to keep it there. And once again, these here should be set to story subtitle paragraph style, and then that one up there is already set as the number. However, remember that again, here we have that soft break, so that needs to be removed. Press enter to separate them. And then this text here should be set to story subtitle paragraph style. So it moves back, which also we need to update. So I go back into that style, and first, I want to remove the nested style that we don't need anymore. But also, I want to remove the keep options. So this doesn't need to go to the next column because the number is going to do that already. So I can just say anywhere, click Okay, and then we can go back up here. Then potentially you might need to do some additional refinements to the styles that you are using. But if you've done everything correctly, it should already work. Again, the last instance, we have to make sure we separate with a paragraph break and then this first one assigned to story subtitle number, while the title itself is simply story subtitle and perhaps one final fix here in the layout. For the story subtitle number, we can reduce the spacing, so we don't need that much spacing between the two, probably something like that. Let's click Okay. And I'm just going to double check for the story subtitle, I believe we didn't use the grid. Yeah, it doesn't say grid, but it has a space before assigned to it, which again, can be reduced down to something like that. And now the number and the title is closer to each other as it should be. Yeah, I feel like that is looking good. 35. Fixing issues within the Table of Contents: Just want to bring it to your attention that when you start messing with your styles, and especially when you are using the based on feature, you might end up causing trouble along the way, like that nice red color that we had on these here on the top and the bottom in the footer and the header is now gone because those were all based on these styles, or they probably were just simply using these style. So if I just go in there, I remember that we set up running head style for these, and yet this running head, if I choose is actually based on the story subtitles. So if I want the color back I have to overwrite that. So that's going to be included in here as a difference. Now that's setup. And we can also check here in the parent page that these are also using the story subtitle. So if I want them to be red, I could do either a local override or I could create a folio style, and that's probably the best thing to do here. So I'm going to create a duplicate from this story subtitle, and I'm just going to call it folio, and all I have to change here is this to be red. So let's click Okay and make sure that it's selected. All right, so now it's assigned. And if I jump back to the page where we were, now we can just double check that the text flow is fine, and then we can jump back to our first page. The easiest way to do that is by using this first predicon here, and let's select this text frame zoom a little bit closer. And let's hope everything is working fine. So lay out update table of contents. And it looks good. It, of course, won't fit in one line, so it has to break this up. The second line. Maybe if we just reduce the indent here, it might actually be able to fit this in. Or actually, there is one thing that I remembered. We used the soft break between these lines, and that is why it's not fitting in here. That's again, something that you have to make a decision on. So if I go back to these pages, however, these are rendered on the page. That's how they are going to show up on the table of contents. So if I remove the soft break and allow it to work like this, it's going to render better within the table of contents. However, things like the name, for instance, you definitely don't want to separate at the end of the line. So for that, you can actually apply the no break character style. So that should keep them together at least. And that's a cool technique, by the way, that even without using a soft break, I managed to keep these together, and potentially you could use even more text whatever we had originally together like this, if I say no break on those, they will actually flow into the next line. And if I come back to the table of contents and update this, so keep an eye on this second entry or sub entry. If I go into update the table of contents, you see now it can render in a single line here because here it is not breaking up into multiple lines. So the no break feature doesn't have effect on it, while a soft break is actually carried into the table of contents entry generation. So I'm going to jump to page 62. And fix this as well accordingly. So we get rid of the soft break. Instead, I'm going to select all of this together here and say no break. And that should fix it. If I go back to the beginning of the document, select this table of contents and update. By the way, it's useful to set up a keyboard shortcut for updating table of contents and even this feature if you are working with this because it will save you some time. So let's just click on that. And yeah, even that one fits together with the intent, it looks fine. Perhaps one stylistic change that I would do here is to maybe have a little bit of space before and after the sub entries. And that's something that we can do because we define this as a separate paragraph style, the TOC entry level two. So if I go back and edit that, we can find in the intense spacing the space before and after. So we can just add a little bit there before and after, but not to have so much space in between them, I will also specify that the space between them should be zero. And yeah, I feel like that should be enough. Maybe if I just say 0.02 " between the lines, that's just a very subtle space between them as well, which I allow. So let's click Okay. And now let's take a look at this. So both of these sub stories also updated nicely, and the ones we have on the left side updated nicely. So this is looking really nice. And notice that even the page numbers are slightly different for the sub stories because they are using the formatting of this text. However, that is something that we can keep consistent throughout all these numbers if we wanted to. And that's by using a character style. So I'm going to set this character style up just so I can show you how it works. I'm going to click on the plus sign, and I will call this one TOC numbers. And first, just to show you how it works, I'm going to set the character color to red, and then I'll click Okay. And then if we go back into the table of contents settings, we can find the option for the numbers, which is right here, page number that can be stylized with a character style. So if I choose TOC numbers for all of them, so all of our levels or entries, and I click Okay, they should all update to red. And if you want to make sure that these will look exactly the same, you just have to specify that within the TOC numbers character style. What font you want these to generate as. So I'm going to type in TSA P. I believe we used regular nine leading 11. And if I click Okay, I believe they already updated, yeah, before and after. I just a bit hard to see, but you can see it updating there. And these are also updating here. So the character stack can override whatever is defined in the paragraph style. That's why it's a very useful feature to remember. 36. Transferring the Table of Contents into the Book file: One final thing I wanted to mention here is that you can even style what you want to have in between the entry and the page number. So normally in books, you would have the dot dot dot connecting the two, especially when they are so far away from each other. That's a useful feature to have. So the way to do this is to select this frame go to layout table of contents, and then there is this part between entry and number, and notice how you can assign another character style here. Which we haven't created yet, but no problem. We can just say new character style, which will lead us to create a new definition here. So I'm going to call this one dot leader, and it doesn't have to be based on anything, so I will just say none. And we will come back to this later. I'm just going to click Okay. So that's the style that will be assigned to this. And this will only be used to refine how those dots look. But to actually reveal those dots, we have to update our TOC numbers paragraph style. I show you how this works. So if I click Okay, I can go to TOC entry. And let's edit that. So remember that between the entry and the number, we have a right indent tab. That means if I go to the tabs settings, I can just click anywhere here on the ruler, and then within the leader, I specify the character I want to use as the leader character. And then if I just press tab on the keyboard, I can see this updating already. So that's all I needed thanks to the fact that we have this tab setting within the Paragraph Styles panel. We didn't have to do anything else. And of course, you could use anything else here, like question mark. If I put that in, then we will see question marks and so on and so forth. And even have a combination of characters, and then that's the one that's going to be used as a pattern, filling in the extra space that we have there. But I'm going to stick to the more traditional way of setting things up and I'll use the period sign. Then I click Okay. And this is when that character style comes into play that we created for the dot leader because you can see this is a little bit too heavy. So if I now define my dot leader to be smaller than what it is in the entry style. So I'm going to set this up maybe to six points. Once I click away, it should automatically update. But I just realized that it's only appearing here for these sub entries, so level two entries. I'm just going to check. Yeah, those are the ones changing. And that is because we only assign this dot leader to a specific entry type. So before I make any additional changes, I will just come back to the table of contents settings and I make sure that the dot leader is assigned for all of these. Something I forgot to do. It's quite a complex dialogue box, so it's easy to miss certain elements like that. But I really want to display the way that normally you would work in in design, going back and forth, fixing things because that's how a designer works, and I really wanted to record that in this course. So now we can see these looking better. So they are smaller, but it still feels a little bit strange, and that is because they are just too close to each other, those dots. So we will be just increasing the tracking on them maybe to 25 or maybe even 50. I feel like 50 is looking quite good. And there's one additional thing I would do to refine my table of contents aesthetic, and that is to go back to the other character style that we created for our TOC numbers. By the way, the dot leader, I will actually also call TOC dot leader, just so it's easier to find these and we can put them next to each other. You can even group styles together because we are ending up having quite a lot of styles. It might make sense to select them and then group them together, right click and choose new group four styles. And I'm going to call this TOC. And the same thing we could do for these three right click new group for styles, and I call it also TOC. I'm just going to double click on Object styles to hide it for now, so we can see this together in a better way. Yeah. These are all the styles that we have right now. So going back to the TOC numbers character style, under the open type features, I want to change the characters used for the numbers. So in this particular case, I feel like the tabular lining works better, where each of the digits will take up exactly the same amount of space. So notice how if I go back to ignore this open type feature, it will look nice. I just won't line up perfectly. And for table of contents, this feature is usually better. We probably also want to reduce the size now. This is a little bit too big, maybe eight points is going to work. And perhaps we can just adjust the tracking a little bit. We can move them closer to each other, maybe -25, or -50, might be a little bit too close, but it's up to you which one you prefer. Let's just look at this close up. And also, if we look at it from a distance, maybe it's a little bit too close to each other now, but you can tell that even between the two digits and the three digits, this is looking so much better already. Finally, remember, there was an option called Table of Contents styles, which I wanted to come back to. If we go to the layout menu, I can see the table of contents styles here. I currently don't have any styles in this document, and there is because we haven't saved this one yet. But having this selected, if I go to table of contents, I can just say save style and I can call this one grim let's just click Okay and click Okay again. And what this means is that if we create a new empty document for which I just used that template that we created earlier and I go to layout table of contents styles Notice that there is a load option here. So I can just load that style based on that other file where we created the table of contents and see immediately it shows up here. So I can just say Okay and then go to select this text frame here, choose table of contents, and click Okay. So it's already showing the settings and just click on this text frame. It should already load this in. But in this case, notice that I already placed in this new document into our book file at the beginning. Because it's part of that book already, I can just go back to the layout menu, table of contents, and simply select the feature include book documents. So once I click on that, I can click Okay, and there you go. The beautiful formatting that we worked on has been carried over into this variant where we have all the stories broken up into separate files. And this is a great way to demonstrate that there are certain features like table of contents that will work across multiple documents as long as they are linked together in an in design book file. 37. Creating an Index of Illustrations: Now to create an index of illustrations, you can use the same table of contents techniques that we've already covered, and I'm going to show you this here in this book file format. So I'm going to create a separate table of contents just right underneath the other one that we already used. Now, one unfortunate thing that I have to mention straightaway is that even though it would be amazing to have this, in design just doesn't have an option to duplicate an existing table of contents style. So if you want to use the same formatting, you will have to recreate it based on this one, because simply there's no duplicate option here. So you can just simply create a new one. I'm going to call this one grim Illustrations. And I'm quickly going to set this up without worrying about the formatting at this point. I'm just going to look for the captions. That's the one that I would like to include. That's all I will need here. Then the entry style, I will use our TOC entry style. Between entry and number should be the carat Y, which is the writing Dn tab. The style for page number should be the TOC numbers. The style for the space between the entry and the number should be the TOC dot leader, and include book documents in this case, should be also on because we are working in a book format. And then I feel like the only thing I forgot is that for the title, I would like to use the TOC title, and it should actually be called Index of Illustrations. Now, let's click Okay. And once that's generated, we can just say, Okay, let's select this one here, and we can go to Layout table of contents, and then click Okay. And then instead of using this frame, I'm actually going to just delete this because I realized we have to place this in separately. So I will just go to layout table of contents and then make sure I have the gremillustration selected out of the two styles that we have here. And I click Okay, and then have the margins open, so I can create the frame, place it in, and there you go, we can see those captions being carried into this new table of contents format. So, of course, this doesn't look that good because we have quite long captions. So one thing you could do here is to maybe have a write indent to limit the text not to go too close to the numbers, and that way, it would separate a bit better. Maybe you could have also space between these entries a bit more, but I'm not going to spend more time on that. I just wanted to show you that there is a way of using multiple table of contents, even within a book file, simply just by creating a separate table of contents style. And if you want to match the style of the two table of contents designs, it's actually quite quick and easy just simply relying on the styles that you already defined for the first one. 38. Footnote, Endnotes and Cross-References: Besides table of contents, you might also need to use footnotes and notes or cross references in your books. And I would like to show you how to set these up. These are fairly simple to work with. So for instance, in this book, there's actually only one footnote instance, and that's for the golden goose story, which I have on the 201st page. So right here, there is a word dumbling which then is referenced here. This is supposed to be a footnote that explains that this word means simpleton. This was obviously just coming in from that original text file, but we will be removing this from here. I'm going to actually delete this whole line or paragraph and the empty spaces until we have nothing left there. And then we also want to remove this from here. Then all we have to do is to double click on this word, and the easiest way to access the footnote option is to right click and choose Inset footnote. Or you can, of course, go to the type menu and choose insert footnote from there as well. Now, once you've done this, in design automatically moves you to the bottom of the page, and there I'm just going to paste in the text simpleton that I copied or cut from the original text. Now, the way this looks is that we have a little rule above this. We have a number for the footnote, and then we have the footnote index, which is next to the original word which it references. To change settings for how the footnotes are formatted, you have to go to the type menu and choose document footnote options. And then here you will be able to find things like the style of the numbering. So we can change this from numbers to stars or asterisks. Then we can also decide where we want to start the numbering from. So, for instance, if we have ABCD, the capital letters, we can say we want to start from the third that will be C in the footnote reference number within the text. Now I'm going to reset this back to the default option. I wanted to start on one, and notice how we also have an option here for restarting numbering every page, spread, or section. And this is where sections are again useful. If you have a very long document like this, you can separate each of the stories in this case, two sections, and that way, you will be able to restart the footnotes for each of the stories. And that will be all automated. But for now, I'm just going to turn this off since I know that there won't be much footnotes necessary for this then we have more options for refining the formatting, including the position of this reference number, so it can be the default superscript. It can also be subscript, which goes below the baseline, or it can just simply be a normal number. We can also assign a character style to this, so I can choose a green red, for instance, I can put it back to superscript. That looks quite nice. And then the footnote formatting itself can also use a paragraph style. In this case, probably I will use something like the poem. I think that is going to work. And then there would be by default, a tab space between the entries within the footnote. This is again, something that we can change. And then under the layout options, there's even more settings that you can use to specify how you want the footnote section to be generated, like whether you want to have a rule or not, how long you want that rule to be, how much space you want to add between footnotes and how much space you want before the first footnote. For now, I'm just going to click Okay, and let's just take a look at the bottom of the page. So if I scroll down a bit, we can see how this looks at the moment. And the main limitation here is that the footnote has to be in the same text frame as your main story, so you won't be able to separate it like the caption being in a separate text frame underneath the image. Here, footnote is always going to be in the same text frame. Work around that limitation when you have a text frame that doesn't run further down on the page would be that we could just extend this text frame down here wherever there is a footnote appearing. And then we just have to go into the type document footnotes options to adjust the space. So in the layout, we can increase the minimum space before the first footnote, and we can try to align this with the margin. I'm just going to make sure that the margins are visible. I go back into these settings and in the layout, we can just reduce this a bit. I feel like, yeah, we just reached it now. So if I go any higher, it would go above it. Yeah. So we needed this much space, and I feel like maybe the rule can be a bit longer, so we can just extend it a little bit, like around there. And perhaps instead of a strong line like this, we could have a wavy line or maybe one of these other type of lines like dash line or even the Japanese dots, whichever you prefer. And just to see how this is going to work when we have more footnotes, I'm going to add another footnote here. Perhaps this word w down a tree, we can add a footnote for. So let's right click on that and then choose Insert Footnote. And then we can just type in another word for cutting. Like this, then we can just check if the number is correctly rendered here. Yeah, that's looking good, and we can see that obviously we have less and less space for the actual copy on this page. So the footnotes are taking up the bottom part of this text frame. So each time we are adding a new footnote, we might need to adjust this text frame further down to assure that the text is still going all the way to the bottom margin of the page. And at the moment, with the space that I defined between the footnotes and the text, we probably only have space for two footnotes per page. But if I adjust this, we could potentially fit one more here or maybe even two, depending, of course, also on the length of the footnotes in case they end up being multiline text. I also wanted to just show that within the story editor, we get a side by side view of the referenced word and the footnote. So we can see this is number one, there is number two, and you can even close or open this by clicking on these little blue squares. Now, similarly to footnotes, we can also generate end nodes for a document. There can only be one location for end nodes per document. And unfortunately, they don't actually work throughout a book file. So you can use it still within a book, but it will have to be edited within each of the chapters or story files in our case. But in this case, where I have the large document open, if I decide to add a footnote, for instance, for this word here, clever, I can right click on this. And similarly to inserting footnote, I just choose Insert endnote. Is going to be generated straight away at the very end of the document in a new text frame where I can specify what this means. I'm just going to type in Smart, and then that's how this looks. And just like with footnotes, we can also specify the exact styling we want to use for the end nodes. So we go through type menu, choose this option, and there's a lot of ways you can customize how you want to create these notes. Finally, there's one more feature that is similar to endnotes and footnotes, which is called cross reference. This is something you will be able to access through a panel. If you go to the Window menu under the type and tables category, you will find it there. I already have it placed here on the right. And essentially, with this, you can guide your readers from one part of your document to another. So in this case, for instance, we have this story about a cat, and if we want the readers to easily find another story about a cat, we can direct them there. Now, in this case, I wouldn't recommend highlighting the word cat because then it will be replaced by the cross reference text. So I would normally just put the cursor right after the word that you want to reference. You can even hit space just to make space for it. And then if you click here in the plus sign to create a new cross reference, it's going to bring up the dialogue box and it will automatically put in something there in the text that obviously we will update. So first, you can decide which document you want to reference, and that already shows that you can use this across a book file if you wanted to. But in this case, I'm just using the same book, and I am looking for something that is using the story title paragraph style. And this is also important. You can only cross reference entries or text in your document that is using a paragraph style. So I highlighted this, and now it filtered through all of these instances throughout the book. And I actually want to reference the traveling musicians because there is a cat amongst them. Now, once I've selected that, we can see that the original text was set the cat, and then in quotation marks the traveling musicians on page 19 is the text that's currently being generated by this cross reference format that we have here. But notice how you can change this. So there's lots of other options that you can choose. You can just say page number or if you want to be even more specific, you can click on the edit icon here, and then we could actually type this in manually, maybe put everything in brackets and say another story about a cat, and then brackets closed. And then if you want it, we could even use a character style just to separate this text from the body copy. We can maybe use the green bread that we used before. And if I click Save is going to be edded right there within the text. But of course, this is going to be a template that will be used for all your cross references. So you probably don't want to include the word cat. So you can just say another story and then update it like this. Maybe we could just say another story about this character, and that would apply to other stories as well, so this could work more as a template. But of course, you don't have to be so specific because once you have this highlighted in red, and there is the page number, it is quite obvious that this is a reference. Of course, this would work as a hyperlink once we save this as an interactive file format like an interactive PDF. Let's just click Okay, once we leave the dialogue box, we can actually see this in the story editor. Similarly to footnotes and end notes. This is also showing up as a separate little indicator that there is the cross reference starting right here and ending there. In case we wanted to move this around, we could easily just highlight it and then drag and drop it somewhere else. Maybe we just drop it here next to the mouse. And then it moves down in the copy as well. One final note that cross references will be listed here in this panel, so it will be an easy way to track them. And this number will indicate on which page is this cross reference placed on. And the little green sign means that the destination of the reference is still active, so it hasn't been deleted yet or hasn't been updated to a different paragraph style. I wanted to make sure that we cover these features because they could be very useful for certain projects. In our case, for this book, I don't think we really need to use them apart from that one single footnote that we had in one of these stories. But in the next lesson, I'm going to cover a very interesting feature called Index, which could actually be useful for this book. 39. Creating an Index: This time we will look at the feature called index in design. And then index, if you're not familiar with the concept is often used in books, usually at the very end to help readers locate specific terms or words that appear throughout the book. So if there is an important term that is mentioned throughout the book, this way, readers will be able to find very quickly all the instances of that specific term. The good news is the index feature actually works across documents as long as you are using a book file. So that's what I'm going to show you here. I'm using one of these separate stories, the first one golden bird from my book file. And I'm going to open the panel, first of all. This is from the Window menu, Type and Tables index, and I'm going to place it up here just so we can see it better. And I will also place my scripts up here because we will be using this as well. First, I will show you how in Design expects you to do the indexing of your document, which is very time consuming, especially if you want to be thorough. But then I will also show you a much more effective technique using another custom script that I created. So I'm just going to go closer to the text here and find something that we want to use in our index. So let's just say a clock is here, or maybe we could use the feather as a word that could be interesting. So if I want this to be part of my index, I will have to first go in the index once I have that word selected and click on the plus sign that's already going to include this as a level one topic. And for now, I'm just going to say, Okay, I don't want to do any additional settings. Notice how here I now have a list of all the letters in the alphabet, and the feather is edited under F, and I can see the instance of this that I selected is on page number three. Now, if I go to the end of this document, I can click on this other icon here, the Generate Index option, which we have lots of additional options. I'm not going to go through all of these. Perhaps just mentioned that we could include the book documents for this index, which is probably a good idea to turn on at the beginning, especially if you are working inside a book file. And then let's click Okay, and I'm just going to click and drag to create a text frame for this. Now, this is how our index looks like without any additional formatting, and that's great. My main problem with this is that in design won't automatically find all the other instances of the word feather within this document. That is actually something is expected from you to do manually. And of course, the fastest way to do that would be with fine change. So if I press Commando Control F, I could say, I am looking for the word feather, and then we can just say Fine next. And there we have already another instance. We can go find next, and we will see that this is actually referenced I think three times throughout this document. So if I go backwards, once again, there was one, two, three. It's all on the same page. So you can decide to ignore the fact that there is three of them because the index would just say page number three. But if you want to be very specific, you could actually indicate all three of these instances. But each time you would have to add them to the reference here on the right when the text is highlighted. So I'm just going to show this quickly. I have that word highlighted. If I say plus, Fada, click Okay. Now there will be two entries on the same page. And if I go back to the end of the document, I don't even have to select this frame, I can just click on this option to generate the index, and as long as the replace existing index is turned on, I can just click Okay, and it will tell me that it's been updated. I will say don't show again, click Okay, and it actually won't show two number three because it's on the same page, even though we have two instances. But as soon as one of these move to another page in case the text is reformatted in a way that is going to be moving to page number four, for instance, then this will be automatically updating as well, or at least once you manually update the index. Now, I guess you can already see that this could be a very painstakingly slow technique to go through one by one, especially if you want to reference a lot of things. So this is why I created a script for this, and it could be extremely useful. It's called Auto index, and you will find it in the project files in the scripts folder. All you have to do is to place it into the script folder that in design is using. So if you haven't seen me doing this already, you have to open up the scripts panel, which is from the Window menu utilities script. And then right click on the user category and choose Reveal in Finder. And that's where you have to just simply copy and paste that Java script into, and I'm going to show you how this works. So if I double click on this, it's going to ask me if I want to specify a parent topic, which is optional, you don't have to. But in this case, I'm going to type in animals. Then I can specify level two topics, which in this case, I know in this story there is definitely a bird. There is also a fox, and I'm using commerce between these entries. And I believe there is also a dog and maybe even a horse. So I'm just going to include that as well. Now notice that we have an option to update the index automatically. This means it won't generate another index if there's already one in your document. But because I deleted that, this is going to create a brand new one. And then if you use the case sensitive option, that means that it will be able to find these words throughout the story, even if they are using different cases. So for instance, if they are sentence case with a B, this will still be able to find them and reference them in the index. So having all of these options on, they can just click Okay, and after a while, the script should give us a message, and it will even tell us that it found 26 instances of bird, 29 instances for fox, zero instances for dog. I intentionally made that mistake. Just to show you that it's going to still listed here and 14 instances for horse. And I can click Okay, and it actually created the index on a new page because there was no index already to update. So it created on this new page. And notice that our feather topic is still included because that was defined before I use the script. But if I zoom closer, notice how nicely this is formatted thanks to the fact that we have a parent topic animals. And then within that, it is listing all these animals, the bird, fox and the horse in this story. And as you can see, the bird is mentioned on all the pages, while the fox and the horse are mentioned more towards the end of the story. Now, I will let you play around with this feature and decide whether you want to include it in your project. I feel like it's quite good to have it at the end, and it's completely up to you how many terms or topics you wish to include. But there's one additional thing I wanted to just mention quickly that you can actually import topics quickly by creating a text frame in design. It could be anywhere within the document. And then if you just type in a few words, let's just say King Prince Princess. We can have Taylor, the usual suspects or characters in these stories. We can probably also have boy. Now that I have these listed separate lines, I can just select them all. And then there is a hidden keyboard shortcut, which works with the index feature. It's Command Option Shift on Mac or Control Old shift on PC and open or left square bracket key on the keyboard. And if you do that, you will notice that this will be edited here. So under K, we have King, under P, we have now prince and princess, and under we have Taylor. Now, this, of course, will only add the topics to our index, but it won't actually find them throughout the story. For that, you should use my Trustee script that I created. And once you have a lot of topics in your index, it's probably worth turning on the show find field option from the panel menu drop down. That way you will be able to search for things. So instead of me going through it, I could just type in Taylor. And so on and so forth. And once again, because this document is part of a book that we created earlier, within the index panel, you have the option to let this index work across the whole book. So once you take that, it's going to make sure that you will be able to reference not just this particular document, but also the other documents that make up this book. And in case you are creating an index for a book that is separated into documents, I would recommend to create a separate dedicated document for it, which can be at the end in the end matter. 40. Frontispiece, Title page and Preface: Returning back to the front matter of our book in front of the table of contents, normally we would have the title page and the frontispiece. So for this, I am going to create a new spread. Now, once again, if you are working on the book version where you have separate documents for everything, this could easily be a separate document. You can decide to just have a front matter document, which would hold a table of contents, the index of Illustrations, the title page, frontispiece, and so on and so forth. But since I'm working on the large document format, which includes everything, I'm just going to use this section which we created for the table of contents, and I'm going to create a new spread just inside this just in front of the table of contents. So I'm going to right click and say Insert pages. And I want this to be before the page number two. And I would like to have two pages, and it can use the same parent page style, so we can click Okay. There it is just before the table of contents. But immediately, what happens is that I lose one of those empty pages because of the Smart text reflow feature, which is eager to delete any empty pages. I'm just going to undo this step and I'll show you how to turn this off. If you go to the in design menu preferences type, or on PC Edit preferences type, you just have to turn this option off temporarily. So let's do that. Let's click Okay, and then do this again, right, click Insert pages 2 before page or at start of document is probably even easier. Let's click Okay. So now, you'll see that even though we have the SmarttexRflow, still active is not going to delete anything, so we can work here normally. Now on the left side, I actually won't need a text frame, so I'm going to delete that frame. And this is what's going to be our frontispiece, the illustration, just next to the title page, which is going to be on the rectal or right side. So let's just bring in the illustration first. And I wanted to show you the options that you have for this in bridge. You will find these in the Link folder, frontispiece, subfolder. These were all generated in mid journey. I quite like all of these, so it's a hard choice which one shall we use. I think I'm going to go with this one because I like the angle. It really feels like this fairy is flying, but I might change the direction of it once we have it on the spread. So let's just place it in here for now. It's a nice square format as well, which works nicely in this layout. So once I have it selected, I can choose the flip horizontal option here in the control. That's just generally a better way of using the illustration because it leads the eye onto the right side of the spread, and we can, of course, still decide to rotate this around a bit, resize it later if we wanted to. But for now, I feel like that is looking quite nice. On the right side, we can use the text frame. And for this, I actually have another document prepared a text file called Grim tales Title page and preface. So once you open this up, you will see this is the section that we need. So the preface we will use on another spread. So let's just copy this and come back into in design and paste it in right here on the right side. Now, for the title, it would make sense to use the story title paragraph style. For the rest of the copy that we have here, we could potentially use the story subtitle. So let's just see how that looks. Is looking a little bit too heavy on this additional text. Maybe for this one, we can use the caption style, which might be a little bit too small, but now we can just adapt these. Maybe we can just drag this text frame further in a bit, something like that. Actually, I'm going to make this bigger, select the title. And I'm using Command or Control shift period, which is going to increase this. So yeah, something like that, and then old up and down arrows, we can add more leading. I will probably have the fairy tales and a new line, and I will probably also reduce the urning here. This postrophe can come a little bit closer like that. And the names, I think, are looking good. However, we could potentially use end here, and then this text can be a little bit larger. Again, I'm using the same shortcut, a a bit more leading there. And I'm just going to use both left and right indent on this paragraph to have it a little bit narrower, maybe the same from the right side as well. Yeah, that keeps it nice and tidy, and it actually creates a nice rectangular shape as well, which is good. We can potentially have more space here. So I'm going to select this paragraph and include the space before feature, move it down, and also we can move down the authors a bit further. This can probably go even further down. Something like that is looking quite good and balanced. Maybe this can have a little bit less space in front of it, which I remember from the story title was set up with the paragraph rules. Now, to access that without creating a new paragraph style for this single instance of this variation, I'm just going to go to the additional options for text up here on top right. That's where we can find paragraph rules, and I'm just going to turn that off. If we have a preview, that should push the text up a bit, and now we can just fine tune this by using the frame and maybe drag it up here. Yeah, I feel like that is looking good. Now, this text here on the top is not necessary on this page, so I can remove that. It's command Shift or Control, Shift, click on it to override it and delete it. And you can further refine the text a bit by having maybe the two names Jacob Grimm and Wilhelm Grimm side by side, but in two lines. So I'll just show you this quickly how I would do it. I would first create a paragraph break between the word B and the names, then select the names, remove the space before option from them completely, or maybe we can have a little bit more space like this. And then I'm going to use this feature from the paragraph formatting controls called split three. So this is going to create three columns specifically for this paragraph. So you don't have to have three columns within the whole text frame just specifically for this bit here. And then it's just a matter of dividing the text correctly. So first of all, we can put a column break just before the end percent, the end side. That's the return key on the numeric keypad. If you press that, that's going to be a column break, and then you can put another one just before Wilhelm's name. And that already got formatted into two lines. But we can do the same thing here with Jacob's name. So I'm just going to press Shift Enter to create a soft break. And then what we can do is to increase the size of the percent. That's command shift or control shift, period. And then to get them closer to each other, I just select that whole paragraph, and I'm going to use left and right in Den. So I'm going to increase left indent first and then the write in then. But I also realize that there is a gutter already set up between these columns which we can reduce so at the moment, that was a little bit too high. We can even set it to zero. But this gutter is actually for real columns, not split columned text. So to find the gutter for this feature, you have to alter option, click on this icon here next to the split option, and that is going to open up the span columns dialog box, which by the way, you can also access from the same hidden menu for these additional typographic features. So there are span columns as well there. And the inside gutter is the one we need. If you turn on the preview, we can actually see how this is going to change. So if we set it to zero, it should be able to accept a bit more in then from the left side, and let's just maybe set up 0.6 for left and 0.6 for the right as well. That might be a little bit too much. So maybe we can go down to 0.4 and 0.4. I actually realized that whenever we use this feature, instead of using left and right indent, we could just use the outside gutter option. So I'm just going to click Okay for now and I remove our left indent, and I will also add the soft break for Wilhelm Grimm's name, split it into two lines, and then make sure we select all the text, then come back to the span columns dialog box and then start increasing the outside gutter, we can drag these two names closer to the percent in the middle. Feel like that is looking quite nice. Now, at this point, I just realized that we push this text down too far so we can reduce the space in front of that to bring it back. But of course, sometimes when you work with spacing back and forth, it might actually be easier to separate certain texts into a new text frame. So that's what I'm going to do here just to show it to you. I'm going to use the type tool. Going to create another text frame and just paste this text in here. So this text doesn't actually need to be part of the tax flow. Even this one here, we can actually remove from the main tax flow. So if you click twice on that, it's going to be removed, and we can delete this additional text frame as well. And this text frame that we had originally on this page doesn't actually have to be part of the main tax flow. So what we can do is to copy or even cut all of this text that we created and actually delete that text frame that we have here. And just create another new frame for it and paste in that additional text. And like I said, even this can be separated. So instead of relying on the space before and after feature, we can just have separate text frames for each of these three elements, the title, the authors, and then this information text at the bottom. So now, it's a little bit easier to push things up and down. Feel like these two can be more here in the middle. Maybe both can come down a bit, and that is looking quite nice and balanced. I feel like these can go a little bit even closer. So let's just go back there, increase the outer margin or outer gutter, do something like that. All right. So we are done with the title page that's on the right side and the frontispiece on the left. After this comes the table of contents. And after this, I am going to actually add another spread, so I will right click and choose Insert pages 2, after the current page, which is number five, Yeah. And for this, I definitely want to use the Smart text reflow or primary text frame because we will be bringing in a little bit more text. This is also in that same text file under preface. This is what you want to select. Maybe also the word preface can be selected. This text I actually generated with chat GPT, so there might be some errors in it, but I'm not going to worry about that too much. I will just drop it in here, and this should generate the necessary amount of pages. And after that, the first story should appear. So let's just change the style of this. For the preface text here on the top, I think I'm just going to use the story subtitle. Yeah, that looks good. It shouldn't be as significant as a story title. And then I would like to select the rest of the copy. Now, in these cases, when the text is already split between multiple spreads, it's easier to use the story editor. That's Command or Control Y. Let's just select that. Let's make this wider, and then we should be able to scroll down and then be able to select all of this. Then we can actually use the body copy for this. So let's do body. And then if you see a little plus sign next to the paragraph size name, it means there's some overrides here, which we can clear by clicking on this icon. So let's just clear it, and that is looking much better. The first paragraph shouldn't have a first line in then, so I'm going to remove that manually, and I can see that we have additional line breaks between the paragraphs which we can eliminate. There's only a few of them, so I'm not going to worry about using fine change for this. It should be quick and easy. So let's just delete this. And I believe there's only a few more. Yeah, there's one more there, one more and one more down there. Okay. Now, we can also adapt this style slightly. If you want to introduce space between the paragraphs, maybe that's something that you can do just to differentiate it a little bit further from the rest of the book. But I'm going to keep it like this. Maybe just drag this frame down a bit to something like that. Or potentially we could also just add a column break here. So to get the text starting on the right side, and then we can move it down here. I feel like that's even better. I'm careful to make sure that I don't break up a paragraph because in the beginning of the book, that's really not necessary. I feel like this is looking much better already. There's our table of contents. There's our title page. And this means that the front matter of our book is ready. So if I just zoom out a bit, we can see this is the front matter, and then after this is where the body matter is starting. I just noticed that here is an empty spread. That is because we turned off the delete empty pages option. I'm just going to delete this manually, and I will actually go back to the settings and bring that feature back on just so I don't have to deal with that in the future. So once again, let's just look at a full screen preview of our front matter. This is looking lovely. Maybe one tiny little thing here that I would do is to have the ensign in red. I will just use the green red on that. So let's take a look at this again. I feel like that just gives a little bit more balance to this spread and separates the two names better. So once again, we have the table of contents, and then the preface, which is looking great, and then we move into the actual contents or the body matter. But now that we have the front matter, let's have some fun creating the cover for this book. 41. Setting up the cover document: Finally, after so much work we put into this project, it's time to create the cover, and that's obviously a very important element of the book, because that's what the customers will see when they pick up the book from the bookshelf. And if a cover design is not enticing or interesting enough, they might not even notice the book in the first place. Now in my graphic design theory series in the print design course, I have a dedicated section about book design, where I talk about all the different considerations that you have to make when it comes to creating your cover. And one of the many considerations is whether you want to use a dust jacket or case wrap, or you just want to have the print on the actual hardcover. Of course, it's also another question whether the book will be hard or soft cover. But in this case, for a book that's almost 300 pages long, I feel like it definitely makes sense to have it in hardcover. Also, I feel like it just suits more the style of this book or the theme. So we will be working on the front cover, the back cover, and the spine design. But in case you decide that your book should have a case wrap, then you could also include an interior back flap and the front flap, where you could put information about the author and maybe some additional information if you want to fit it in there. I just wanted to show this example of some sketches that were created for a book cover project, the Halloween Tree in this case. This was created by one of our very talented pro member student, Gene Bowman, and you can see how much planning goes into finding the best layout for the illustration and the title, the authors, and the blurb that goes on the back of the cover, and how best to fit all of this together. We won't be doing sketches like this for this project, mainly because I already have the illustration ready, and the illustration is actually coming from the Illustrator Fast Track course. Once again, this is something you will be able to find in the project file folders under Links cover art. There you will find the Illustrator file called cover art.ai. And just to show you, this is the original sketch I created, and that's the final version, which we actually work on in the Illustrator Fast Track course. Where similarly to this course, we go through every single step that is required to turn a sketch into a fully realized and detailed vector artwork like that, what you can see on the right side. But this is already ready for us to work with. So I'm going to use this. But first, we have to prepare a place for and I would advise to create a separate document, even if you are working in the single long document file because the book cover is almost always sent to the printers in a separate file, and we will be using different specifications in the PDF as well. Now, you can decide whether you want to create the cover in Adobe Illustrator or in design. I wouldn't use Photoshop only if it's very necessary. Maybe you could prepare the illustration in Photoshop and then place it into in design or Illustrator. But these two tools, so once again, in design and Illustrator, I find better to be used for the book cover. But since this is an in design course, let's just do the book cover in here. So I'm going to create a new document. I will use the same document preset or template that we created earlier. And this time, I also would like to have facing pages. I actually want two pages created or we could even have three pages. For now, let's just do two. We don't need the primary text frame. We can add that ourselves. The sizing should already be good. The margins we can actually keep the same. We might change that later, but I definitely want to use bleed. So let's just set up 3 millimeters bleed. If you don't see millimeters, you can change it up here in the units section. We could also include slug. Let's just have maybe 13 millimeter slug on all sides of the document. And if you turn on preview, you should be able to see this in the background. That is looking good. So that's all I wanted to do here. Let's click Create. So this is going to be the front cover, the back cover, but we need the spine in the middle. For this, first, I'm going to turn off a feature, which you can do by right clicking on one of your page thumbnails. So this is the one allow document pages to shuffle. Turn this off, and this will allow you to attach multiple pages together. So instead of being limited to only having two of them attached, you can have a third one, which is going to go in the middle. So I'm just going to create a new page and then drag that in between these two. Now, if you don't want to see that spine detail there, you can actually turn off the facing pages option. So if you go into the document set up from the file menu, you can turn off facing pages. Click Okay. And then now these three pages are in a way equal. There is no set division between them. That's just a very minor thing. It's not really going to affect anything technically. So now what we need to do is to select this page in the middle, and then we can select the page tool. This is a tool that we very rarely use in design, but in this case, it can be very useful. If you start dragging the edge of the page, you can make it narrower. But you will notice that because of our margins, we won't actually be able to make it any narrower than this. So if I let it go here, for some reason, it still snaps back to its original size, that is because you have to also hold down the alter option key to make sure it actually resizes the page. But what I actually prefer to do whenever I have a page selected, instead of using the page tool is to be more specific and set the width up here on the top. If you set the reference point for your book to the top left corner, it's not going to detach itself from the left side or the left page. So we can just change the width here, and I think we probably need 30 millimeters, but then we get an error message that the margins are too wide. First we have to go into the layout menu, margins and columns, and let's just eliminate margins on this page. We'll link them together and set it to zero. Let's click Okay. So now we should be able to set this to maybe 30 millimeters. That's probably a realistic width for all the pages that we will need in this book. But this can be adjusted once the printers come back to you with the estimate of the thickness of the book. So that's again, something that they will be able to tell better once you tell them how many pages you now, again, using the page tool, we can just attach these two pages together or these three pages together. And if we zoom out a bit, we can take a better look at what we created. Now, what is important and we shouldn't forget is that these lines that we see here in in design won't actually be visible for the printers. So once this is exported as a PDF, these won't be visible. So we have to indicate them somehow, and that is why we created the slug. So I'm going to use the line tool I'm just going to draw a line from this division line here between the two pages, and I'm going to drag this up. You can overlap a little bit the bleed if you want. But what we want to do with this is to make sure it's set to registration color, which prints on all plates, meaning that it will not just simply be using black, but all the colors. So that's definitely the best option to use for something that is indicating a fold. So this is going to be our fold line. And normally what we would use for this is the dash line or dots. Again, you can discuss this with your printer, which one they prefer. I'm just going to go for dash line, and it probably should be a little bit thinner, like 0.5. That's probably still a little bit too thick. Let's just do 0.25 points, something like that. It's probably looking quite good. Maybe I'm going to use this other dashed option that just has a little bit more space in between the dashes, and then what we want to do is to copy this and make sure it's aligned to that other line that we have here. I'm just going to actually drag it down first here. Make sure it's aligned, and then we can drag it up, holding down the Shift key, drag it all the way up here, right there. And then we should just also have this copy all the way down at the bottom. Having that selected, you can even turn it into a group just to make it easier to select them. Command or Control G, and then let's just drag it down all the way to the bottom here. So align it to the edge of the slug. So it's hardly visible, but it's there, and it's going to show up in the final PDF. Now, we don't have to create bleed marks because those can be added automatically using the design options. 42. Adding the front cover illustration: Now it's time to add our illustration. So I'm going to press Commando Control D. I go to the cover art and select the Illustrator file. So let's just bring this in. And I'm going to place it here on the right side, which is the front cover, and then I'm going to align it to the center of the page. But of course, this book is not called Little Red, so we should remove that text from there. And the way we can do that is by Alter option double clicking on this illustration to open it up in Adobe Illustrator. And here you will be able to find this in the layers. There is a single object. You just have to turn off. And by the way, you could also have your own version of this illustration. Where you remove the silhouette of the wolf and maybe just have the eyes, which is very mysterious. We can even remove the wolf completely and just have little red riding hood and the trees, which is quite nice as well. But I'm going to keep everything in apart from the title, and I'm going to save this. And then if we go back into in design, we just need to update the changes, so I can double click on this little exclamation mark here, and then it should be updated. So now it doesn't have any text. Now at this point, we can decide whether we want to have a color behind this illustration, and that's one of the advantages of working with a vector art that we can easily place something behind it. But at this point, I would advise to also start using the layer spanol. Now, I haven't actually used layer so far in this project because for the rest of the book, it wasn't really necessary to do it. But here on the cover, I feel like it would make sense. So I'm going to call this one images where I already have this illustration, and then I'm going to create another layer, which is going to be the text. Then a third layer, which I will actually drag all the way to the bottom, and I'm going to call that one background. So now that we have these all in place, and now that I have the background layer selected, I can maybe lock the images layer so I don't accidentally move that art around. So having background layer selected, I can use the frame tool. And I'm going to make sure that this goes all the way from the top left corner of the bleed to the bottom right corner of the bleed. And then we can give this a color. I'm going to import that red color that we used in the other document, which we can do from the swatches panel or from this swatch drop down by choosing load swatches, select that in design document. And that should bring in our green red. And also that additional color that we use there. I'm just going to choose green red, and we can check how this looks. Of course, this is a little bit too much red because we have red on top of red. So even though that's the color that we use throughout the book, I feel like here we need a little bit more contrast. So what we can do is to keep this frame selected, but go to the window menu and choose color. The color again. And then from the drop down, we can go into C and YK. And here we can start playing around with the colors and see what's going to work best. We can also press W on the keyboard just so we can preview the whole book better. And I feel like yellow is a nice color. It's a very strong color. We can make it even brighter or softer. That. We drag the yellow all the way up, it's going to be a very vivid yellow. If we drag the magenta all the way down, it's almost like a neon yellow almost getting closer to greenish color there. We can also introduce the black if we want to make it darker. But I feel like that's not going to let the illustration stand out enough. So I feel like we have to either decide between a softer yellow like this, could be even more softer. This is actually quite nice and subtle. I could go all the way down this way, maybe have a little bit more magenta in there. It's really a stylistic choice that you can decide on your own. You don't have to use the colors I'm going to use. But I wanted to show besides yellow a nice complimentary color that we could introduce here is this bluish green turquoise color, which could also work really well. So if we make it very primary blue, that might be a little bit overkill, I feel like. Again, it's a little bit more subtle if we reduce the intensity of the blue. We could even go towards purple. The purples are very nice. That could work well for the story. Just make sure it's not too dark. So we can go towards this site here, and then a little bit to the left. So there's lots of options we could choose from quite like this type of color. I feel like it works really well. It helps the illustration to stand out. All the details are looking good, and it's a nice complimentary color. Now I would normally also check that there's no fractions here, so all of these numbers are looking good, and then we can save this into our swatches panel. So we can close this and then go to the swatches and add this new color, and then we can actually click here on the Swatches panel, choose select all unused. And delete. Maybe the green red I'm going to keep here just in case we want to use it somewhere else, I'm going to delete the rest. And then we can just double check that this frame that we created for the backdrop goes all the way to the edges. And yeah, it does. And now we can go back to the layers panel and the background layer as well because from now on, we will be working on the text layer. 43. Adding copy to the front cover: And let's just bring in quickly the text that we already added here. So this text frame, we can just copy paste to bring it into this document. And if you don't see the text, that's probably because you have one of the formatting options still on this that is preventing it to show up. So if we turn this into a new style, I'm just going to call it title, and then remove the overrides. We can go inside it and check if there is any options that we don't need. Like the paragraph rules, we actually have that turned off, keep options. That's the one that is causing the problem. So I'm going to set that to anywhere. Now it should come up perfectly. We can move this here on the page. But of course, this red is not going to look good on the background that we created. So if you wish to use red text, I would advise to either use white as your background, which we can test very quickly by going here and just turning off the background, which of course is a very effective option. It has the extreme contrast of black, white and red. However, if you prefer the color that you chose for your background, I would just advise to change the color of the text to white. So if we go to text, we can just choose paper, and that actually looks really nice. Now, in this case, I think we can probably fit this text like this. Maybe we can just use curing to get these words a little bit closer to each other. I quite like the way this fits here between the ears of the wolf. Or if you want to keep it separate, you can also probably put the text in one line on the top. I'm going to keep it like this, and I will actually overlap the text a bit more, maybe somewhere around there. And then we can bring in our other texts, the authors, which we can bring in and place below the illustration. But in this case, I am going to just simplify this by having them all in one line. If we select all of this, we can just set it back no split, and then we will just remove all the unnecessary line breaks or soft breaks, which we actually had quite a lot of. So I'm going to go into story Editor. It's just easier to do it there. Let's remove everything like that. And the percent should be actually the same size here as the rest of the text. So I'm going to make sure the whole text is set to maybe 12 points, or it could be a little bit more like 15 points in this case, and I think all of this should be set to white. Again, that is looking good. Let's take a look at this from a distance. Actually, this I will place here on the top, and I will remove the word B. And I will spread the text frame out all the way to the edges of the page just to make sure that is going to be centered perfectly. And I will select the title and maybe even the illustration, so temporarily turn off the log and just align it a bit more to the text on the top. Just eyeball it. You don't have to be exactly perfect. I feel like it looks good. Maybe the image can come down ever so slightly. I feel like the text is actually a little bit too close to the top edge. So I'm going to sag everything and drag it down like that. The illustration potentially can be slightly smaller. So I'm using Command Option Shift on Mac or control all shift on PC and drag the image towards its center point, and then we can drag this up a little bit. I quite like how the title and the trees interact a bit with each other. And then I'm going to use the same format that we have on the authors. And I will create another text frame here at the bottom. And for this, I'm going to bring in the tag line that you can find in another file that I prepared for you. This is the Grim Tales cover copy. So you just have to open that and you will be able to find this here. So let's just drop that in here. And when you are pasting, you probably want to use Command or Control Shift V to paste in without the original formatting coming in from that document. So let's just take a little bit closer look at this, timeless tales of magic, morality and mystery. I would probably break this up into two lines, say timeless tales of magic, morality, and mystery. I really like how these three words are all starting with M. And if you wanted to emphasize that, you could actually use a different font for these letters. Like we could use the fairy tale one that is used on the title, and we just have to check whether it pairs well with the rest of the copy. I feel like it's a bit of an overkill, so I'm not going to push that. I will go back to the original. One other way to emphasize it would be to use black on it, which would be interesting. That's actually something I quite like. So I'm going to temporarily have this turned on. Let's just add these three. And by the way, I would do this probably with a character style to be able to easily change it if I change my mind. And yeah, when I look at it, it doesn't really work well. It's just a little bit of an overkill again, so I'm going to change it back to white. I feel like that is much nicer. Yeah. Now, I will just move these down a little bit more, have the author separate a little bit more on the top or authors, in this case. And I think it's time to save this file before in design crashes. So I'm going to save this in a completely separate document, like I said before. This is going to be the grim book cover. So I will just use that as my filename, and it's an in design document file. Let's just save. 44. Designing the spine and back cover: And now we can move on to the spine for which we can just use the same formatting of the text. Both of these frames we will be able to work with. But to be able to see the spine better, we can also right click on the spread and choose page attributes, rotate spread view, 90 degrees counter clockwise. That should give us the angle that you should use. That's like a standard. We would want to have the text written like this on the spine. So let's make this a little bit wider. Text frame, it could potentially go all the way to the edges, at least edges of the page. It doesn't have to go all the way to the bleed. And we can align the text frame completely to the spine itself, so we will be able to center it well. Now, this text is already centered horizontally, but we also want to center it vertically within the frame, and that is something that you can very easily do by pressing Commando Control B to access the text frame options and just set the vertical justification to center. Once you've done that, you can select this text, make it smaller, to make sure that we can fit the authors in there as well. And I am going to now select this copy. Cut it, can delete that frame, come back here. And then probably I would add a shift tab, which is a right in then tab and then paste this text in. And then holding down old or option key, starting to drag the corners or the edges in until I find a good placement for the two copies. Something like that looks good. If you feel like the baseline is not in the center still, you can select individually the text like this one here and use or option shift up arrow to nudge it up a bit. So that's called baseline shift. We can do the same thing for this text, maybe just once. And then in between the title and the authors, you could have a glyph that you add here if you wanted to. If you wanted to see the character set of a font, like in this case, the fairy tale, we could go to the type menu and choose glyphs. This is actually a very limited font, so there won't be that much options to choose from. I actually feel like the asterisk is quite nice. So let's just add that in and see how it looks. Yeah, that looks really good. Now remember we have already a right in then tab here. So if I put another tab, I could push this a little bit further to the right and also just select that asterisk and use option or Alt Shift down a row until it's centered perfectly. We could also increase its size if we wanted to, but I feel like it looks quite nice. The way it is. And then if I go to the type menu, I can choose tabs, and then here I can just specify where I want this step to be. So I can align it exactly in the middle right there. That looks good. So let's close this one and then zoom back. I really like the way this looks. So now we can remove the rotation. You can just right click on that little icon there and choose clear rotation. And let's just take a look at what we've achieved so far. I think it's looking quite nice. So now we can concentrate on the back cover. So for that, I'm going to create a text frame, and I will actually use the original margins that we have inside the book as well. And a copy for this is the blurb that I thought can be used here. But you have the option to use the author's bio if you prefer that, it's completely up to you. Probably you won't be able to fit both of them because there's just not much space. But once you paste in this text, we can just quickly assign the same font that we used inside the book, which is Tisa Pro. I will use regular. The size can probably be 12 points. We can increase the leading a bit, can have this text justified with the last line aligned to left. Text size actually can be a little bit less, and we can make sure that we have hyphenation turned on. Avoid the rivers. Instead of a line break between the paragraphs, I'm going to choose the space between option, maybe 4 millimeters like that. And you can decide whether you prefer the black text here or the inverted text, which would be white. It's not a fortunate color to use for longer text. In case of two paragraphs, it's still okay. I wouldn't advise to use white text on dark background most of the time. But in this case, I feel like it's still okay. There's actually more space here. So if you wanted to, you could include some information about the authors. But instead, I'm just going to bring in this barcode that I generated. This is something you will definitely need to have on the back of the book. So that would normally be placed here at the bottom. I will align it to the margin and the center point like that can be probably a bit smaller. Something like that. Perhaps you could have a little illustration done here as well, but I feel like this is already looking good. I'm happy the way this turned out. So it's now time to save the document again. And then in the next lesson, we will see how to export this properly as a PDF, ready for print, and then we will also obviously export the rest of the book in a separate PDF. 45. Using Preflight and Exporting PDF for print: It's time to do our final checks before we create our PDFs. One of the first and most important things to do is to do a spell check, which we can do from the edit menu, spelling, check spelling or Commando Control I. It's a very handy keyboard shortcut. And once you do that, of course, it's going to find strange words like Grims which actually you can add to the dictionary. So in design won't trip up on that anymore. If I say start, it's actually not finding any other issues, so that's already a good news here. Now one thing you want to check is that you haven't used any non printing layers. So if you go to the text layer, for instance, it is definitely printing, and I'm just going to show you that if I turn this option off, click Okay, the name of the layer will be set in italic characters. So that's a way in design is indicating that it's not a printing layer. So that's just something you want to make sure is removed. And then after the spell check, it's best to go into the preflight panel, which can help you to check for lots of other things automatically. So click on that little arrow on the task bar and choose preflight panel. Within this, you can choose between profiles. There's the basic working profile, which is already good, and I actually don't have any errors at the moment. But if you want to define your own profile, this is something you can do from the panel menu. So choose defined profiles, and then you can click on Plus and create a new one based on the basic profile. I'm just going to call it book project. Then one useful feature here that you definitely want to use is the links category. Make sure links missing or modified will be flagged. You can have these additional options turned on as well. Then you want to go into images and objects, and you probably want to turn on the image resolution also to be checked. And this, of course, can be specified as well. What's the minimum resolution that you will require for this project. Since we are working with a vector illustration here on the front, that's not going to be a big problem, at least for the cover but for the rest of the book, that's definitely going to be important. I also want the non proportional scaling of placed objects feature turned on. So this is going to check if you by accident, distorted any of the images, and then you can even have things like bleed or trim hazard when you have something placed too close to the edges, again, won't really be an issue for us, but there is no harm having it then in the text category, you can see by default overset text is going to be flagged. Missing fonts will be flagged as well. But then there's a lot of additional options here that might be useful. I'm not going to go through all of these for now. I'm just going to save these changes to my profile, click Okay, and just double check. I still don't have any errors, which is good. I'm going to drop the preflight panel here on the right. Just so we can easily access it later. And then let's save this document again and then go to the file menu and choose Export. And before I continue, I just noticed one thing here in the background. From the corner of my eye, I noticed that there is no optical margin alignment, and the hyphens are showing up within the text frame. So that's just something I'm going to very quickly fix by creating an object style for this frame here and then go inside it and then go into story options and turn that option on. Was just a final little refinement that I wanted to introduce there. Okay, let's just zoom back. Yeah, it's a very subtle thing, but it looks better already. So we can go back to exporting. That's Commando Control E. And the format we want to use is Adobe PDF print. Go to save it in the files folder, so you can save it in your project folder and just say, save. And within the settings here, I would advise to use the PDF X 42010 format, but you should double check with your printer whether this is something that they can use or not. Sometimes they might ask you to go back a little bit, maybe 2001. However, I'm just going to use this format for now. And for the cover, you should definitely save this PDF as spreads, so you don't want your pages to be divided. And then you want to go to marks and bleeds. And you want to make sure that the crop marks is turned on, but also the bleed marks. And both the document bleed settings and slug area should be included. And then that's actually all that we have to do. So we don't have to worry about any of the additional options. We can just say export. And then you can open up the PDF that you exported in acrobat and you can have a final check on everything. And if you are happy with this, this file is ready. So now we can move on to the actual contents of the book, for which first, I'm going to show you how I would export the book that has all the pages in it. So since we already set up the preflight profile, we could just choose this from here on the left, and we just wait a little bit for in design to check for errors, and it actually found two errors. So I'm going to go to the preflight panel. And we can see that there's image resolution requirement issues. So this is too low resolution, it seems. So this is actually something we can see more info on when we open up this area here at the bottom. So the current effective resolution of this image is 190 PPI. That's definitely quite low. We can go to this other image, and we can check that as well. Also the same issue, 190 PPI. So ideally, these should be increased in size. And normally, what I would do is to go into Photoshop and upsample these images that will improve the quality. Or optionally, you could use plugins or AI tools like magnific. But I'm just going to ignore this. And since there's no other issues, I am going to go ahead and export this file. But don't forget you also need to do spell check. So we can just go in the same option again. And then you will see some issues like this where in design feels like this word should be capitalized because there's no other words in front of it. So that should be the first word of the sentence. However, we have our initial letter here as a drop cap, but there is an image, which obviously in design doesn't recognize, but this can be skipped, and I feel like that's going to be an issue for all of the story but within the stories, we shouldn't see any other issues, apart from maybe similar capitalization issues like this. Then there's also repeated words like this many, many years, which in design, we would like to change to a single instance of many. So I'm not saying you will have to go through the whole book like this in this case, because this copy already went through proofreading. Many times, I believe, so you don't actually have to worry about that here. But whenever you work on a book, of course, this should be a very important step. And now we can just go to File Export, and then choose PDF print again. I'm just going to call it Green Book without the cover in the file name. And now we use the same standard as before. But importantly, I will switch to pages instead of spreads. And in the marks and bleeds, we don't actually need the bleed marks. And also, since we don't have bleed in the document, we can turn that option off. The slug can also be removed, and we can just keep the crop marks on. So then we can just say export. This is actually going to take quite a while because it is a big file. Here on the top right corner, we can see the background tasks, and in my case, it's actually doing quite a good job quickly exporting this. So finished it quickly, and we can check how this looks in acrobat. So this PDF is looking good as well as the previous one with the cover, and I'm just going to jump back to Indesign to show the final variation. So for this, I'm going to have this book file open. In case you don't have your book file open, just go to File Menu and choose Open. And remember, this is going to open up as a panel. And from this panel, you have the option to print the book, or you can go to the panel menu and choose export book to PDF. But just like before, I would advise to pre fly the book first. Also synchronize the book is a good idea. Just double check that the source document is still the one that you wanted to use as the master for all the settings and styles. And then when everything is ready, just say export book to PDF. I'm just going to type in version two just so I can see which one is which. And this time again, I want to use pages. The settings should be exactly the same as before, so we can just export this. And then in this case, we only have 28 pages because I didn't add all the stories, but it should look very similar to the previous result because even though these were independent documents, of course, in designs book feature, we'll be able to automatically stitch them together and create the final PDF accordingly. Now, in case you are interested, how to export the work as an EPUB, that's something that we will take a quick look at in the next lesson. 46. Exporting the book as Fixed Layout and Reflowable ePub: Would take a long time to cover all the considerations you would need to take for an ePub file. It could deserve its own dedicated course, and this is something maybe I will go into more depth later once I have time to expand on this course. But for now, I'm going to show you the most important things you need to do in order you want to create a reflowable ePub and also a fixed layout ePub. So first of all, you want to come back to your cover design. And you want to export this, but in a way that you will only export the last page, and you can actually export it as a JPEG this time. So if you choose JPAG, just call it green book cover. It should be fine and then save. And in this case, you want to make sure you are using 300 PPI resolution, and we only want page number four, in this case, and export it as pages, and the quality we want to be maximum, the color space can stay in RGB, since we are exporting for screen, and the rest of the options should be fine. We don't actually need bleed settings here, so that can be turned off. And once we export this, the file will be ready. And then we can jump back to one of our versions of the book. I'm going to use the long document format, which has all the stories in it. And I'm just going to jump to my table of contents because there is an important option here you want to check. In the layout menu under table of contents, you want to make sure the make text anchor in source paragraph is turned on. This is specifically necessary for EPOPs you have that on, you just want to make sure it's updated in the table of contents, and then go to the file menu and choose Export. And the format first we will use is the EPUB reflowable then click Save. And then EPApVersion 3.0 is what I would recommend to use, which should be supported by most EPOPRader devices. And for the cover, I would just say choose image, and this is where we need to locate the file we just saved. Which is this JPEG. Let's open that. And here you could include the information for the cover design. You can have the title and the author here as well. I'm going to skip that. And for the navigation, you want to use the multi level TOC style and the one obviously we defined within the document. The content order should be based on the page layout, of course, and then there's quite a lot of additional option here, which you can specify. Like I said, I am not going to go into too much depth on this. Instead, I'm just going to show you how this looks like in its current form. So if I just click Okay, once the file is exported, it should open up in either the Books app if you are on Mac or in another ePub reader application on Windows. And there's a cover. It's looking really nice. Let's just double click on it, and then we have the first page. And here I can already see some issues with the reflowable format that things got separated. So for this version, it's actually better to keep things in the same text frame so they don't get pushed onto the next spread. So that's one thing that we would have to fix here straightaway. Make sure they are all kept together, and then the table of contents is looking good. These are all hyperlinks. We could jump to maybe hunts in Luck. Which we load in. The image is coming in, okay? The caption is a little bit lost here at the end of the last word. The poems are not looking perfect. They are a bit too close to the paragraphs following them. The drop cap is actually looking fairly good, although it's not perfectly aligned. Let's see if we stretch this page a bit. What happens? The image is pushed onto the previous page, which I expect it could be the case. But we can just see how it's going to work if we continue to change the signs. And yeah, in general, you would want to see how it looks in a single page format or in a spread format, but to be honest, most people would read ePubs in a single page format. So this is what we want to check mainly, and things are looking much better when we look at it this way. And like I said before, because this is a reflowable book, it means that it's going to always adapt itself to the available screen space, so it can update itself and even render itself in completely different ways than the way you set it there will be always some inconsistencies which you will have to fix and refine, and that's a separate workflow on its own. So once you have your work prepared for print, for ePub, you have to make additional decisions, and I would normally recommend to save a separate in design file, which you can refine and adjust for the EPOP format. Now let's jump back to in design. And before we save this as a fixed layout EPUB, I just wanted to warn you that you have to make sure that the document starts on page number one. And you might remember that at the beginning of the project, when we created this document, I specified that the start page number should be number two. So this is something we have to override now. If I say one, this is going to change all of the pages throughout the document until we actually insert a page at the beginning. So I want at the start of the document a new page. Maybe we don't use any parent page for this. Let's click Okay. So this should fix all the other pages in the document, and they should be set up the way we originally intended. And now that we have this setup, we can decide to include just a very simple text here at the front. If we wanted to, maybe I'm just going to use this and drop it in here. By the way, this is already a separate duplicate file, which I saved specifically for exporting the ePub. So it's not the original one that I would be using for print. I don't want to mess that up. I'm just going to copy Grimm's fairy tales and drop it in here without changing the formatting and maybe just increase the size on this a bit or something like that. Just we have something on this page. It's not completely empty. Okay. Now we can go back to File Export, and then let's choose the fixed layout EPUB this time, I will include in the finnme as well that this is the fixed version, maybe ePub fixed and save. And then for this, I want to also choose an image which actually is already there. So that's the same JPEG that we used before. I want to use that multi level table of contents, the one that we specified in the document, and that's pretty much all we need here. Maybe it's worth mentioning that under viewing apps, you can specify what app is going to be used to automatically open the exported ePub, but we can now just click Okay, and fingers crossed. Everything is going to work nicely. So we can see our book opening up with that new page that we just created, and we can see everything in the format that we wanted to create this book. And the great thing about a fixed format EPOP is that it's not going to refloat the text, so it's going to retain exactly the same formatting as you had originally. The text is still selectable, which is great. And, of course, search should also work. So if I'm looking for something like Ponzo, we should be able to find it on page 65, actually jumped here first in the table of contents, which by the way, should still be working as well. But I'm going to jump on the actual page where it is, and then we can go through the stories. And I just wanted to show that if I'm adjusting the size of the app, it's not going to make any changes to the format, it's just sticking to its original aspect ratio and the layout of the pages as we created them in design. A lot to consider when you are creating ePubs. The fixed format, of course, will closely resemble the formatting that you used in in design, while the reflowable format is giving more freedom for the users to specify the text size, even adjust the font that is used in the copy. And generally, it's just a more widely used format compared to the fixed layout ePubs. 47. Advanced Text Handling workflows - Linked text file and plugins: I left this topic to be discussed till the end of this project, the more advanced text handling workflows, because this is something I didn't want to confuse you in the beginning. The most common workflow, if you are a single designer working on a book is the way we were working. However, there are ways to collaborate when you are working on the design and maybe editors or proofreaders are working on the copy, and there is a synergy or sync between the work that you do and what they are doing. So there's actually a solution in in design first that I'm going to show you. Then besides this feature in in design, we also have the dedicated application called Adobe in Copy, which I will show you how it works in combination with in design. And finally, we will also look at two plugins that's worth remembering when it comes to more advanced text handling workflows. Starting in design when I just have a blank document, the same template that we used before. And before we import any text, this is actually a preference that we have to change to be able to use this feature. So we have to go to in design preferences file handling. If you are on PC, go to Edit preferences file handling, and this is the feature. Create links when placing text and spreadsheet files that you have to make sure you turn on. Now, once you turn this on, what this means is that in design is going to in your in design file to that original text file that you used, which will work similarly to how images are handled by default in design. So if the source image updates, in design will tell you that you have to update that link, and once it's updated, it can refresh it within your in design document. Now, in terms of copy, whether it's a text file or spreadsheet file, it means that the actual original copy can be updated in that document file, which was used in the beginning when you import the text. And in design, we'll be able to update your already formatted copy within the in design file according to those changes. So let's see how this works in action. I'm just going to click Okay, and then select this text frame and press Commando Control D for the place command, and then you can decide whether you want to use the original RTF file, the corrected RTF file, or the docx file. It should work with all of these. I'm going to use this RTF file that I already corrected where the copy is fixed. I will say open, and I'm not going to change anything here. I'm just going to say Okay. And the auto flowing of the text should take some time because we will again have lots of pages here. And I'm just going to scroll through them. Yeah, this is looking fine. I'm not going to worry about the formatting right now. I am just going to save this file as a test. So I'll just call it test, maybe make a note, linked copy, and then save it. And I'm going to go to that file, the corrected file, open it up in text editor. And all I'm going to do here is to maybe add a few paragraph breaks after the first story title, Golden Bird. And perhaps I changed this to bold. So the first title. Going to save these changes. I'll jump back into in design, and after a little bit of pause, it's going to show these warning signs, which I just have to double click on, and it should automatically update the copy, and not only the extra line breaks will come in, but even the change of the formatting will be synchronized. Now, it's important to mention that this is a one way connection where the changes that you make in in design won't be carried over into the text file. So in case I am also working on the copy, I'm not just the design and the formatting of the copy, those changes won't be reflected in the linked copy file. This is just a limitation you have to be aware of. And in case this is the setup that you decide to use, then probably the best thing for you, the designer is not to mess with the copy at all. You are just formatting it, but any changes that's required in the copy will have to be done through the original text file. And vice versa, whoever is working on the text file, most likely shouldn't mess around with the formatting because that's something that you are handling within in design. I just wanted to show that within the Links panel, just like having an image linked, now we can also see the original text file being linked. And, of course, within a single in design document, you can have multiple text files linked, and we can also easily open these up directly from in design if we wanted to simply just by double clicking on them. But in case you want to a round trip workflow where the changes that you do in in design can also make changes in the original document file, not just the other way around. Then for this, I recommend the following solutions, words flow by software or Dox flow. Dox flow works with Google documents and spreadsheets, while Wordflow is working with Microsoft Word and Excel files. And without going into too much detail, essentially, this just fixes that problem or limitation so if you are making any changes in in design, the original source file will also be updated and vice versa, so you get a perfect round trip solution. But these tools, unfortunately, are quite pricey. You can't even buy them. You have to subscribe to them, so you get a 12 month subscription, or you can choose to have six months. Of course, they have a trial, so if you want to try them out, that's something that you can consider. But like I said, because it's pricey, it's definitely something you should only invest in if you're 100% sure that this is going to improve the way that you work. 48. Advanced Text Handling workflows - Adobe InCopy and Track Changes: Now we arrive to my favorite solution, which is actually using in design with InCopy, which is, again, a much more professional workflow, and this is really how Adobe wants you to work if you are working with a proof reader or editor. And for this, I'm going to switch back to the formatted version of the book, and I'm going to go to the edit menu and choose InCopy export. And you can choose whether you want to only export the stories or only the graphics or all the graphics and stories together. I'm going to actually choose this option, which is the ultimate export for InCopy, and I can use the same file name because it should save it as a different file format. And before it can export it, we have to give ourselves a name. So I will just use my name because that will be referenced in copy, and it will help us to see who is working on the same document at the same time. So I'm going to use my name, and of course, I can choose a color if I wanted to, but I don't mind being the gold user so I will then click Okay, and it just tells us we have to save this document before we can export this for InCopy, which is fine. I'm going to save it. And then I'm going to switch over to Adobe InCopy, which by the way, is part of Adobe Creative Cloud. So if you have a CC subscription, you should be able to install this on your computer. I'm going to go to File open. And then within the project files folder, you will notice that I have actually quite a lot of additional files generated. ICML files, so these are the encopy files. And because we had a very lengthy document, in design automatically broke up our project into these individual files. So let's just open the first one. And now, again, we need to choose a user name. I'm just going to type in my son's name. As if he is the proof reader, and let's click Okay. And then once I found the actual file that has all the copy in it, I can switch between different views here in Incopy. We have the galley view, we have the story view, and then we have the layout view, which should look very similar to in design. However, here, the tax flow will change similarly to a reflowable ePub. You can just skim through this just so we can see how it looks. Of course, it won't look as good as in design. But to be honest, here, most of the time, the people who use InCopy would work in the story mode, and that can be adjusted and updated to whatever way they prefer to work in. But essentially, this is very similar to the story editor within in design. So it's much easier to work with the copy. There's no distractions, and they can see the paragraph styles on the left if they want to refer to it and just to see an interaction between the Incop user and the in design user I'm going to do something similar to what we've done before. I am going to create maybe a line break here in the copy, and I'm going to change something actually in the copy. So instead of eldest, I'm going to type in youngest. And let's just save these changes. And now jumping back into in design, Notice that on our text frame, there's a little icon up here with an excamation mark. So currently, the text is still saying Gardener's eldest son, and there's no extra line break there. But as soon as I update the content, this should update here as well. By the way, I just want to show you that there's also an error message that refers to this modified link. So this is that actual link to the Incopy file. And there's a couple of ways we can fix the synching. We can either right click here and choose inp update content, which by the way, has a keyboard shortcut, as well. Or you can go to your Links panel and then find the issue there, and simply double clicking on that should update the changes. So we can see straightaway that the line break came in, but also the copy is now changed to youngest. Now, let's see what happens if I want to make changes to the copy here. For instance, I want to change this to eldest. It doesn't actually let me to do that. And let's just see what happens if I want to delete something else from the copy. Again, I'm pressing delete, nothing happens. And that is because the story is currently open in copy. When I keep my mouse in position, it actually says, Isaac is currently editing this file, so I won't be able to make changes to the copy. I can make changes to the styling the flow of the copy. So for instance, I can select this text frame and I can adjust it and any additional thing that you would want to do with your layout or the formatting of the you just can't change the copy, so that's almost like in a locked state. Even this little icon here, although it's hard to see, is essentially trying to tell me that there is someone working on this right now. And if you go to the Window menu under editorial assignments, where you can find all the connected in copy files, out of which we can see that this one right now is being edited. The great thing about breaking up your document into separate in design files and use a book format is that it would be much easier to manage each of those independent documents as independent incopy files. So you could even have a whole team of proof readers or editors who are working separately on those copy files, while you can still work on additional stories that you haven't formatted or edited yet within in design, and no one is going to be blocking each other from actually getting work done. This is definitely a big drawback of a single in design file for a long format document like this, especially if you are not the only person who is going to work on it. So that's definitely a consideration you have to make before you commit to a project like this, depending whether you are going to work alone or in a team. So I just want to show you, to be able to make changes to the copy directly within in design, first, whoever was editing has to sign out of in copy. And in this case, I already did that in the background. So the icon here changed. It says available. From the same panel assignments, I have to use this icon to check out the selection. That means it's me who's editing it now, and now I can come back in the copy and I can adjust everything the way I've done before. So I can change this back to eldest son, for instance. For the copy user to be able to access this copy again, you just have to make sure you sign out here, so you click on that icon and you will just get a warning that you can't reverse this change with the edit undo. I'm just going to say, Okay. And then all the changes that I've done here will be now reflected in the InCopy file. So if we just jump back there and open that same file, we can see that the youngest son is showing up here again. Finally, there's one additional feature that can be also useful when you collaborate with someone, whether they are using copy or the same in design file that you are working from is the Track Changes panel, where, first of all, you would have to select the text or story that you want to enable for tracking. So this is what you want to choose, enable tracking in all stories. But besides that, you have to also choose track changes in current story. And then if you are changing one word, let's say the eldest back to youngest, by default, you won't really see anything update until you check this in the story editor, where we can see what was the original copy there and what did I change it to? And this is when the Track Changes panel will also show the user who made the change, the time that they changed this text, and what was the actual change. In this case, I edit text, and then I also at the same time deleted some text. The great thing about track changes is that it can be used to approve or accept these changes or reject them. And of course, track changes is something that will be also visible in incopy. So that's a completely synchronized feature between the two applications. I know in many professional workflows where they actually don't use incopy, they just rely on the track changes, and whoever is working on the file actually works within in design, make their changes. But they make sure that they are tracking the changes for all the stories in their documents. And that's all I wanted to cover in this project. I hope you found it insightful and useful. We covered a lot. This definitely has been the longest project I ever recorded and the most complex one. But I had a lot of fun going through this. And just with all the other projects in this course, I highly recommend to practice the features and the workflows and techniques that we covered on other examples. So feel free to explore and further refine and mold this project, if you want, and finalize anything that we haven't had time for. But then using whatever you have learned here, you can apply it to other books. I'm going to have a couple of additional book copies already downloaded for you to work from, like Dracula, ikingTales and around the World in 80 days. But in case you don't like these specific books, you can just go on the Gutenberg website and download the copy for whichever book you like. 49. 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.