Design Stunning Magazine Articles in Adobe InDesign

1. About this project: Working on the design of magazine articles is one of the most exciting and creative editorial projects. It's where design meets storytelling and every page becomes an opportunity to captivate readers. In this project, we will start by looking at some inspiring examples of magazine layouts and break down how they are built inside Adobe design. We will explore how design decisions like typography, image placement, and layout structure come together to create professional, visually appealing articles. Then we will roll up our sleeves and jump right into Adobe design, creating a stunning layout for a travel magazine article about the beautiful country of Greece. From a blank document, we will build everything step by step so you can follow along at your own pace. We will cover all the essential elements of a well crafted magazine article, headings, subheadings, deck, Byline, body copy, captions, credits, running cats, and so much more. You will also get hands on with advanced techniques like grab styles, parent pages, and inline icons to elevate the design, giving your layout that professional polish. I can't wait to get started, so grab your creative gear and let's explore Greece together while mastering the art of magazine layout in Adobe design. Let's go. 2. Inspiration - Men's Health Magazine article: The Perfect Curry: This video, I want to show you two really great examples of editorial design. Both of these are articles from the Men's Health publication that was published here in the UK. I got these from the publishing house directly. So these in design files are the actual finalized versions that went to print. We will be able to see all the parent pages and styles that they used and the structure that they put together here, and there will be a lot of valuable knowledge that we can get out of these examples. But before we get started, I just wanted to also mention this website called Ready, which is an amazing resource of inspiration for editorial design. So if you are interested in creating magazines, this is where you will find some amazing examples. For a small monthly subscription fee, you get access to the digital version hundreds of magazines from all around the world. You can filter based on languages and, of course, your interest. But I recommend this resource because there's just a really diverse set of magazines that you can find here. And then when you choose a publication, you can see the previous issues. So you can also see the consistency throughout the issues and how certain magazines develop in style. If we just jump in maybe to the most recent one, I just wanted to show you that here at the bottom, we can flick through very quickly jump over these adverts at the beginning and then get to the more interesting parts of the magazine. So yeah, like I said, brilliant resource. We can zoom in really close, have a very close look at all the little details that they used in the magazine. And this is just so much better and more real than using websites like Pinterest or Behans to find inspiration and references. Like I said, I highly recommend this website, and besides setting favorites magazines that you like, you can also bookmark specific pages. Like here, for instance, I created a category for creative examples of tables in magazines. So if I go in here, we can see an example for this, or if I just go back, we can maybe find the table of contents examples. So there is one here. Again, if we zoom a little bit closer, can see how they done their table of contents, the fonts that they used, and generally the layout that they use for it. But we can again, jump back. And I think there's a couple of additional table of contents examples. But then there is also the Men's Health table of contents, which we can see how nicely it's separated into these categories, and then we can see all the illustrations that they died. And yeah, here is another example of a featured article. Really great design. I love how the bath is separated between the left and the right side of the spread, also how the text is divided, and it's really nice and symmetrical, and then we have the additional contents of this featured article. Ridley is brilliant, highly recommended. Even if you just subscribe for a month or two, you will be able to get a lot of amazing inspiration out of it. And just like with everything in graphic design, the more references and examples you collect and you look at, the more creative and interesting layouts and ideas you will have when you start designing your own magazines. Jumping back to in design, first of all, I just wanted to show you that in most editorial setup, you would be using a lot of guides. You would have your column guides, which are these vertical lines in here, and we can check for this specific page. If we go into margins and columns, they are using 14 columns. We will actually be using the same setup for our magazine project, and then we have 4 millimeters Gua. The top margin and the bottom margin is almost identical, and then the inside and outside margins are slightly lower. We have a baseline grid. Again, we can check the baseline grid setup here. So we have an increment of 10.5 points, starting from the top margin. And most likely the text here on this page is not going to be aligned to the baseline grid. It will most likely just be used on the body copies, so we can move on to the next page. And let's just see if they actually follow the baseline grid. This is actually still not following the baseline grid. And maybe these here at the bottom, no. Even these are not following baseline grid. So for this particular article, it seems like nothing is following the baseline grid. So having grids in place doesn't mean that you have to utilize it for everything. So it might be used for specific type of articles, which might be a little bit more text heavy, but in this case, it is not used, so none of the text is aligned to it. I can tell straightaway although there are several various parent page designs like this one called A spread, then we have the B agenda, then B agenda left, B agenda right. That's just the same thing we just broken up. Then we have another one here, another one, and one more. These are more like just variations, I guess, for the main design. It seems like for this article, they only used A spread, which is going to have the information here in the footer with the folio and the magazine title on the rectal or right side, and the same thing on the Verso or left side. And then in the middle, we have the gotta credit on both sides. And then all of these lines that you can see here are additional guides that they placed in, mainly to align the footer and the header, I believe. And if we jump back to the first page, we can see we have a running head, eat healthy ish Indian summer, which then continues on here on the right side. And I love the fact that they actually have the text underneath these chili. And that's a beautiful design. And by the way, in all of their layouts, whenever there is a floating image like this, they actually have two instances of the same thing plays in because they are using a different blend mode to get the shadows, the cast shadows looking more realistic. So for instance, this image right here, if I go into the transparency settings, we can see is set to normal blending mode. But then if I move this away underneath it, we have the version with the shadows. So it still has the objects inside it, but it also has the car shadows. And that versions transparency or blending is set to multiply. Now if I set that to normal, it won't really show much difference here because we have just a gray background, but in case there's colored background, it would make a big difference switching between normal and multiply. And it's especially more important once we get to the print stage for this article. Yeah, you can see, we have a completely masked out version which doesn't include the shadows and then a masked out version, which has the shadows still visible. And the two are placed on top of each other. So I'm just going to drag that back there. And yeah, once again, I love how there is an interaction between the running head and the chili. That is looking really good. I love how these lines are also going underneath the chilies. We can still see exactly where it's pointing at, but it's just again, another nice play on depth and interaction between the typographic elements or graphical elements and the images. And in terms of alignment in this magazine, we either have right aligned text, like in these cases here on this side. Or left alignment, depending on where the text is. Whether it's closer to the left side of the page or the right side of the page, we can see the alignment is changing. If we look at the horse spread together, we can see that they are not using justified text. They are using left align text, but there is no hyphenation, or at least I can't see hyphenation being used on this spread. Let's just see maybe the next spread. I believe they are not using hyphenation, and that is because it's not necessary. If you are not using justification, it's probably better not to introduce hyphenation. It's just unnecessary because you won't be getting rivers. You might get more ragged edges, like, in this case, because you have very narrow columns, but it's not a big deal, apart from maybe this little instance here, which doesn't look great, the rest is okay. I feel like we have a quite good edge of the text. And it's also a great example to see how rules are being used in the layout. So we have a vertical rule running down here. Then we have a horizontal rule that divides the intracpyer deck from this sidebar text that we have here. Then we also have rules within the design, dividing these columns, so we can call them column rules. There is another thick rule here, again, that is interrupted by the image and it's again, a beautiful example of how nicely masked images can create this amazing interaction between text and the layout. So the images can extend beyond the boxes that are created for them like this pan, as well as covering the other books that's underneath. So they are not so rigidly separated into the top section and the bottom section. And then we also have a rule being used here to separate this heading from the rest of the text, another rule there. And there's even these little rules here. If I zoom a little bit closer, we can actually see this better. We have these horizontal rules between the ingredients. And since we are here, it's also worth mentioning that we have also this arrow that is pointing to the next page just indicating that there is more contents for this article, so it hasn't finished yet. And if I go back one spread, we can also see the same arrow being used there. And then let's just go to the last spread, which is another beautiful layout. It almost feels like an infographic, but it's actually a couple of recipes and the ingredients with another sidebar here on the right. This time, it's a guide for preparing the perfect rice. 3. Inspiration - Men's Health Magazine article: The Best and Worst Drugs: Let's take a look at another article from the same magazine, Men's Health. We can see they are using the same arrow, even on the first spread or intro spread. And then we can also spot the byline, which is up here on the top. If I just zoom a little bit closer, we can see the words By text. And as we go into this article, we can already see that there is an established style for this magazine. That they continue using. Here, we have, again, quite a lot of rules dividing these elements, the images are all floating with cast shadows on them. In this particular article, I really like that they have a key or a guide on understanding what each of these colors mean. And if we zoom in, we can see that each of these refer to one of these aspects or properties, and they can actually be seen here next to each of these drugs. And also on the top, we can see all of these colors put together, which is great. It's like a little chart, and then we can go through this and so these were the good things or the good or useful drugs. And then we have these new colors introduced for things that are actually not good for us. And it's great how the colors are used already to set the tone of what's more positive and what's more negative. So we can see the red one is used for false claims, grays waste of cash. Black is downright dangerous. So if we see black somewhere, that actually means it's very bad. And again, I love how they've done the masking on these images, and it's just incredible how much information fits on a spread when it's well designed. So without making it overwhelming, they managed to fit 25 paragraphs, 25 images, at least. On top of that, we have the key as well and quite a lot of negative space here under the key. And then, of course, the heading and the subtitle. And even though we have so much things on the spread, like I said, it still doesn't feel crowded. It's still very easy to find what we are looking at, and that is definitely one of the hardest things to do in magazine design to be able to fit so much things on a spread and still make it look interesting and easy to navigate. And this is probably the end of the article. We can actually see a little indication here at the bottom. This circle is an anchored object. That basically indicates that this is where this article ends. The way this is set up is that this is an inline object. If I right click on this, I can show this anchored object options in line or above line. And this is actually something we will be using in our project as well. And I just want to show you if I delete text that is moving up and down within the text, so it can jump even between lines. So it's a very useful way of setting up that last little indicator where the article is ending. It's also worth mentioning and checking that for this publication, they are using five layers. They have a margin guide layer, which can be turned on and off. And by the way, I can see that they actually added the background rectangle on that layer, which is not supposed to be there, I guess. It should be maybe on a background layer, but it seems like they are using the same layer for two different things. They also have the credit element here, which is inside the gotta area or creep. You can also turn that on and off just so we can see it. And we have a layer called cap height. Now, this is another guide or grid that we can add, and maybe I can just turn off the baseline grid just so we can see this. So they generated this by creating all of these horizontal guides. And if we zoom closer, we can see this is how it looks without and with. So they are using that for cap height. But again, because the text is not aligned to the baseline grid, it doesn't really matter in this case, so I believe they are not using it for this spread. They have a separate layer for pictures. Once again, not 100% consistent because this image, for instance, is on the page content layer. And I believe that is because all the other pictures are below the text while this one is hovering on top of the text. So the page content actually holds all the copy on the spread. And like I said, in this case, that's the only image that is actually floating on top of the text. So if we zoom closer, that's the one above, while the other layer, the pictures layer, all of those pictures go below the text or underneath the text. Other thing worth checking is the way paragraph styles are set up. I'm just going to close object styles. It seems like they are not really using object styles in this publication. I'm just going to drag character styles down. On the other hand, they are using a lot of paragraph styles. So we can see they have categories for them as well. But I believe mostly they are using this one, the redesign. So that, I guess is the most recent formatting that should be used. And we can see if we select one of these paragraphs, it's actually using this body copy here. It's in another category. Let's just select one of these subheadings that is coming from this other category, and then we can maybe find a title like this or subtitle or heading that is actually using body copy, modified version of body copy. So even though it is a professional publication, we can tell that they are not always 100% consistent using their styles. The styles are there to save time and to assure consistency. But in certain cases, like we can see it here, many of these elements are actually just variations of the body copy. They tweaked it, but they didn't set it up as a separate style, or they were maybe not following the default style that is normally used for these elements. In case you work as a freelancer for a publishing house, they will be quite strict on making sure that you utilize all of their templates and settings that they would normally work with. While if you are an in house designer, especially if you're a senior designer, you have a bit more levy. You can get away with more inconsistencies or you could say sloppiness within in design when you're not using the right paragraph styles or maybe you're not relying on the templates that are set up already. This really, again, varies between publishing houses and creative teams. And now, although I could spend hours just talking about and analyzing these articles, I feel like it's time to get started with our project. I hope these examples that I showed you here made you more excited and inspired to get started with your own magazine design. 4. Setting up the document: Like with every project, we start with a new document. So go to Fine Manu, choose new document. And then for this particular project, I will be using 210 millimeters for the width and 278 millimeters for the height. I will keep the orientation of the pages set to portray, and I'm going to need eight pages set to facing pages, which means we will have four spreads. And for the start page number, I'm going to just type in 34 to make it look like this is somewhere in the middle of the magazine, which we would normally call the feature well, where most of the regular departments of a magazine can be found or the featured article itself. I'm going to use this particular size because it works quite well for magazines, and many magazines out there use this setup. But of course, there are differences, so it's the Oni standard. There's many different sizes that you can work with. But the reason I like this one is because it works quite well with the 14 column setup. So that's something that we will be using here. And it will be using four millimeter gutter. So that's the space between the columns. These will be the vertical guides that we will align a lot of things to and we will be using mainly the baseline grid as our horizontal guide within the pay structure. Now for the margins, I would like to have a lot of negative space on the top of our spreads. That's why I'm going to use 34 millimeters as the top margin, and I will turn off the chain. So I want to make sure that I can use different margin sizes for each of the sides. For the bottom margin, it might be a bit strange, but I'm going to use 29.2 millimeters. This is going to work well to align with the baseline grid, which we will set up short. The inside margin, I will set to 28 millimeters, and the outside margin, which is around the edges, I'm going to use 17 millimeters. For the bleed and the slug, I always use the same setup. Just going to turn on preview in the background so we can already see the pages being populated there. But yeah, so for the bleed and the slug, I'm going to use three millimeter around all the edges and also 13 millimeters around all the edges for the slug. We won't specifically need to add anything on the slog for this project, but it's always good to have it there in case we want to communicate something with the printers like full marks or additional information. Now, this is the setup that we will start with, but we will make a couple of changes as we go along. Now, I am happy with this setup and we can click on Create, and we can already save this document as well just so we have this setup in place. But one other thing that I would like to set up straightaway is the baseline grid. So for this, we have to go to the preferences. If you are on a Mac, it's under in design preferences, and then you will need to go to grids. If you are on PC, this is something you will find from the edit menu. So edit preferences, grids. Now here, the first thing that I would like you to change is the grids in back. This means when this is disabled, all the grids that you use, whenever they are turned on and visible, they will always be on top of all the other elements in the document. So they won't be hidden in the back. Prefer to work like this, so I like to see my grid whenever I have it turned on. The next thing I would like you to do is to set 0 millimeters for the start position for the baseline grid. The increment should be 10.5 points, and the relative options should be set to top margin. So once you have these selected, you can click Okay. Then you just have to go to the view menu and choose grids and guides, show baseline grid. Now, if you've done everything correctly, this is what you should see. So we have our column guides, these darker purple ones, the pink ones are the margins, and the blue ones are the baseline grid. So they are the horizontal lines, and it's perfectly aligned here at the bottom. And of course, we have our bleed that runs around the document edge, and then the blue one there is the slug. So if I zoom back, that's how the document should look like. And of course, going through the spreads, it should be consistent because we've done these changes at the beginning when we set up the document and the preference obviously is going to apply to this document only. By the way, if you change preferences when you have no documents open in design, then those settings will become the standard or the default setting. And they will apply to every new document that you create from that point on. So for instance, with the baseline grid, if this setting is something that you like, then you can just do this without having any documents open, and then from then on, it becomes the default. I recommend saving this file already at this point. I go to File Save, and I'm just going to put it here in this folder. We will create a package at the end. So far, I just would like to make sure it's already saved. And by the way, you can also save this as a template, which might allow you to start a project, a new magazine project without having to go to these settings again. So that would be file save as a template. That's, again, something that's going to always start as a blank document. Of course, we don't have to do this for this project, so I'm just going to continue working in this in design file. 5. Preparing the opening spread: First spread for this article is going to be our cover spread. So that's the one that leads into the story and that really separates it from the rest of the magazine. So this has to be a very eye catching design, both in terms of typography and also the image itself. I am going to place in the image already here. So I go to File menu and choose place or Commando Control D. And then from the exercise files, you should be looking for this particular image. I'm just going to place this in, and I will make sure that I use the bleed edges, so the red edges. Come all the way down here. The aspect ratio should perfectly fit the page. That's how it looks. If we press W on the keyboard, we can hide temporarily the guides. I'm also going to press Commando Control R to hide the rulers. So that's the image that we will be working with, but we will do some tweaks to it later. Now, I'm going to already start defining my layers. So first of all, I'm going to call this layer as images, and then we will have another layer for the copy or text. So these two are useful to have. We can also have a background layer in this particular project. We might not need it. So I'm just going to start with these two, and I'm just going to select this image, and I can see it it's already on the right place. Now I'm going to lock it, and I'm going to select the text layer. And here I'm going to use the type tool that's T on the keyboard and then click and drag and type in the perfect maybe with P. And then if you double click on a corner point of your text frame, by the way, I pressed escape as well to stop typing. And if you double click on a corner point, you can make your text frame smaller or bigger, and you can also hold down Commando Control Shift and drag one of the corner points to quickly increase, decrease the size. And I am just going to copy this. That's option or old click and drag and type in again, with G Getaway, perfect getaway. I'm going to keep the text here for now, and I'm going to come back to this later because I actually would like to have the text integrating into the background. So creating some nice sense of depth and perspective with the typography blending into the image. And that is something that's better done using Photoshop. So I just prepare these two parts of the article's title or the headline, but we will be refining this later. So I'm just going to save this for now, and I don't even worry about the formatting of the text just yet, and we will return to that later. 6. Adding the main elements to the second spread: Moving on to our second spread is where things get more interesting, at least at this point. So I'm going to turn off the locking on the images layer, and we will probably start placing the main two image frames down here. So for this, I'm going to use the frame tool that's F on the keyboard. And you can draw the first frame, starting from the spine of the document and drag it out aligned to the margin on the top and the bottom. And I'm actually going to move it in a little bit further here on the right side. So I wouldn't want to have the edge of the frame exactly on the spine. I'll move it in a little bit, and you can actually see the X and Y positions and the width and the height for this frame. If you want to copy exactly what I'm doing here, but notice that I am not using exactly the column guide, which would be this one here on the left side. I'm using the exact center point between two column guides. So if I move this frame here, that would be one of my column guides. This is the other column guide, but I'm using the exact center point between the two. And that is a common practice. So you don't have to be restricted to just utilizing the column guides themselves. You can also use fractions of them. So this would be considered half a column space or distance. This is our first frame, and then I'm going to alt or option, click and drag to duplicate this and drag it onto the other side. But here, I am going to drag this right edge until it's aligned to the actual column guide. So the two frames are not identical in size. The one on the left is slightly wider than the one on the right is narrower, but it's also overlapping the gutter or the center point in between the two pages. Let's just place in already the images. I'm going to first start here on the right side, select that frame and then press Commando Control D. And the image I'm going to use here is this one. So I will just drop that in here. And once it's selected, I will make sure that it's set to feel frame proportionally. It seems like by default that was already set up like that. And I'm going to select the other frame now. Again, press Commando Control D. And on this side, I would like to have this street scene. So I will place that in, and I'm going to again make sure it's set to feel frame proportionally. And then using the content grabber in the middle, I can start moving this left to right, just to check which angle works better. I think something like that looks nice, at this point, I can press W just to see how these two images worked together as a pair. Maybe we can select this one on the right and just drag it a little bit further to the right so we see a little bit more of that tree, or we can make it move more to the left. I feel like a bit more of the C looks quite nice, something like that. Going to press W just so I can see my margins and guides. I'm going to use the type tool now that's T on the keyboard and create the main text frame that we need on this spread. So that goes all the way from the top margin down to the bottom margin, aligned to the right margin. And here it's aligned to this column guide. So I leave out a full column plus the gutter between the image and the text that is going to be the space between them. And then now we can move ahead and already place in the main copy for this document. Similarly to placing in images, we just select this text frame, and I'm going to press Commando Control D on the keyboard, and then the file that you will need is called Grease Article Copy. It's an RTF file, which is a rich text file format, and I'm just going to choose open, and it loads the text in already with a default setting. So we have a couple of important things here, like the stand first or deck, which is a first intro paragraph. Then we have the headline or heading, and then we have the body copy continuing here. Now, there will be quite a lot of formatting options we will use here. But for now, the good thing is that we already have the copy, and of course, it's overset at the moment. There's much more text here than what fits in this text frame. We will be threading this text as we go along creating the additional spreads. So it's good to have that already in place for later. But besides this text frame, we will also need a couple of additional text frames here on the left side. So let's just zoom here a little bit closer. I'm going to use the text frame tool, and I'm just going to create a frame this big. So starting in the gutter to the next gutter area, it takes up two columns and three gutters, this frame, and I'm using two baselines for the vertical size. And here, I'm just going to use the type tool and type in the following text on four Gutterb journeys. Like that. And this would be considered the kicker, which is a text that usually is on the top left of the page or the spread, and that really kicks off the conversation or the article. And then we will have the byline based on this. I'm not going to copy this just yet because I would like to have the formatting set up based on that. But to be honest, we can already set this up a bit further down here. I'm just going to leave out two lines, and then I'm just going to type in edited B and then type in my name, Martin Bernic. Like that. Again, we don't have any formatting set up yet. We are just setting up the main components or elements of the page. Now we can also create the department title. That's the section of the magazine, like a recurring section that would appear every time in this magazine. So that's something that we're going to go here on the left side. And I'm just going to duplicate this text frame and change the text and call this one experiences. Like that. Then this actually, I'm going to rotate 90 degrees counterclockwise. Holding down the shift key, you can make sure that it's going to align to 90 degrees like that, and we can make this text frame much bigger because we will have this text much larger. Once again, I'm going to align this properly later on. But for now, I'm just going to select the text and change the size. So under character formatting, maybe up to 90 points. Let's see if that fits in here if I make this bigger. Yeah, something like that. For now, I'm just going to keep it like this. Let's make it a bit longer like that. Now, if I turn off the guides with W, it's starting to take shape already. So even without formatting, I like how everything is balanced out. So we have some text on the left side, and then we have text on the right, and in between, we have this nice pair of images. We will have the credit here at the bottom for which I can just copy again this text frame and just type in image credit. For now, we can type that in later and format it properly. Then that's essentially all the main components or elements that we will need for our first spread, and then we can move on formatting it in the next lesson. 7. Defining Paragraph Styles: Be able to work properly in in design when it comes to formatting text and especially setting up your paragraph and character styles, you want to make sure that these panels are open and all visible at the same time. So you don't want to switch back and forth between them. You want to display them side by side. So as you can see, I have paragraph style on top and then below that character styles, and at the bottom, I have object styles. So I always like to see when I select something, what is applied to this out of these three panels. Because we haven't set up any styles yet, you should see that the basic paragraph is selected, but there's already a little plus sign, which refers to the changes or overrides that we applied already to that, and there shouldn't be any character styles, and also it should just say it's a basic text frame. Again, a little plus sign could mean that there's already something that is different from the default settings. We will start with the department title formatting, which is here on the left side. And for this, I'm going to show you a useful technique. If you have this spread selected in your page spanel, you can just right click on that. And then from the page attributes, you can choose Rotate spread view and choose the first option 90 degrees clockwise, and then we can just move up here. So now we can read it much better. So this just temporarily rotates the spread around, so we can do the formatting here. And I will select the whole text, and I'm going to choose the font called Montserra now if you don't have this yet installed on your computer, you can go to Find More, and then you should be able to install this from the Adobe fonts. So the full name of the font is this Mansa. And the one that I'm going to use for this particularly is the black one, but you can install the whole font family because it's a very versatile and good font to work with. So I'm going to use this one, and I'm actually going to set it to all capitals as well. So it's not the Monsa alternatives. It's just a normal Monsablack and for the size, I'm going to use 33 points. So this is how it should look like. But one additional thing I would like to change is to space out the characters a bit. So for this, I'm going to use the tracking option and type in 100. So that's going to leave more space between the characters. And it works well, especially when you have text on an angle. It allows better legibility. That's, I think, all that we need. Now we can just double click on a corner point of the frame to snap the frame to the text itself. And then we will find the place for this later, but more importantly, we want to make sure that this is defined as a paragraph style. So I'm going to go to the Paragraph Styles panel, and while having this text selected, I'm going to hold down the Alter option key and click on the plus sign. This makes sure that you create a new style based on your selection. But you also want to make sure that the apply style to selection is turned on. So when you create the style or define the style, that doesn't automatically apply to the selection itself. So you just want to make sure the two things are connected. And I'm going to type in 01 department title. And then click Okay. So that's our first paragraph style ready. And the cool thing about this is that if I select any text now, I can very easily apply it. Just going to make this text frame bigger just so you can see it. And of course, we can also get rid of the page rotation because that's the only text that needed it for now. The credit will also be set in the same direction. But for now, we can just turn this back to normal. So I can right click on the little rotation icon and just choose clear rotation. Then we will go back to normal. All right. So that's the department title. And the reason I use 01 in the name of the style is because I like to have consistency in the numbering of my styles. That helps me to quickly identify and find where things are. So I'm going to create already an order. It's like a hierarchy between the styles. This is obviously the biggest title, and then we will have the headline, which is going to be this one, the land of goods and myths, in this case. So that's going to be 02 headline. So this numbering already sets up that hierarchy between the styles. That's a personal preference. Obviously, you can name your styles to whatever you wish. That's just something that I came up with and found effective when working on editorial design projects. So let's move on and highlight this first line in the body copy. And for this, I'm going to use another font called Mascuo Mascualleo. I'm not sure if I pronounce it correctly. And from this, I am going to use the extra black version. So this is, again, something that you can download or install from Adobe fonts from the find more option. If you don't have it already, I'm going to choose this one right here. And I'm going to set the size to be 22 points. And then the leading can be reduced here. I will probably go down to 22 points. It's a general rule that when you have a larger text, you use less leading, and for smaller text, you use more leading than the default settings. But obviously, that's again, just something that's specific to this certain style of editorial design that we are doing here. So every genre or type of magazine might have a different setting, but I prefer to have less leading or spacing between the lines for the headline formatting. And then I would also make sure that there is no hyphenation. So from the paragraph formatting controls, you want to turn off hyphenate. And by the way, if you don't see these settings here on the top, you want to make sure that the control panel is turned on. So window control is on. You can also use the property panel to change these settings, but I still prefer to use the control panel on the top. I just got used to it. It's been around for much longer than the property s panel. And after having the hyphenation turned off, we want to make sure that there is space after this paragraph style, and I'm going to use 7 millimeters, type in 7 millimeters there. And then we also will add an additional styling. But at this point, I prefer to already save this as paragraph style. So I will click on this icon here. Under, again, the paragraph formatting controls, the little paragraph icon and then choose new paragraph style. It's the same thing as Alter option clicking on the Create New Style option, as we've done before. So I'm just going to go through here just so you can see another way to get to the same setting. And I'm going to type in number two headline, and it should already show the settings that we used. But while we are in this dialogue box, I want to make sure that you have the preview option turned on. The add to CC library option you can turn off because we don't want to end up populating your CC libraries with these formatting options. Of course, that's something that you can use if you want to continue working with the same styles in other projects, but in this case, that's probably necessary. But what I would like to change here or add to this formatting is the rule paragraph rule, and I would like to use the rule below. Let's just turn this on so we can see it already there in the design. Now, I will keep the weight on one point, the text color can be used for the color, but I would like to use 3 millimeters offset. So that's going to just move it a bit further down, and you can decide whether you prefer the width to be aligned to the text. So that means that it's going to be aligned to the last line. Or if you choose column, it's going to just fill in the full text frame from left to right edge. I will go with this one and click Okay, and then we can just take a look at this. I feel like that looks quite nice already. We can always tweak this later. But what I'm going to also do is to drag the headline a bit further down so we have the right order. So when I select this text, it should say already that that's using the headline. And of course, we have the other paragraph style here on the left side for the department title. Now we can move on and set up the stand first or deck, which is the first paragraph. You can also call this intro copy. I just prefer the term stand first. I'm going to select this paragraph, but of course, you can just put your cursor in it as well anywhere, and that's going to apply the same way because a paragraph is automatically set up to have its boundaries, the starting point and endpoint. So once I have my cursor in there, I can just alter option, click on the new paragraph style feature. And this time, I'm going to set up everything from here. So that's another thing you can do. If you are confident in the settings that you wanted to use, you don't have to do the formatting first and then save the style. You can just define a new style and then start assigning the changes. So what I'm going to do here first of all, is to go into the basic character formatting option. And the font family that I'm going to use for this is called Tisa San Pro. I really like this because it works well in combination with our body copy, which will be Minion Pro. Again, this is an Adobe font family, so I'm just going to use that, and the font style is going to be light, italic, which is going to create a nice contrast and separate it from the rest of the text. The size is going to be ten points. The leading here can be slightly more than the default setting, something like 14 points maybe. I think that's going to work quite well. And once again, I don't want to have hyphenation, so just make sure that hyphenation is turned off if it's not already turned off. And then let's call this 03, stand first. Or you can call it intro Copy or deck or whichever term you prefer, and then we can click Okay, and by the way, in the general settings, just make sure the applied style to selection is still on. Let's click Okay. So there it is. That looks quite nice. Maybe the space between the headline and the stand first might be a little bit too much. So this is something that we might change later. But for now, I think it works quite well. 8. Additional Paragraph Styles: The next thing that I would like to do is to define the body copy, and this is the most important style in a magazine, so we have to get this right. For this, I'm going to just double click inside this first paragraph after the deck. So I'm going to double click in here, and I'm actually going to click a couple of times until the whole paragraph is selected. I had to click four times. Double click will select a word, triple click selects a line, and then four clicks consecutive clicks, we select a paragraph, full paragraph. It's also a good way to quickly identify and find where a paragraph ends when sometimes it's not clear, in this case. So I have this full paragraph selected and now we can start formatting it. So first, I want to change the font. And by the way, whenever you select something in the text, if you quickly want to change the font, you can press Commando Control six on the keyboard. That will highlight the text selector or typeface selector. So here, I would like to use Minion Pro. And if you have the full font family installed from Adobe fonts, then you will have a lot of options for this. Again, an amazing font to work with. I like to use regular for body copy. I think this is a very legible and readable font. Yeah, I think it works really well, especially in combination with the other fonts that we already established in here. So I'm just going to keep this text selected, and then I am going to set the size to eight points like that. And you don't have to worry about the leading because we will have this text aligned to the baseline grid. So that's actually something that you can ignore at this point. But instead, if you switch to the paragraph formatting controls, you want to assign the space after option and set it to 2 millimeters. And you can use the same for space between paragraphs as well. So 2 millimeters there. And just like before, make sure that the hyphenation is turned off. And at this point, you can already save this as a paragraph style. So let's choose new paragraph style and type in zero for body copy. So that's already looking quite good. So let's just click Okay. And if I want to go back and make changes to any of my styles, what I normally do is I press escape, make sure that nothing is highlighted in a text frame. Then also click somewhere outside once again to make sure that no text frames are selected, and then we can zoom closer to this text frame and then either double click on the body copy style or right click and choose Edit. I actually prefer this again. It's a bit more controlled way of making changes, so you are less likely to accidentally change a setting by double clicking on these are all just things that I picked up by doing a lot of editing in design. So once we are in here, I find it easier to set the keep options up once it's set up as a style. This is to make sure that throughout the article, we won't have the lines separating at the beginning or at the end of a column. So when you choose keep options, you wanted to make sure that the keep lines together option is selected, and I prefer minimum three lines to be kept together. So that's what I'm going to set here. This is something that we will see the results of later while we are editing. But we can already test this out if I click. Okay. So this should already be applied to the body copy, and I am actually going to select all the text in this text frame. And don't worry that's going to change the formatting of the first two elements in the design because that's already saved in the formatting so we can come back to it. But for now, I just double click inside the text frame and then press Commando Control A that selects even the text that's currently overset and not visible. And then if we click on body copy, we can start to see how it's going to look like. And what I meant about the keep options is that if I start changing my text frame, notice how once this paragraph, the first three lines of the paragraphs is visible is still there. But as soon as I have less space, all of that paragraph will be moving to the next frame automatically. So that's quite a useful feature. And the same applies to the last lines of a paragraph. So for instance, here, if I start moving up a little bit more, not only the last line will jump to the next frame, but all the three lines move together. So that's why it's called keep lines together at the beginning and at the end of each of the paragraphs. So that is looking good. Now one thing I'm going to get rid of already here is this extra line break. We don't need that. And I can see also extra line breaks here. We don't need that and we don't need this either. So that already helps. One additional thing that is, of course, very important is to align the text to the baseline grid. So we want to make sure that the body copy is going to follow our baseline grid. That's to assure again, consistency throughout the article and, of course, throughout the magazine. So this is something that we want to make sure. It's edited here in the body copy formatting option. So let's just go back there. And first thing you want to make sure is the leading is set to auto, otherwise, this feature won't work correctly. So make sure first that is chosen. And then from the indens spacing category, you want to choose a line to grid all lines. You could choose to have only the first lines of each paragraph aligned. I've seen that sometimes being used by publications, but in our case, we will go with the all lines option. And if I click Okay, this should already work. However, sometimes I notice this happening in design that the baseline grade will skip a line in the text. It's just a strange thing that you have to fix manually. So if you click inside the paragraph, you can just use the clear overrides option. So this icon here, I don't know why this is happening, but once you do that, as you can see it fixed. Now, the other paragraph seems to be fine. It was only the first one that got affected. But, yeah, we could very quickly fix that. And then when we select these text frames, they should all be set up according to the body copy formatting. So as long as we don't see a plus sign next to it, that means the styling is in place. And now we can go back and select the first paragraph and reassign the headline formatting for it. And then the second paragraph can be the Stand first, and notice how within the same text frame, you can have text that aligns to the baseline grid and some text that doesn't align to the baseline grid. I normally only align the body copy to the baseline grid. I don't use it for larger copy like the headline and the stand first, but that doesn't mean that they can't be in the same text frame. So they can be working nicely together like this, and only the body copy is going to be aligned to the baseline grid, which is exactly what I wanted. Now, one thing that I notice here is that between the stand first and the body copy, there is not enough space. So I'm just going to assign this here in the stand first. I'm going to go back. And under Idense spacing, I want to include space after. Probably 1 millimeter is enough. We don't want to have too much space, maybe 5 millimeters and that way we will have two lines left out. So let's click Okay and zoom out. We can have a look at this. Yeah, I feel like that works, but we can refine this later. For now, I am happy that we have our body copy setup. But moving on, we will need to have an alternative version of this body copy formatting for the first body copy paragraph because that will need a drop cap, and we have a couple of additional styles that we will have to handle, like the subheading and also these additional text here on the left side, like the bylines, the kicker, and the image captions. This is actually not the credit. This is where the captions will go. So yeah, moving on, these are the ones that we'll be setting up together. 9. Defining Character Styles: Besides paragraph styles, we also want to work with character styles for more localized formatting changes. And one good example for this would be this five day itinerary here in the first paragraph. We can assign a character style for this, which is going to make sure that we are using a slightly different style from the same font family. And for this, I'm going to have this text selected. And from the character styles panel, I will alter option click on the plus sign to define a new one. I'm just going to call this medium italic and go into basic character formats and find medium Italic here as well. I won't even change the font family, and that way, I can use this formatting or character style on any other font family that will have this formatting in it. I'm going to make sure it's also set to apply style to selection. So already, we'll be applying there, and we can preview it as long as the preview option is also turned on, and then let's just click Okay. So essentially, all that this character style will do is wherever it's applied, is going to change the existing style within the formatting to medium Italic. It could be any other font and the idea of the style, it's always going to work as long as the font family has medium Italic option available. All right. Now, I'm just going to remove this from this word. That's the only one I wanted to select. And then now we can start to work on the drop cap and the alternative version of the body copy form, I think, for the first instance of the body copy paragraph. So I'm going to create a separate text frame, and by the way, normally, you can just do drop caps with having to set up a separate text frame. But I would like to use a bit more sophisticated setup here. So you will see once we create the final result. But just to show you, if I select the first paragraph and go into paragraph formatting controls, here, this icon is for the drop cap feature. So if I increase this up to, let's say, three, we can already see how this would work. But what I like to do is to have this setup in a separate frame. So I'm going to use the type tool and just create a separate frame. For now, it doesn't matter where it is. I can even move it here on the right side, and I'm just going to double click inside it and press Shift G. So that's going to be for Greece, which is the first word, or first letter of the first word in this paragraph. And then for this, I'm going to use the same font that we used up here. So that's the mascaleoblack. Just going to select that. And I will set up maybe 30 points for this. I think that's a good size. Yeah, 30 points. And then what we can do is to also set this to the center of the frame. So align center, and I think that's already working quite well. Now, what we will need for this text frame is text wrap, which is something you can find in the window menu, text wrap, and then choose the second option, wrap around bounding books. And we can already move this here on the left side, just to see how it looks, and maybe without the chain being on, I can increase the right offset just ever so slightly, maybe 2 millimeters, just to keep a little bit extra space between this text and the first character. Now, don't forget to remove the first G. You don't want to have G here and G there. That's just a duplicate. So that's essentially what I wanted to achieve. But normally what I like to also do is besides having first the initial being a really big character like this one, and in different formatting, I also like to change the remaining characters for the first word. And for this, we will be using a nested character style. So this is what I'm going to set up first of all. I go to the character style spanel without having any text selected, and then I'm just going to create a new style, double click, and we can call the style first word. And then double click on it. And what I would like to do here is to choose from the minion pro font family, the bold italic subhead option. Again, for this to be available, you have to make sure you have the full font family installed from Adobe fonts. And besides this, I would like to also have the case set to all capitals. And that's all I wanted to use here, so I'm just going to click Okay. So that's our second character style that we created. And now we can create duplicate for our body copy paragraph style. So right click duplicate the style. And I'm just going to call this body copy first paragraph or intro, body copy intro is also a good way to call this. And you can actually choose to have this be based on the body copy. That simplifies the style settings. As you can see, it's going to have all the same settings, and it will only show you or state the changes or the differences. So if you are changing the body copy in any way, it will automatically be applied to this variation. But it will still be able to keep any overrides that you set here. So it is exactly like a parent child connection between the two styles. The body copy is going to be the parent, and in this case, body copy Intro is going to be the child. So what I want to change here is to go to Drop Caps and Nested Styles and then choose new nested style and I would like to have the first word style applied through the first word. And then once you click Okay, you just have to make sure that this first paragraph is going to switch from body copy to body copy intro. And there you go. We have our drop cap, and then the first word format it differently. And it's a nice way to connect these two. So there is some connection between the two, even though it's not the same formatting, but it just stands out from the rest of the text. So the drop cap has more contrast because it's a completely different font, while the rest of the first word is still using the same font family as the body copy, but obviously it's different. It's all capitals, it's set to Italic, it's also set to bold, if I remember correctly. So there is visibly enough difference from the rest of the paragraph that is also going to show even from a distance. Now, at this point, I wanted to explain why I created this separate text frame for the first character. And I'm going to just put this aside from now, and I'm going to actually just save the formatting that I created here as a character style. So create new style, and let's just call this drop cap. And then click Okay. So we have that setup, and I'm just going to put the G back here. So we have the first version or the intro paragraph for the body copy style working the way we set it up. And then I go back and edit it. And under drop caps as nasty styles, we can actually assign this new drop cap character style on the first character, and we can sync it in, maybe make it two lines or three lines bigger. But what you will notice is that it's going to be hard to control exactly where it's going to be placed. So if I wanted to go further down or if I wanted to have more space between the text and that, that's going to be tricky, especially depending on the font that you are using. So no matter what you do here, you can refine this in the character style. It's just never going to give you control that you can have if you have it set up in a separate text frame. So instead of changing this, I'm just going to delete that G like I did before, and I'm just going to pop this frame back here the way it was. And remember this is using the text wrap around it, and now it's actually using the drop cap character style, which is perfectly fine. So that's not a problem here. It doesn't actually need any paragraph style, so you can just click away from that, or if it accidentally have a style assigned to it, what you can do is to go to the Paragraph Styles panel menu and choose break link to style. So then it's not going to be associated with any of those. And that's all we needed for this style, and we can just save our document and take a look at it from a distance. And it's starting to take shape, starting to look quite nice, the formatting of the text. Of course, we still have a lot to set up here, but the most important elements are already in place. 10. Formatting the subheadings: Next time that we will set up is the subheading, which we will be applying to the days within the body copy. So day one up to day five. I'm going to select the first instance here, and the first thing that we will change is the font, which will be Tisa pro ball this time. Now, you might recall that this was already used for the deck or stand first. And I'm going to keep it the same size. So it's going to be eight points, but it's going to be all capitals. And with that, we can already save it as a new style. So I'm going to alter option click on the plus sign in the paragraph size panel, and I will type in 05 subhead. And at the moment, it's based on the body copy because the text that I selected was already using the body copy style. So if I save this style with the current settings, it's going to be connected to the body copy formatting. And what that means is that if I change anything to that style, it's going to have a ripple effect or, like, change effect to make changes to this style as well, apart from any overrides like the font and style and the caps feature. Those won't be affected because that's defined within the subhead formatting. Now, it's good thing to use the Based on feature in certain cases, but in this case, I actually prefer to keep it independent. So it's almost like breaking the link between the two, because the subhead and the body copy should be independent from each other. They don't really have any connection. So I'm going to say based on basic paragraph or no paragraph style. So these are the generic options that you can choose. And immediately, you can see that the style settings now lists all the features that are still relevant to this paragraph style, but these were originally defined in the body copy, like the space after and the space between paragraphs option, the key lines option, and so on and so forth, and also including the baseline grid, which again, will be used for this text. So that's actually a good thing that it's already there. And I'm just going to make sure the applied style to selection is on. One other thing that I'm going to do here before I save this is to apply a shortcut for this. So it's good to know that you can apply shortcuts. I normally use Command or Control key and then a number. So Command one or Command two, whichever you prefer. I will use Command one for this, and the cool thing is that whenever you use a keyboard shortcut, it actually shows up here in the panel. So that's easy way to remember what you used. And the reason I only used a shortcut for the subhd because this is something that we will have to reapply a couple of times throughout the copy. So as we go along, I will be applying this a couple of times. While the body copy, we only had to apply once. So that's already in there. And these other elements like the headline, department title, stanfor, again, they only appear once in an article. So although it's good to save them as a style, it's not really necessary to set up a keyboard shortcut for them. One thing worth mentioning is that for things that are easy to find within a copy, like in this case, the subheads will all be applied to the same kind of combination of words, day one, day two, and so on and so forth, it's actually possible to apply it in a slightly different way than just finding it in the copy, highlighting it, and then applying it. You can also use the edit find change feature. It's Command or Control when you use this, you can type in the words that you are looking for, and you can be even more specific and press space. And then from this it'll drop down. You can even use a special character, a wildcard saying any digit. So it's day space and the number. So that's what we are looking for. And if I say fine next, we can already see that it found it somewhere in the overset text area. We can't see that at the moment. But if I go to the story editor, again, that's something you can find in the edit menu, that will be able to display the overset text. So there's Day two. And then if I say find next, it's going to find Day three, and then find next is going to find Day four, and fine next should find Day five, the last instance. Now, what you need to do to apply a style to all of these instances is to go to the change format icon. And then from here, you can just choose the subhead paragraph style. Notice that you can even apply a character style at the same time as applying a paragraph style to these instances. But I'm just going to use the paragraph style. Click Okay. And now all I have to do is to click on change all. So if I want all of these instances within this story and it's important that's selected, so not throughout the whole document, just within the currently selected story, I can change all of these instances to be using this style. And by the way, in case you wanted to make changes to the copy, for instance, you wanted to include day 01, day 02, and so on and so forth. You could even do that by copying the same text here, so day space and the number, but then you put a zero in there. Then it will even update the copy, not only apply the style, but also make changes to the copy itself for all of the subhead instances. Now, of course, that's something I'm not going to do in this case. It's just worth mentioning. And if I click on change A, we can see that the search is completed and five replacements were made. If I click Okay and done, now we can see that even here within the story editor, the text is now set to all capitals. But here, of course, we can't really see the formatting properly. This is something we will see once we have the additional spreads in our article. Going to close the story editor, and I will come back here. And maybe just to see what we've achieved, I'm going to temporarily create a text frame by clicking on the Red plus sign and drag a text frame out here. You can see day two and day three already formatted with the subhead paragraph style. Just to show you the shortcut as well, if I come back here and have this paragraph selected and I set it back to body copy, now I can just use my keyboard shortcut to apply it. So once again, switch it back, and I use the keyboard shortcut and it's applied. By the way, it's probably better to use Alter option number for the shortcut. I actually changed it in the meantime because Command or Control one is associated to a specific Zoom, the 100% Zoom ratio, while Command or Control zero is the fit the page to the screen, and Command Option zero in control zero is the fit the spread to the screen. So yeah, option or old key plus a number is probably the best if you want to use the keyboard shortcuts when it comes to applying paragraph or character styles. But the fine change feature is also something that is definitely worth remembering. 11. Adding GREP to Paragraph Styles: Before we move on to add additional paragraph styles, I would like to refine my body copy a bit, and I'm going to show you another amazing automation that you can do in in design. So we will be using grab. And this is almost a bit like programming within in design or scripting because it's using a scripting language, but it's actually very simple to use. So I am going to double click on the body copy style, and it's best if nothing is selected in your layout while you are doing this. But as long as you have the preview option on, you will be able to see the changes that we make live happening in the background. So the category or the section that you need to select is called Grab style. GREP, and there you will be able to define a new grab style. So if you click on this, you'll notice that what this can do is to apply a character style to a specific text within this story or within those paragraphs wherever body copy is already in use. Now, even if you haven't already created a character style, you can actually specify it right within here. So you don't have to leave the paragraph styles options. So if you click here, you can just choose new character style. And for this, I'm going to create one that I'm just going to call highlight. This will be the words highlighted within the body copy. And this doesn't need to be based on anything, so I'm just going to say none. And I'm going to go to basic character formats. And then from the font family, I would like to use semi bold Italic. I think that's all we need here, and then click Okay. And then this is where you specify what you want to apply this to. Now, in this case, I would like to apply it to these locations within the copy like Acropolis, Athens, and maybe a couple of other ones like Santorini. So what I'm going to do is to first type in Acropolis and then if I click somewhere else, as soon as we find this in the copy, we will see it updating, but I don't actually see it here at the beginning, so I am just going to click Okay and move down a bit, and there you go. There is one instance of this. And as soon as we edit this in in the grab style, it automatically assigned that formatting. So I'm just going to Zoom closer so you can see it. It's definitely applied. And it's all automatically happening. So if I go back to my body copy again, I'm just going to go back to grab style. What you can do is to keep adding additional words or places in this case that you would like to be highlighted. So what you will need to use is this long vertical line. It's actually called vertical bar or pipe. So once you have that separator, you can type your next word. And in this case, I'm going to type Athens. And as soon as I click away, see how it automatically updates here. And then let's do another pipe and then type in Santorini, as well. For now, I'm just going to use these three, but you can keep adding additional words. And then once you click Okay, we can just check. I think there will be a mention of Santorini somewhere further down. Maybe if we drag this down, we might see it, might need to again preview the overset text here to see an instance of Santorini, there it is. So it's working, just like how we automated with define change, the application of the subheads. Now, this grab nested character style within our body copy is making sure that anytime these words appear, they will automatically be formatted according to our character style. This is an extremely useful feature. And while we are talking about the grab feature, there's actually one additional thing that I would like to set up. And that is to avoid these things that normally we refer to as runs. So if you have a very short last line in a paragraph, it doesn't look nice, just like as we used the keep lines together feature for our body copy, avoiding orphans and vidos. So a single line of the beginning of a paragraph separated from the rest of the paragraph or the last line of a paragraph again separated. That also doesn't look nice. The same way, these things also don't look good. So the runs are something that we would like to get rid of and there is a very quick and easy fix for this. If we go back to the body copy style, we can go back to grab style, and you can actually create multiple grab styles for a single paragraph style for different purposes. So in this case, I'm going to use this for avoiding the runs. And once again, I will have to define a new character style first. So this one is going to be a very simple one. I will call this simply no break. Doesn't have to be based on anything again. The only feature it needs is this option under the basic character formats section called no break. So once that is on, we can click Okay, and then we can type in this code. So it's full stop curly bracket. Let's just do maybe 15 and then close the curly bracket and then $1 sign. Now, if I click away, you can already see this working. And what this specifies is that the minimum amount of characters we want to see at the last line of a paragraph should be 15. So that's the minimum amount we want to see. So if I reduce this down to ten and click away, notice how that line immediately got shorter. But if I want it to be even longer, I can even type in 20, for instance, and then we get a much longer line straightaway. Now, the way in design achieves this is by restructuring the words. And because we are not using hyphenation, it's going to move quite a lot of things around when this happens. So I'm just going to do it again, go back down to ten. You can see how many words move around. And then again, 20 for this to work, we have to move the words around again. I probably will keep it on 15. I prefer to use that. I don't think it needs to be any longer than that. So that's normally at least two or three words already. I wouldn't consider that to be a run. So that looks already quite balanced, and we can click Okay. And now that body copy is nicely set up. And by the way, all these grab features that I applied to my body copy, are automatically already assigned or applied to the body copy intro paragraph style as well. So notice how we already have Athens showing up there. And also, if there was any run here, it would also be fixed. That's thanks to the fact that we use the based on feature. So remember, if I go back to Body Copy intro, that is based on the body copy style. So anything that we specify and change there will automatically be applied here as well. And while with the subhead, I didn't want to use this based on feature. Between the two instances of body copy, it definitely makes sense to have them connected to each other. 12. Formatting the byline and captions: Now we need a couple of additional paragraph styles and formatting for the text here on the left side. Remember, we have our kicker, we have our byline, and we also have the caption at the bottom. This is a text that I edit here. You can type these text in yourself or you can copy them from a separate text file, which is created for the captions specifically. So once you have that in here, you will be able to apply the styles that we will be using. Now for the Byline and the kicker, I will be using the same formatting, so they can be just done with the same style. I will select this one first, and I am going to go to the paragraph style spanel and I will create a new style, so old or Option click. And then I will specify the name first. It's going to be 06, Byline. I can maybe type in kicker as well just so I know I'm using the same style for both of these elements. And from the basic character formats, we can choose the font. Here I'm just going to type in the name Monsa for this font, and I will be using medium style. The size, I will set to six points, the tracking, I was set to 40 points, and the case, I was set to all capitals. Now I also want these to be centered. So under Identen spacing, I will choose center alignment. And then if I click Okay, we can see how this looks, and then we can just sag this other text frame, and we can just apply this new style. Let's just click on that. And actually, one thing that I want to make sure is that there is no hyphens used here, and as you can see, there is still hyphenation in this style. That's something that I most of the time like to eliminate from my style. Of course, it's a useful feature, but in this particular case, I want to avoid it, so I'm going to turn it off. Let's just zoom back a bit, maybe see it in full screen. Yeah, so it's definitely a nice setup here. And by the way, Montserra is a font that I will be using for all of these smaller text elements like the caption and also the image credit. So you will see this font showing up a couple of times now. We will also use it in the footer and the folio section. So I am going to now select the caption. And here, what I would like to do is to use a slightly different format for the navigational part of the caption, which is just saying from left. So that specifies that the image on the left is this. And then after the semicolon, we have the description of the image on the right. It's a nice thing to group your image captions where you have multiple images on a spread and have them in one place instead of having them scattered around. It just simplifies the design, keeps it more clean, and it's actually easier to use. So if you know you are looking for a caption, you will find it in the same place. Let's just come closer to this text because I wanted to show you with the hidden characters visible. It's something you can do from type, show hidden characters that there is a line break here. So the from left is the first paragraph, and then this here is the second paragraph. And this is important because I will create an automation of applying two styles within this text frame using the next style feature. And in this case, I will also introduce an object style, and you will see why we need that. But first of all, we need to set up two paragraph styles. So I'm going to create a new style. I don't have anything selected at the moment, by the way, I'm just going to create new character style, and I'm going to type in 07, and this is going to be caption. Let's just call it caption navigation. And I think we can probably base this on the Byline and kicker because they are using the same font. But since these elements are not directly connected in the design, it's probably better to define it even if it looks similar separately. So if we base it on basic paragraph, then it has no ties to that. So I'm going to go to the font family first and choose Monsera bold for this one. The size is going to be five points. The tracking will be also 40 points. And I will use all capitals. And as you can see, it's almost exactly the same as the previous style, apart from the fact that here we are using bold. But like I said, it's still best to save this independently from the other style. But the next style that we will create will definitely be based on this. So I'm going to click Okay. And let's just move this down here. And now we can create a new style. So once again, alter option, click Create New style, and I will type in again, 07 caption, and this time, it's going to be description. So that's the rest of the text within the caption, the actual names of the images or descriptions of them. And notice how in design automatically offers this feature based on the previous paragraph style, which in this case, I'm going to keep there. And the difference here is that we will actually be using Tisa P. So the font that we already used before, Tisa Sun P and this time, I will be using light italic formatting. The size can stay the same. So five point size, 40 tracking, and this one should be normal case. So not all caps. And then if we go back to general, we can see now the style setting will define that although it is based on the previous style, there are some changes. So it will say the formatting will change and minus the capitals, and then we can click Okay. But now that we have these two styles created, I would like to go back to the first one, the navigation one, and there, I'm going to make sure that the next style is set to the second one. So in the first paragraph, it will be the navigation style, and then after the line break, it's going to move on to the second paragraph style. 13. Refining the captions: Now we can set up an object style to make it easier to apply both of these styles at the same time, and that's going to be just a very simple setting. So within the object styles, I can alter option click on the new style icon, and I will call this one caption frame, and then we can go into the paragraph style section. And here we want to have the caption navigation style selected. But then also we want to make sure the apply next style is turned on or enabled. So this will allow in design to create this chain of styles. So when this object style is applied on a text frame, it will automatically not only apply the first style, but it will allow the next style to be also implemented for the second paragraph. So we can click Okay. And now that we have everything set up, we can just select this caption right here, and all we have to do is to apply this object style. I worked really nicely in terms of the text, but one thing that I didn't want to see is this outline around the frame. And of course, I'm going to adjust the width of the frame. But first, let's make sure that we remove the stroke, so we can just double click on the caption frame and then we can go into the stroke settings and set it to none. That appeared there because I believe this was based on the basic graphic frame or maybe that was selected when I created this object style, but that's something that we could easily eliminate. And by the way, we can also apply a shortcut for this. So just to make it easier to apply it later on on the additional spreads in the magazine. So I will use Option or Alt number two this time. Let's click Okay. And again, that shortcut is going to show up here. So now we can zoom back a bit and we can see how this looks. Yeah, it looks good. And in terms of its placement or location, I'm actually going to bring it all the way down here. So I would like it to be sitting maybe on this position. So I have it aligned to the bottom margin, and I also have it aligned to the second column guide. And just to be clear, this is where the first paragraph style has been applied, and this is the second paragraph style. And before we move on, I just wanted to show you an additional really nice technique. In case you have more complex captions or maybe you have an interview where you have always a question and then an answer, and you have this repeated loop of switching back between two paragraph styles. You can use the following technique to chain them even more effectively together. So remember how we have the caption navigation going to the next style. But if I go into the caption description and say next style to B capture navigation. So in a way, it's going to loop back, create this infinite loop of switching back and forth between these two styles. That means if I come into this text frame, and I press Enter, defining a new paragraph, and I type in maybe from top. You can see automatically the formatting switched to the navigation style. And then if I press Enter or at the line break again, and I start typing something, you can see how it automatically again switched to the description style. And it would keep on happening the same way. So if I type in from bottom and then something, you see it works perfectly. So it's a really cool feature, and it actually doesn't cause any harm to have this setup as long as you always have only two paragraphs in the caption. So I'm just going to keep that there just as a reminder that we can do this. But I'm just going to place this back down here and we can zoom back and we can take a look how everything is working now. Maybe one quick fix here is that I would like to have this aligned in the middle right there. So if we zoom back, that is more centered to the other text in that left side of the spread. And there's actually only one thing missing here. I wanted to include two icons, which will create a little bit of a frame for the word experiences. So I'm going to use the place feature, Commando Control D, and then let's bring in from the links folder this SVG icon. It's a vector format icon, and then I can just click and drag to paste it in here. But by default, it comes in cropped, so I will use the field frame proportionally option to make sure it's fully visible. And I actually wanted the width and height of this to be 6.2 millimeters. I will just make the fill frame proportionally feature applied again, and then let's align it to the word experiences and the text above. Maybe have four of these baseline grids in between the text and the icon. So I'm just going to add the frame here just so you can see it. So that's the distance that I would like to use, and we can just duplicate this frame on the other side, just to make sure it's easier to measure it, and then let's click and drag the icon down there. Now we can remove these additional frames and just take a look at this. We can align it a bit more precisely. And then if I zoom back, turn of the guides with W. We can also maybe press Shift W to see a full screen preview. That fills up the space really nicely. So we have the kicker on the top, the byline, the little icons with the department title, and then we have the caption on the left. And now the only things missing for this page are the page numbers or folio and the footer details, but we will be adding those once we start working on the second spread. 14. Defining the layout of the third spread: After working for a long time on this spread, finally, it's time to move on to our next spread. I call this the second spread because I prefer to call the first one the cover spread than the first and now second spread. So here we already have everything set up for us to work, but we will just have to first define the frames. I'm actually going to create four text frames and five image frames. But let's start with the text frames. So let's create a text frame up here, and I will refine these later. But for now, I'm just going to place them in roughly in the place where I wanted them to be like that. So I'm just going to select all of them together. And actually, I will put these frames already on the text frame layer. So notice what happened here, I drag first over all of these to make sure that they are highlighted. And then from the layer s panel, dragging that little icon onto the text layer, make sure that they are moved there. And the good thing is that these are easier to notice. So if I have the frames selected, I can see them better because they have a different color. And by the way, this is something that we most likely have to fix on our first spread. So if I go back the text frame, if I select it, I remember that this wasn't moved onto the text layer, and also these additional frames here, apart from the icons should all be on the text layer. These images can be on the images layer and the icons can be there as well. So if I just open up the images layer, I can just double check. Everything is correct. Apart from the G, the drop cap that we used should also be in the text layer. So that's just a little bit of tiding up here before we move on. So let's just jump back to our second spread. And actually, we can already just scroll up a bit and thread the text from this text frame down. So using the plus sign, clicking on this frame, we can click on the next frame and then plus sign again, click on the next frame, plus sign, click on the next frame, and plus sign, click on the next frame. We have the threading working nicely. The formatting is already in place. The baseline grid is being used. Yeah, it all looks perfect. Now it's time to add the image frames. So I'm going to use F on the keyboard and then create one image frame up here. Again, I will be more precise. For now, I'm just going to drop the three frames in roughly where I imagine the images to go and then two additional frames we will need here on the right side. And we can already bring in all of these five images at the same time. So I will press Command or Control D, and then let's select the following images. We will need this one, this one, this one, this one, and the one with the columns. If you can't see which images I selected based on these icons, just continue watching and you will see them once I place them in the composition, so I can open them and then they should all be loaded into my cursor. So this first one, the nighttime in Santorini, should go in this frame. I just click on it. Then this one will go here. The columns will go up here, the cats will go down here, and then we will have this table with the food here. Now, before moving on and refining the placement of everything, I would like to make sure that we have an object style created for our image frames because there's one feature that I would like to automatically be applied all the time, and that's the field frame proportionally feature. So I will create a new object style, and it can have a shortcut, maybe option three. I just make sure that it's not based on any existing styles and also it doesn't use a stroke, and I'm just going to call this image frame. And all I want to use here is the frame fitting options. So I select that and set this to fill frame proportionally. Align to the center of the frame. And we can also turn on the auto fit feature, which will allow the content, the image automatically resize whenever we change the frame. So if I turn that on, that will also be useful. So now I can just select all of these images, or I can just click on the images layer icon, and as long as you placed these image frames in that layer, it's an easy and quick way to automatically select those without selecting the text frames. And then I'm just going to use the shortcut we defined for this new object style option three. And straightaway, they should all be now filled in their frames. But not only that, they will also automatically resize. So when I change the frame, notice how they resize themselves. So that's a really cool feature, and we can use this to decide which part of the images we want to see, how big we want them to be. So yeah, it's a neat little feature, makes it easier to work with images in general. Now, let's refine this first frame up here. And since this is close to the edge of the page, first and most important thing is to make sure to drag the top edge all the way out to the bleed. So that's going to assure that when this is printed, there won't be any white gaps at the edge of the page. Then let's utilize the column guide here on the left side. Maybe drag this up a little bit like that, and maybe we can drag it out a bit to the right. I will be actually using the center line between these two column guides. Feel like that looks good. And yeah, there's no pun intended, but there's two columns here, just like our column guides. But that looks really good in terms of the full page as well. It looks quite balanced and really neatly aligned to the structure of our page. Now for this image, I actually would like the frame to go all the way to the spine. Then I would like it to come a little bit further in maybe up to this point and then go a bit higher right there, and then go down maybe around that looks already quite good. And if you want to reposition the image inside the frame, you can just click and hold onto the content grabber and just drag it up a bit in this case. I want to make sure that these chairs are visible. Going to press W on the keyboard just so we can see it better. And yeah, that's a nice placement for this. And of course, this text frame will have to go a bit further down. But in general, again, that's a nice balance between these two images. And now moving on to the third image, again, I would like to go all the way to the bleed. Then maybe go all the way here on the right, and then let's utilize the margin on the bottom. So let's just take a look at this from a distance in context and together with the three other images. Yeah, I feel like that is nicely balanced and also it shows the right portion of the image. 15. Refining the layout: Let's fix this text frame on the page. First of all, we can move this a little bit further out and then also make sure that we have space between the image and text frame. We will fix the flow of the text later. But for now, roughly, that's the text frame I would like to see. It might be able to come a bit further out. For now, I'm just going to keep it right there. And of course, it's important to keep an eye on the measure that's the line length. So this is again, something we will fix later. But for now, I just want to make sure that the lines don't get too wide or don't get too short so we get a comfortable measure. So that's the line length or amount of characters in a line. But yeah, that looks quite good so far. And for this text frame, I just would like to make it come down a bit like that, and of course, it shouldn't go over the margins. Yeah. I think that looks quite good. Again, we have enough gap between this image and the frame. There's also enough gap there. Of course, it can come a bit higher if you wanted to. But for now, I feel like this is a good spacing. I think that works quite nicely. We can move on to the other page and first, let's fix the images. So this image, I want to go all the way to the bleed on the top. Then come a little bit further out, maybe up to this point and maybe a little bit further down there. And now we can just click and drag the content grabber and maybe move it to the right to this point where we can see a bit more of the C. For this other image frame, we have an easy task. It's almost already in the perfect place. I wanted it to be. I'm just going to make it slightly smaller, aligning to the grid like that, and then we can move it maybe a little bit to the left. Yeah, I think that looks quite good. So let's take a look at these two images next to each other. Yeah, that feels nice and balanced. For the text frames, I'm going to make them a little bit smaller, especially this one. It can go down. And this one right here, maybe can go a little bit higher, maybe up to this point. Again, we will refine this later. For now, I just roughly want to have it aligned to the margins, of course, and the column guides. And in case you want to keep consistent measure throughout the story, of course, one thing that you can do is to specify the text frames so if I select this one, for instance, I can see the width is 72.4 millimeters. So if I select the next one, I can just drag this out until it gets into the same size. So that's a good way of checking that. You can even copy this measurement and apply it. So if let's say this text frame is narrower like that, we can just type this in, and then once we apply that, we can position it in the place we want it this assures that the line length is the same between these two paragraphs. However, in this particular case, for this magazine, I don't need this to be so rigid and strict. So I'm just going to play width a bit. Some text frames might be a bit wider, while others might be a bit narrower. That just gives a little bit more variety and a bit more rhythm to the composition or page layout. But like I said before, we will be refining our text frames later once we see the whole copy, once we have all of our spreads in place because of course, Things like this we want to avoid to have a subhead separated from the next paragraph. That's definitely not a good way to thread the text. And we have to also make sure that here on the first page, we will have the text filling out this frame, not to keep it so empty. That doesn't look nice and organized. And at the end, we will actually be placing a couple of page turner icons that indicate that the story or the article is continuing on the next spreads. So this is something that we will be setting up at the end. But for now, good news is that we have all of our images and text frames roughly in place. Maybe one additional elements that we are missing here, and that is the map. So I'm just going to make sure that the images layer is selected and then press Commando Control D and bring in this map Illustrator file. So let's open this and then click and drag. And paste it somewhere there. For now, I am happy with the way this looks. It already has the text inside the Illustrator file. It's the same font that we already used in this document. So there is a nice consistency or unity already there. But in case you want to make amends or changes to this file, you can alt or option, double click on it, and it's going to open it up in Adobe Illustrator. 16. Setting up the Parent page design: Now that we have enough spreads with their general layout ready, it is time to concentrate and set up the parent pages. They used to be called master pages before. Now, the technical term they use in design is parent pages. So these are the ones that we can use for repeated or recurring elements within our layout, such as page numbers or folio, header and footer section, and any additional elements that show up in the header and footer section. So we already have by default, parent page called A parent, and this is automatically assigned to all of the existing spreads. We can see that by looking at these little icons on the page thumbnails. There's the AA, and for now, I'm just going to increase the size of these icons. From the pages panel menu drop down, we can choose panel options, and then we can change the size of the icons. I'm just going to make them extra large, and even the parents ones I will make large just so we can see them better. And I'm just going to drag this up. We can just hide the links for now, and this way, we can see them much better. So what we need to do first is to double click on a parent to make sure we are there, and a good way to check that is if you zoom out, you won't see any other pages. So it's almost like a completely different world or dimension when you work in the parent pages that is obviously going to be connected to the pages themselves. But when you are editing them, you are only seeing the parent pages and not the additional actual real pages in your document. You can also switch between pages here at the bottom, by the way, and that's also a good way this status bar to check whether you are working on the parent page or on an actual page. So that is fine. We are in the right place. Now, I want to make sure that the text layer is selected, and I'm going to define my first text frame, and this is going to be the page number or otherwise referred to as folio. So this is going to be somewhere around here. Going to create a text frame like that. But to be more specific about its placement, I'm actually going to use guides. For this, I'm going to turn on the rulers, Command or Control R on the keyboard, and then we can drag a vertical guide, and I will place this maybe here on the center point of the first column, and then I'm going to drag this to make sure it's aligned there. And then I'm going to use a horizontal guide as well, which I will drag down here. And I will set this to maybe 261.5. That's a good placement. And then I will align this frame to that position. So notice what I've done here is to keep my folio a little bit further in from the left side of the page. So it's not aligned to the copy. It's a bit further in. And it's not in the center of this negative space here. It's a bit closer to the margin than to the bottom of the page. That's a nice comfortable position for the page number, in my opinion. And when you use a guide, by the way, horizontal guide, notice how it only shows up on the left page by default. But if you want it to run across the spread, which in this case, would make more sense, you will have to do it the following way. You have to drag the guide from the top, and before you let go, you have to make sure you hold down the command or Control key. But just to make sure that we don't have two guides, I'm going to delete the previous one which I can do by going to the view menu, and then I will go into Grids and Guides and turn off the log guides feature. So I can delete that one and I can drag this one further down, align it to that frame like that, and make sure once again to hold on command or control key. So that way, it runs across the spread. So that is looking good. Let's just put another guide in here on the right side again in the center of the last column. And we can put this frame on the right side once we have it set up properly. For now, we can just keep it here. And I am actually going to double click inside here and already place in the page number marker. So for this, we use the type menu and choose Insert special character, markers, current page number. So this is a special character that will be placed in here, which will automatically change to whichever page number it needs to be. So for instance, on this page, if I double click there, it's already going to show 36. Here is going on next spread going to show 38 and on the last spreads going to show 40. So we can jump back to the A parent and we can set up the paragraph style for this page number. So I'm just going to highlight it and then go into the paragraph style panel and alter option click on Create New Style. And let's call this 108 folio. And although it is similar to the caption formatting, I don't like these to be chained together. I like to be able to change them independently. So I'm just going to choose basic paragraph. And then I'm going to set things up. So I go to the basic character format and I use Monsera for this. I will use black style. I will set the size to eight points, and I am going to use 40 for the tracking. And I believe that's all what we need it here. So we can just make sure that the applied style to selection is on. Yeah, we can just click Okay. Now we can align this text frame to make sure it's aligned to the guide that we created. And I like to keep this text frame wider than what is necessary for one character. So it's good to have space for at least two digits because of the page numbers are higher than just single digit. In case your magazine is longer than 100 pages, then of course, you will need to make space for three digits. And I just forgot to include one additional thing in the name for this style. I like to have L there, which refers to left alignment because we will have an instance of this on the right side. But for that, we will have to use right alignment. So I'm just going to alter option, click and drag this on the right side. So let's just move it all the way here on the right side. And align the same frame right there to the same guides. But this time, I'm going to create a new paragraph style, and I will type in 08 folio R, R. It's based on folio L, which is definitely a good thing here to use. But the only thing that I'm going to change is the alignment. I want that to be right. So if I go back to general, we can see that that's the only difference. If I click Okay, we can already see that happening there. So we have one style for the left page and one for the right page. We can see how this looks on our first spread. We can scroll down, zoom in. That looks quite nice. And by the way, there's a useful shortcut. If you quickly want to zoom out and zoom back in and move between different parts of your spread, you can press and hold the H key on the keyboard and click and hold the mouse button as well and then reposition this frame on the other side and let go, and it will zoom back in. So it's the bird's eye view technique with which you can very quickly jump between different parts of the page and pen and Zoom backing. Now, it's important to mention that any parent page elements on your actual pages by default won't be selectable. I can see it right here, but I won't be able to select it. And the same applies to the guides as well, since those were placed on the parent page, even though I have the guides not logged at the moment. You can see it's not selected. I still can't select them because they are parent items or parent page elements. Of course, you can override these elements. There's a shortcut Command shift or control shift click, which will unlink this from the parent page, and it will bring it into the realm of the pages. So it's going to change dimension, and it's going to end up in this world. But that's always something that I don't want to do in this case. However, it can be a useful technique in certain cases, and I think we will utilize this shortcut later. For now, I'm just going to undo that step and keep this connected to the parent page. 17. Footer and header elements: Now let's move back to the parent page itself where we can make changes to these repeated elements. And I would like to create another text frame here next to the page number. I'm going to make this a bit wider. But it can be the same height. And I'm just going to type in a URL. I'm going to use our website URL, but you can use whatever you wish. I'm going to use'm designer.com. And for the formatting, I will probably use the same what we used for the Byline and kicker. But I might change this slightly. Probably can be a little bit smaller than that. So I have this frame selected, and then I hold down the or option key and click on Create New paragraph style, and I will actually type in 09 Puta. And I will be based on the byline and the kicker because that's a very similar element. I'm just going to change this to be five points. So slightly smaller. I want it to be aligned left instead of center. I believe that's all we need for this style, so I can just click Okay, and I can align it a little bit further down, make sure it sits on the margin, and then we can also bring it in and probably line it somewhere there. Yeah, I think that's going to look good. And now we can just copy this text frame and move on to the left side of the margin. I'm using that bird's eye view shortcut, paste it in here, bring it down. It can be aligned to the left edge of that frame, I guess, but maybe we can just align it to this column guide and just bring it down, holding down the Shift key. And on this side, I'm going to maybe have a little bit more space and type in the following travel, then we can use the pipe icon, then type in journey, and maybe have the date 2024, something like that. Okay. Now we have these elements in place. We can check how this looks on our first spread. So we have the page number and then the footer and also the footer on the right side and the page number. I think this looks great. It's nicely positioned as well. Now we should also have something here on the header section, which will help to tie the article together, and it's going to be used to indicate the department title throughout the article. Because, of course, on the first spread, we have it written here. So that's the department within the magazine or this recurring article is called experiences. We don't have to indicate that here, but on the second spread and the third spread, it should definitely be visible. So for this, I'm going to go back to my a parent page again, and we will be defining this here on the top. And just like before, I'm going to set up a couple of guides. First, the horizontal guide. I'm going to hold down Commando Control key, and I think I will set this up to be 15 or 16. Yeah, somewhere around here. I think 15 millimeter is a good position for it. So the Y value, you can select your guide in case you didn't set it up correctly and just type in 15 millimeter. So by the way, this is a quick and easy way to adjust your guides. You can also use up and down arrows to increase, decrease the size or position of them. And then I will use a vertical guide set to 8 millimeters right there. So closer to the edge of the page, further away from the margin. And I would like to make sure that we have the same distance from the right edge. So here's another useful technique. If you put a vertical guide on the exact edge of the page. So I placed it right there. It's hard to see it, but if I click and drag it, you can see it right there. This is 420 millimeters. But what we can do is to type in minus eight and then press Enter, which will automatically create the guide for us in the right place. So that's 412 millimeters, exactly 8 millimeters from the edge of the page. Now that we have our guides in place for the running header or the header section, we can, first of all, borrow that icon that we used on the first spread. So this little globe icon, I'm going to copy this, go back to my parent page, all the way to the top of the spread, and then paste it in here. So let's just position this in this corner. Right there. But I'm going to make this even smaller here. So I am going to go down to around 5 millimeters in size. If you hold down Commando control and shift together, you can make sure you resize, but keep the proportions the same. So yeah, maybe around 5 millimeters is good. Now, if you want to be very specific, you can also set this up by constraining the proportions and actually type in five and then just make sure the field frame proportional is turned on. And then if we zoom closer, this is how it looks. I just have to make sure it's aligned to those guides properly. Okay. So that is looking good. Now we can create a text frame underneath this. And then I will just type in E. And then this can be based either on the department title or the headline style. I'm just going to show you this is how the headline style looks like, or this is how the department title looks like, that's even bigger. I feel like here, the headline would look better, even though this is actually referring to the department title, I feel like this style works better here. It's just a little bit more interesting. So I'm going to use the headline, but I will create a new paragraph style for this. And we can call this 109 header or running header. I'm just going to call it running head. That's normally the term I use for these elements. And yeah, so it can be based on the headline. But first of all, we don't want a paragraph rule here, so I will turn that off, and probably the size is good. However, maybe we can make it slightly smaller. 18 points is enough. Yeah, I believe that's good. And then maybe we can have this centered, and then we can just align the text frames with to the icon above it, and then we can just double click at the bottom edge of the frame, so it snaps onto it. And I think that looks really nice. Now we can just copy this and paste it on the other side of the spread. So we just go all the way here and then paste it here and just align it again exactly the same way as it was on the left side. So that is looking really good. Let's just drag down the running head all the way at the bottom. So we have a nice structure there. 18. Adding image credit placeholders: We are almost ready with the parent page. There's one additional element that I would like to include here and that is the credit text frames, which we will have for both left and right side. But before we create this first, temporarily, I am going to rotate the view. So I will right click on the parent page title and go to Rotate spread view 90 degrees clockwise. There it is. And we will be placing these close to the spine or within the gutter of the spread. So first of all, I'm going to do like before, I'm going to use a guide to define the distance from the margin in this case. So I will drag this down and place it there first to the edge of the margin. And while this is selected, I can say plus 10 millimeters. I think that works really nicely. And then we can just duplicate this alter option, drag it down to the other margin. And then, in this case, I will type in minus ten. So now we know exactly it's the same distance. And then I'm going to use the title, and I'm just going to create the text frame here. Once we have the text frame, we can maybe zoom a little bit closer. We can make sure that it is also aligned to the margin there by creating one more guide. So let's just drag this out. Hold down the Commando Control key, and then it's going to go on both sides like that. Okay, now we can just place this in here. All right. So this guide is just necessary because we don't automatically get an alignment to that margin. It might be because we have the spread rotated around, but there is no harm in having additional guides. These are obviously known printing elements by default, so they won't show up in the final print. And I actually have the copy already prepared for the caption. I'm just going to paste it in here quickly. It's left and right, courtesy of Mid journey and magnific AI, Martin Perhniac. So all of these images are AI generated using these tools, Mid journey and magnific AI. But of course, you can have in your captions whatever you wish to include. You probably can use your name there if you want to have this project included in your portfolio. But the formatting for this, I would like to actually be different. So I will be creating a new paragraph style. So we can just change this to basic paragraph for now. Having this frame selected, I will alter or option click on Create New Style and we reached our tenth category, and this is going to be the credit. Now, for this one, I want to use Montserra again. Probably I will use the regular style. The size will be very small, so it's four points. The tracking should be 40 again and the case can be all caps. That. And for this paragraph style, I'm going to use a nested style, and this is something that we use already before for the drop cap setup in our first spread. In this case, I'm going to say, I want a new character style applied here. Maybe we can use the medium Italic or one of our other ones that we already specified here. But more importantly, I want it to go up to. And instead of words, I would just put a column in there. So that's that character that separates the two sides of this credit. So this is looking good. But maybe instead of medium italic, this can be the highlight style. Let's see how that looks. No, that doesn't work with this font. Maybe we can use the first word. No, that's very different in style. Maybe semi bold italic. Yeah, that doesn't work with this either. So in this case, I'm just going to create a new character style, and I'm just going to choose the font family and maybe set this to bold. So that should be something available here. You just type in bold. And click Okay. Yeah, that looks really good. But in some cases, when you do this, it actually not only applies that paragraph style with the nested style, but the whole new character style is also applied to the whole text that was selected. So what you need to do to fix this is to go to your character styles panel and just say none. So that way, it's going to work the way we wanted it to. So it's going to start with the character style, which by the way, I didn't give any names, so I'm just going to change this. I will call it simply bold. Like that. So this is the character style applied on top of the paragraph style that we defined within the credit style. Yeah, that's how this looks like. We can maybe make it a little bit narrower like that, and let's just duplicate it and place it down here. Now you can change the rotation back by right clicking on the name of the parent page again, page attributes rotate spread view, clear rotation. And then we are back to this setup, and that's all the elements that we needed for this parent page. And we can check how this looks on our second spread. It's looking really good. But this is where the shortcut will come in handy to override certain elements. So while on the right side of this spread, it makes sense to say left and right because there's an image on the left or right. Here on the left side, it should instead say something like A. So we can just press Command or Control Shift click on this element that overrides it, and now it allows us to make changes to it, so we can just change this to all. I think that way, the text will fit here under the image. That works well, and then we can check this obviously already showing up on the last spread, which is currently still empty. But they also show up here on this spread. However, here we can't see them. So we can see the running headers on the top. We can see the folios and the footer elements at the bottom. But because these images are overlapping the credits, they are not visible right now. There is actually a quick and easy fix for this. What I normally do to make sure that always these parent elements are visible is to actually define a separate layer for them. So if we go back to the parent page, we can select everything here. So currently, they are spread out between the texts and images layers. But I actually prefer to have a separate dedicated layer for all parent elements. And I like this to be on top. So now we can just drag all of these elements from the existing layers to the parent layer. So now they are sitting there. And then if I go back to that first spread, we can see that the credits are now visible here. However, here we only need one of these credit text frames, so we can command or Control Shift, click on the left one, delete that, and then we also command or Control Shift click on this, and just move it a bit further out. Here, and that's probably a good placement for it. So I'm just aligned it in the center of that column. And left and right makes perfect sense here, so that works really well. 19. Creating a Parent page variant: Now one final thing that we have to do here is that we need a variation or variant of this parent page where there are no running header elements, and that is for this first spread. Like I said before, here we already defined the department title on the left side, so there is no need for this to show up here. It's a little bit of an overkill if it's there. However, on the next spread on spread two and three, that's definitely useful to appear. So you might think the best way to create this variant would be to just simply duplicate our existing parent, which of course is an option we can choose, and it's just going to create a completely independent parent setup called B parent by default. The only issue here is that these two won't be connected, so there won't be any link between the two styles. And in case I change my mind and I want to change some common element like the folio or page number style, it will have to be updated in both of these. Now, the only difference I want here really is that I don't want the headers to show up here on this version of the parent page. So for this, instead of duplicating, the thing to do is to create a new parent. So you right click here in the parent page section of the pages panel, choose new parent. And then the prefix, I normally like to have it tied to the original parent design. So I will call it A and then a lowercase A. Defines that this is a variant. And if you have multiple variants, the next one could be lowercase B, and so on and so forth. And more importantly, this has to be based on the A parent. So there is going to be that connection or link between the two, and then we can just say, number of pages has to be two, of course. It's a spread. Let's click Okay. Now notice that this automatically has all the elements on it from the previous design. But also we have these two little A icons here within the parent page, identifying this to be connected to the other parent style. So the same way page design can be connected to a parent page design, even between parent pages, you can have the same relation like parent child relation. So this is the parent and that's the child. It can be a little bit confusing at first when you do this, but it will make more sense the more you practice using parent pages. But more importantly, for this variant, I would like to remove the running header design. So just like on pages, this is not selectable by default, but if you use command or Control Shift, drag over these elements, you can then press backspace or delete to remove them. So let's do the same thing on the left side. We can use command or Control Shift, drag over these two frames, and then delete them. So now this variant looks exactly the same. It's identical, apart from the fact that we don't have these there on the top. And then if I come back to this first spread, what I can do now is to right click here and choose apply parent to pages and change this from the original design to this new variant. The AA parent, let's click Okay, and there you go. Those are gone. So the running header design is gone, once again, because it would have been an overkill on this particular spread. And of course, we shouldn't forget about our cover spread, which again, doesn't need most of these elements. It actually only needs the footer, including the folio. But since on the cover spread, we most likely will always have a full image in the background. It probably makes more sense to have this text set in white. So what we will do again, just to practice this technique is to create, again, a new parent. And this can be called A, D, and we will base this again on the original A parent. Let's click Okay. And then we can come here and hold down Command or Control Shift and select all of these elements, lead them, so we don't need those. We only need these elements at the bottom, but these will again have to be selected with the shortcut command or Control Shift, click and drag over them, and just update the color of the text. So go up here in the control bar, select the text formatting and set it to white or paper. And that is all what we needed to do. And now we just have to select this first spread, right click on it, choose apply parent to pages, and choose the A, B parent. Let's click Okay, and there you go. I already looks perfect. So it's the same style, but now it's set in white on both on the right side and also here on the left side. It's a little bit hard to read maybe there around that flower pot, but I feel like it's still legible, so I think it should be fine the way it is. And, of course, we will come back to the cover page later. For now, I just have the elements ready there. But now that everything is ready, all our parent pages are set up and working properly, we can move on to add all the elements for our loss spread. 20. Adding jumpline icon and end mark: Save time, I already placed in the text frames and the image frames on this last spread. And by the way, if you want to save time, you can also find these in the exercise files, the one that doesn't have anything else, just these essential main elements for each of the spreads. So yeah, you can either choose to copy it based on what you see on my screen. Or you can just use the prepared template and copy those elements into your composition. And what I will need to do here is make sure that these text frames are connected to each other. So I'm going to create the thread between them using the little icon on the bottom right. So make sure that they are all chained together, and then to connect it into the rest of the story, we can just use the plus sign on this page and then connect it to this one here on the last like I said, in some cases, the styles can get tangled up. And in this case, I can see that this paragraph definitely has an issue. It's not using the correct setting. So if I select this, I can see that there is a plus sign on the body copy. We can just remove that say, clear overrides. Then I'm going to do the same for this one as well, clear overrides. And to be honest, we can just make a selection on this text here. Again, clear overrides, first part as well, clear overrides. Like that, and then just continue doing the same with the rest of the text. So we want to make sure that this is all set up according to the original style. Maybe if we just temporarily switch to the story editor, it's easier to select everything in there. So yeah, all of these texts should be also having no overrides on the body copy, and then we can switch back. Okay, there's a little bit more here. Let's just remove any overrides there as well. All right. That was a fairly quick fix. And what I'm just going to also do is that I have one additional instance of the subhead here, which because it's not saying day one, two, three, four, five, it's not automatically styled. When we use the fine change feature, I'm just going to use the shortcut option one that we defined here, and then the subhead will be correctly formatted. Now, more importantly, once we have all the text in the article, so the whole story is now visible. We should go back and check the other pages and see how we can refine the alignment to make sure that we don't have things like this where day two is separated from the next paragraph, or, again, we have too much empty space here at the bottom. So this is where the little refinements come into place. Now, the first thing I think we can do here, let me just check. If I drag this down, it actually appears. I don't know why it wasn't appearing before. So we just had to update that, and now we can see the rest of the text. So that looks fine. Yeah, first page looks good. And let's go on the second page. And here again, it seems like that little adjustment on the frame fixed this paragraph. So day two has its first paragraph visible there. Then the text continues here, two paragraphs looks good. Then we move on, and then here we have a little bit of an issue. So day four shouldn't be here. So I'm just going to drag this text frame up until that moves onto the next spread. And let's check this. Here, it looks great. It starts with Day four. Then day five is perfectly aligned. It's not actually ideal to have them in the same place because it might direct the viewer's eye from going from here straight to day two instead of continuing up there. So maybe what we can do is to drag this down just a little bit. And maybe give it a little bit more space down here. So that way, the last section with the subhead can still be together on the right side. So yeah, now I feel like it's not misleading. So whoever starts reading here will most likely continue up there before moving on to day five. It's still a little bit too close to each other for my liking, but it's definitely improved. So yeah, I feel like that's something that we can work with. Maybe this can come down just a little bit even more. I want to separate it even more from each other. Let's see how that feels. Yeah, I feel like that works already much better. So once again, let's just go back to the first spread and double check that all the threading looks good. The subheads are nicely connected to the paragraphs after them. And of course, we have to double check that the text actually fits in. So there's no overset text. And within the pre flight here in the status bar, it should also say no errors. Now, before we move on, one thing that I don't want to forget about is the little page turner indicators and end of article indicator. So for this, I have these icons prepared that I'm going to just bring in here, Command or Control D, and we can select these two icons. Let's just bring them in. Click and Drag to bring in the first one, and then I will just click and drag on the other one for now. I will actually replace the initial icons so we don't even have to place this in right now. Instead, let's just focus on this first one. So that's the page turner icon. Now, this can be aligned to the size of the text. Probably around 2.75 millimeters is a good size for it. And what I would like to do with this is to move this first to the first spread where it needs to appear. And let's just paste it in here, move it down, and let's find this position where we feel like it works well. I feel like somewhere there, it looks good, so it's as if it's part of the text, but it's just to indicate that there is more text on the next page or next spread. So what I like to do with these elements is to have them somehow connected to the copy. So in case there's a subtle changes in the copy and maybe some words will flow up or down. I want this arrow to always be in the right place, so I don't want it end up being overlapping the text or being too far from the text like that. So have at least some kind of alignment in the horizontal positioning of the last character in this text frame. So the way we can do this is by using the anchoring feature and the way you do this is by click and dragging on this point here, this little control point that's for anchoring the image or icon in this case, and drag it to the end of the paragraph, so just right after the full stop. And then it's going to show this little anchor icon here now. So that appeared. And if I start changing the copy, you would expect this to move, but by default, it's not going to work because first, what you need to do is to make sure this object is still selected, or the icon is selected and then go to the object menu. And under anchored objects, choose options. And here, there is one setting that we have to change. The X relative to, instead of have it set to text frame, you need to choose Anchor marker. And after this, you can specify the offset. So I probably will use minus five, but you can increase or decrease this depending how much space you want between the icon and the text. I feel like minus five is quite good. And then we can also prevent menu positioning if we want, but normally I just use it like this. So let's just click Okay. And I just want to demonstrate this to you now. If I add some copy here, maybe an additional word, you can see how that marker is being moved to the right. Or when I delete these characters and go back, it nicely always follows the text. So that's a very nice setup. And there's only one thing worth mentioning here is that even though this is an image or a graphic and you would normally want to place this on images layer, you won't be able to do that because it's anchored to the text, so they have to be on the same layer. Just wanted to show this to you. If I try to move it on there, it will say that that will mean you have to ungroup these and you will lose the anchored object feature. So that's obviously not what we want in this case, so we will be just keeping it here on the text layer. Now, let's copy this and move on to the next spread. And again, I'm in the last text frame, and here I'm just going to paste. Let's move it in place, align it to the frame, and then again, drag that little icon right there and then go back to the anchored object options. And you can either set this up one by one or to save time, you can use an object style. So let's just do that. So I will have this icon selected on the first spread, and then I will hold down alter option key and click on the create New style icon in the object Styles panel, and I will call this one page turner. Or continued on or next page, icon or whatever you prefer to call it. And I'm just going to make sure that it is saving the anchored objects options that we used. Yes, that's all we need. Let's click Okay, and then jumping on the second spread, let's just find out icon. Now all I have to do is to just assign that style we created, there you go, and then we can just test it out. Yes, it works. Before. Perfect. And now I'm just going to copy this and go on the last spread in the last frame, and paste it in. Let's move it into position. Around there. I think a something like that looks good. And then here it already has the style applied. So if we do the anchoring, it should already work. Let's just test it out. Yeah, it works. But this icon is where the article ends. So here we actually are going to change the icon. Having this frame selected, I will press Commando Control D, and I'm going to use the pin instead, which is like a final destination. That's where the article ends. And yeah, it works perfectly. That's all we needed to do for the body copy, just like a final element or refinement for the body copy. 21. Finalising credits and captions: Then before I forget, on the third spread credit, we can just change this copy instead of left and right. This should say top and bottom. Like that. And now let's not forget to also add the captions for the images on the second and the third spread. So we have the first one already here on the first spread. And based on this, we will create the other ones. And remember, we created a caption frame object style. So that's what we will be using here as well. And by the way, before we add the captions, I just noticed two mistakes here in the object size panel. One is that I accidentally had the same keyboard shortcut assigned to two styles, the Page Turner icons and the image frame. So there's a conflict here. We can fix this by going into the page turner style, so choose Edit Page Turner and then change this to option four. And then click Okay, so there shouldn't be any conflict now. But there is also another little icon here, this one that indicates that this page turner style currently is the one that will be automatically applied to any new graphic frames that we create. Now, what is a graphic frame? So if you use the F keyboard shortcut and you click and drag, that is just an empty frame, right? If you use the T keyboard shortcat, that's the type tool. And with that, you are creating text frames. So that is going to use the basic text frame formatting. If you are using one of these tools like the rectangle tool or ellipse tool or polygon tool, these will be graphic frames, and these will automatically use the page turner style. So that's not really a good thing. So normally what I would do is to drag this little icon and drop it back onto the basic graphics frame. And also the basic text frame, this icon should be here. So instead of that being somewhere else, make sure that is moved back there. So these two icons you don't want to move around. But now that we fix this, we can just use the type tool, create a frame here. Just make a bigger frame like that, and then we can also make another frame down here for now, maybe something like that. You can probably move this map a bit to the right side just so we have more space for our text here. First let's just bring in the text. So from the Grease article captions text document or text file, select this text on the spread to verso, which means the left side of the spread. So that's the text that should be coming here. We can just paste it in. That's Commando Control V. Now once you pasted the text in Make sure you select all. So double click inside, press Command or Control A, and then make sure that there is no character style on the text and also choose basic paragraph and remove formatting. So it's a completely raw text. There's no formatting on it. And if that's the case, once the text frame is selected and you choose the caption frame object style, it should work like a charm. It should look already perfect. But it's important whenever you bring in text from text editors to do these steps because especially if it's a formatted text that already has bold formatting in it and others, it might cause problems. However, here is a good technique. If you ever use Word files or text files, one useful feature actually is the plain text option. So having it safe without any formatting will help you to avoid these formattings being carried into in design when you copy and paste the text. So this is how I have this text file saved for you. But I just wanted to mention this that sometimes if you copy text from rich text format documents, the formatting will automatically be carried into in design. And that can cause problems because it will have conflicts between your styles. I'm just going to make sure that this looks good. The text, something like that feels good. But I guess it can go all the way out like that, as well. Yeah. Now let's do the same thing here on the next text frame. Once again, I'm going to paste in the text first. So this is the right side or rectal side of spread two. Copy the text, paste it in, highlight this, say no character style should be applied here. So it shouldn't have any formatting, basic paragraph, no character style. And then if the whole frame is selected, we can just choose caption frame. Once again, that is looking good. We can adjust it a little bit and feel like that looks nice. Maybe it can come down just ever so slightly around there. Yeah, that is looking good. The map can go up a little bit further somewhere there. And then we can move on to the last spread, and we're just going to repeat the same steps. I'm just going to place in the frame here on the left side first, get the copy that we need. Paste it in and then have the text frame selected and choose caption frame. And let's just correct the alignment of this. Yeah, I think that is looking good. And then the last frame will go up here, use the text tool, create the frame, then bring in the copy. Have the text frame selected and choose caption frame and then just adjust this a bit this way. All right. This probably can go a bit to the right, maybe align it to this image. The good news is that we have all the three spreads completely ready. So this spread, the second one, and the third one, they are all looking good, captions are in place, credits are in place. We have the body copy looking really good. Everything should be following the baseline grid. The threading of the text is good, too. Now, the only thing left to do is to come back to the cover spread and get this one fixed. 22. Designing the headline for the opening spread in Photoshop: Create a compelling and engaging cover spread, I want to make sure that the type is nicely integrated into the image, so there will be a good interaction between these elements. So what I'm going to do is to use Photoshop for this. And the quick way to access an image and open it up in Photoshop directly from within in design, you can do that by holding down the or option key and double click on the image. So there's our image in Photoshop. And first things first, I like to save this as a new Photoshop file. So we will save it into the links as a Photoshop document, and I'm just going to call it cover tutorial. And then let's save it. Then, the first thing I want to do here is to just tidy up a couple of things on a new layer. So I create a new layer, and then I will be using the removed tool. So once that's selected, we can go a little bit closer. And by the way, I like to use this feature without this option turned on. So to remove after each stroke, I have that turn off. And this allows me to be able to draw on a couple of things like these rocks. I don't want to see in the image. I think there's a few more maybe here on the right. We can remove as well. I think we can just remove this for now and then just press Enter to accept these changes, and that looks already much better. There's a little bit more here. Let's just remove that and then let's focus on this side. I actually don't want this sign on the door, so I'm going to draw around it, draw around the edges, and then press Enter again. And the generative AI usually does a good job, but if you feel like the lines are not straight, you can just draw on them once again. And I feel like that is it for now in terms of tiding up details. Now we can bring in the text. So let's use the Type two, press T on the keyboard, and then we will type in Greek, like so. And I'm just going to increase the size of this until it fills in really nicely the space here. And I actually would like this to go slightly behind the rocks here. It can crop to the side, so as long as still the ca is legible, can go a bit further there. It should also go behind the building here on the left side. But one thing that we should avoid is to create a tangent with the top of this capital letter aligned to the horizon. That's not a good or ideal thing. So I'm just going to drag this further up, maybe move the whole thing up a bit. Let's try to make it slightly even bigger. Yeah, ideally, it should be something like that. So we actually see a little bit of the horizon under here. Just to show you once again, if it's like that, I think it's aligned too much to the horizon, and this is something we would call a tangent in our composition. So that's something I want to avoid. However, I am aware of the fact that now this letter is not going to overlap the cliff or at least it's not overlapping it enough to create that illusion of depth, but that can be easily fixed, as well. So I'm going to show you a couple of useful techniques. Now, first of all, what we need to do is to make a selection of the water. This can be done in a couple of different ways. What I would normally do is to use the Object Selection tool. And with this, I can click on the water, and it did a quite good job. Of course, it won't be perfect around here, but it is still quite nice. And then I'm going to create a new layer group and I will save this selection as a mask on that group. And then once the mask is in place, this can be used for our text layers. I just drop this into this group, and I can call this one title, and that is looking good. But now we can select this mask in the layers panel, and we can use our brush tool and paint over this top section with white like that, making sure that is visible and also this part here. And I feel like the rest of the details is looking good. Now, of course, the masking here is not perfect or far from perfect. So what we will need to do is to draw over this just very crudely, draw over here and also there the flowers like that. And then this actually, I'm just going to go over completely maybe to here, and you will see why I'm doing it. So heavy handedly because there's a good technique that I like to utilize when it comes to creating these composites. So just make sure we go over the edge. This doesn't look bad already, but definitely can be improved. I would just go back to that layer underneath, and I'm actually going to remove this flower from here with the removed tool, just like we did before. And then let's put the text back on. Now what we can do is to use the Lasso tool and go and create a new layer on top of everything else. So this should be outside or above the title layer group. And then here I'm just going to create a selection like that. And then using the contextual task bar, which you can find in the Window menu. So that's the one that you will need, you will be able to click on Generative Fill and you can just type in leaves and pink flowers. Let's try to do that. And that looks already quite good. But of course, we get two additional options or variations to choose from. I actually feel like this first one is perfect. So that created a really nice edge for us. And we can actually try to utilize this here as well around the edge of these rocks. So if I just make a selection around them like that, let's just try again using generative fill. And this time, either you can type in rocks or you can just keep it as it is empty and press Enter and see what happens. But this time, unfortunately, the AI decided to make this much smoother and straight. So it filled in those gaps, which is quite funny, so we actually don't want that. So I feel like our mask on this detail looks already quite good. If we wanted to refine this, maybe we could create smaller selections and then use generative fill. But like I said, I'm happy with that part. I think that looks quite good. Maybe we could add a little bit more flour around here. Let's just see what happens. If I just type in pink flowers, and, yeah, that's looking good, but maybe this one is even better. The third version. Yeah, I think the third version is good. So that was without and with that edge just didn't look as neat as the other ones. And I am happy with this result. 23. Completing the headline in InDesign: Now we just have to achieve the same thing here on the rocks. Now, instead of relying completely on generative AI, of course, you can use the Clone Stamp tool as well. So I can just create a new layer once again. I would just call this layer rocks. And what I'm going to do is to use the Clone Stamp tool and just make a selection maybe here, Alt or Option, click on that rock, and then let's just draw it here. Like that. Okay, let's just connect it nicely, and then we can maybe use some details from here. So when we merge these two together, maybe we could just add some more details from another part of the image just so it doesn't look so repetitive like that. And then what we can do is to use the eraser tool and just erase from this or even more professional if you use the pen tool set to path mode, and we draw over the edge of the rocks, creating a nice sharp edge and make sure you avoid the blue details in the water So you want to make sure it's organic enough. It has lots of little turns and twists. So sharp edges, some more curved edges. And then when you are ready, you can just draw around this whole section and then close the path and press Commando Control Enter, and then press Delete. So that removes all of those details, and then we have a quite nice little detail there. And if you feel like it's not realistic enough, you can now use the remove tool and just paint over maybe this section here doesn't look that good. And then I press Enter. Let's just see what happens. That blended them really nicely, and then we can also maybe draw around the edge here. Let's see what happens. Yeah, that looks good. Maybe we can just cut into this a bit, or we can extend it again, with the clone Stem tool if we wanted to there at the bottom, just a little bit. Looks a bit more realistic. Yeah, I feel like that looks like a really nice detail for the rock, and it might be a little bit too obvious that we use this section here, but I don't think most people will notice that. So if you want to refine this further, you can combine more elements together to make it less repeated. But from a distance, I feel like this looks really good. So now we can save our Photoshop file and we can jump back in design. Having this image frame selected, we can use the Command or Control D shortcut and bring in our Photoshop file. And just make sure the field frame proportionally option is used. So we can see how it's aligned to the bleed and everything is looking great. Now we just have to make sure that this text, the perfect getaway, uses the same style. We actually have one of these styles that's already using the same font. I believe it was the running head. That's the one. But of course, we want to have a new style created for this. I'm going to just create a new paragraph style, and I'm going to say it's not based on anything. It's going to be the 11th, and this is going to be the cover title. It's actually could be the 00 style because that's the first one in the article. And I will be using the MascalleoFont for this set to extra black. The size can be bigger. I feel like can probably use something like 35 points. We can refine this later, but for now, I think that works quite well. And then I just want to make sure that the color is set to paper, and then the alignment can be set to left instead of center. Let's just click Okay. Yeah, it's looking really good. You can just bring it a little bit closer. Let's zoom out. Okay. And then let's just apply this style to the other text frame as well. And let's move that to the right. I feel like this text can be slightly bigger. So let's just click away and update the cover title style. Let's see what happens if we go up to 40 points or maybe even 50. I think 50 points is going to be the best. Let's click Okay, and I'm just going to increase the size of this frame and move it up a bit. Again, I don't want it to be aligned to the horizon. Something like that looks good, just slightly going over the horizon. And then this one here is just right next to the boat. And nicely overlapping the rocks. It's very legible, easy to read everything. But there is a beautiful interaction between the type and the image. So let's just save it like this and let's see it in full screen. And by the way, the reason I ddt these additional words in in design and not in Photoshop is because anything that can be done easily just by placing in the text should be done in in design, only for elements where you want to do composite or masking between text and image is the one that should be done in Photoshop. So even though the word Greek I had to create in Photoshop. The rest of the text I still prefer to set up here directly in in design. And the good news is that now we have the whole article ready. So all the four spreads in their final form. And now we reach the final stage of this project to get everything ready for print and also make it easy to create additional articles based on this style. So this is what we will be doing in the next couple of lessons. 24. Archiving the project by saving a Package: So first of all, before even creating a PDF for print, what I would always recommend to do is to archive your project as a package. The package is the best way of making sure that everything will be kept together that was necessary to create this layout. So this is something that you can do from the file menu. Before creating the package, however, you want to also make sure that there are no errors so there's no overset text and no usual problems like missing links. But as long as you have no errors, you can go to the file menu and choose package. And then here, again, you will get a review of what you have in this publication. So we have 13 fonts used, nothing is missing. And then we have 20 images or links, zero modified, zero missing, zero inaccessible. And yeah, that is looking all good. Now, the color spaces are RGB, but this is something that will be converted to CMYK once we create our PDF. And if you want to see additional information about the fonts, you can just see them here in a list, and that is looking good. Then you can also review your links. Formats are visible here and whether they are linked or embedded, but they should all be linked here, and then you can also see the colors and inks, and then you can also see addition options like print settings. But this is not something you have to worry about at this point. Just have to save this as a package. And I'm going to save it in the same folder where I have all the other files. And when you are saving the package, you can also decide whether you want to include a PDF inside. This is actually a good idea to include, and you can use the high quality print. This would be just for preview purposes, this PDF. But if you want, you can also use other standards. And there's another useful option, the IDML file, which is the in design markup language format. This is to allow the actual working file to be opened in all the versions of in design. So it's useful like legacy or backward compatible format of the working file. And the rest of the options you probably don't want to change. So you can just say package it up, and then this is going to be ready for us. And it's a great way to save your work and move between computers as well, but also to back it up and also to make it available for other designers to work with. So yeah, that is the essential format that you would want to use for finalizing your project when everything is ready, and when you know that you are not going to make any changes to it anymore. 25. Exporting a PDF: Now even though you can create a PDF together with your package file, I always recommend to export the PDF if you are tasked to create the print ready version of this article. So this is something that you can do from the file menu, and I would normally recommend to go into Adobe PDF preset and choose the PDF X one A, 2001. This is a very widely used standard or PDF standard, and I'm just going to save it right here in the project folder. And once the settings comes up, one thing you want to make sure is that all the pages are exported, and you most likely want to export them as pages, but there is obviously the option to export them as spreads as well. It depends on the printer which option they prefer. And in some cases, they might want separate PDS for each of the pages. That's again, something that you can do here. So it's going to create a batch process creating multiple PDF files, which is a quite useful and fairly new feature in in design. I'm going to just keep the original settings here. But what I'm going to change is the marks and bleeds section. Here, I want to make sure the crop marks are included and that the document bleed settings and the slug area is also used. And besides this, the rest of the settings can usually stay the same. So I can just export this. And by the way, if you want to use this as a preset in the future, you can save your version of this standard. But I will just click on Export, and then you will see the export indicator here on the top. And when it's ready, you can open up the PDF in Acrobat where you can choose the view option page display two page view. And this way, we can go through the whole document and we can see all of the spreads. And since we save them as individual pages, gutter area will be repeated because they will be independent pages. Again, this is something that you will have to check with your printer, whether they prefer to keep them as spreads or pages. It's usually an option that they would specify for you before you export the PDF. But to be honest, in my experience, most printers would prefer to work with a PDF with the settings that I showed you here. 26. Saving the layout as a template for future issues: Last but not least, if you were the one who came up with this new style or new layout and style that will be used in the following issues for this magazine, then it is also a good idea to save this as a template file in design, which will make it easier to get started for the next issue. So, of course, we have all the formatting already set up the correct way. So we have our paragraph styles. We have our character styles and object styles, and we have our parent pages. But right now we have all of the content here as well, the images and the text and that shouldn't be saved into a template. So let's just tidy things up here, first of all. Now, you can decide to keep the image and text frames in place. You just want to take out the content from them. So what we can do is to click inside this first frame. So click on the content grabber area and then press backspace. Notice how the image frame stays in place. Going to do the same thing here on the left side, just delete the image, but keep the frames in place. And then on the left side, we can most likely keep the department title, the experiences in place, since this is going to be connected to this style, and if it needs to be changed, it can just simply be updated. For the kicker, again, that probably can stay there, and even the byline can stay there. However, if you want to avoid confusion, you can just delete the text and keep the text frame there because the style and formatting we already in place. So whoever is going to work with this template can just start typing. So if I just go in here, can just start typing and already, the styling is there, and let's just move down a bit and we can remove the caption. Again, the styling will stay. The footer can stay in place, and then we can obviously remove the text. So completely remove that. The drop cap can be removed as well. And the text frame probably can stay there. So that's again, already something that's set up to start working with. And before you go any further than this point, I would already advise to save this as a template file. So if you go to file, save as, you can choose the template option, and I'm just going to call it template. Save. This way, you don't accidentally mess up your actual document where everything's been already set up nicely. Now for the cover page, most likely, you would want to remove everything. So this one you want to keep free. So I would take off these text frames, and I'm just going to probably keep the image frame here. So I still have the image frame. I just remove these contents, and then moving on to the third spread or second spread depending on how you look at it. I'm just going to remove the images but keep the frames in place like that. The map I can probably remove completely. The text from the captions, I can remove as well. And then that's all there is here. We can move on to the next spread, again, remove the contents, the images, and then the captions. But all of the frames are there together with their styling, and of course, we have all our parent pages as well and styles ready to go. So now I'm just going to update this file, save it. That's saved into the template file. And I'm going to show you quickly what happens if I close this template file and if I go to File Open and open this template file. So the INDT file format is what you're looking for. Once that opens up, it will open up as an untitled document. So it won't have any ties to the template file itself. So that won't be accidentally changed. It will always stay the same the way you saved it. Instead, it's going to start as a blank new document, but with everything already in place for us to work. So, of course, for a template file, you want to make sure that everything is really nicely tidied up, perfectly neat, having the shortcuts in place, the layers in place, the parent pages set up, your frames, if you want to include them. But again, that's an optional thing. So if you want to give flexibility for the designers that will work with this template, if it is restricted, that you want to have the frames always in the same place, you can keep it like that. Or you can just have this as a starting point and, of course, allow them to make those changes. Now, in case you want to practice everything that we've learned in this project, as an additional exercise, you can try and test out this template file and fill in all the contents exactly the same way we had it before. But now everything should be much, much faster because all the styles are ready to go, and you literally just have to drag and drop things into place. So recreating the whole thing shouldn't take more than half an hour, maybe even less. Maybe one additional important note about using templates in case you go through the template and you find a mistake like here, if I zoom closer, I can see this frame was actually not perfectly aligned to the margins. So I can correct that right there. I can maybe check the other frames as well. This one seems to be fine. Yeah it's a line in the right place. But yeah, so you just fix a few things that you notice in your template file, and then you wish to update the original template. Remember, this is right now an untitled document. So the only way you can update the original template is to actually overwrite it by going to File Save As, and then make sure you choose the template option. And then you use the same filename in that folder or place where you store your template file, and then you can just say Save it will ask you to replace it. Yes, that's what we want to do. And now we updated the template file. So by default, using template files are great ways to avoid overwriting accidentally, the original template itself, because you want to keep that in its original like raw form without any contents inside it. But in case you notice that your template file has some issues, like in this case, that little fix I've done, and then I intentionally did an overwrite on the template file, and that's how I could update it. 27. 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.