How To Format Your Paperback Novel in Adobe InDesign | Nadège Richards | Skillshare

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How To Format Your Paperback Novel in Adobe InDesign

teacher avatar Nadège Richards, Author, Designer, Photographer

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.



    • 2.

      Creating Presets, Workspaces, & Templates


    • 3.

      Creating Paragraph & Character Styles


    • 4.

      Introducing the 3-Step Formatting Strategy


    • 5.

      Placing Images


    • 6.

      Shapes & Text Effects


    • 7.

      Master Pages (Advanced)


    • 8.

      Adding Bookmarks & TOC


    • 9.

      Inserting/Using Glyphs & Special Characters


    • 10.

      Exporting to EPUB (Fixed Layout)


    • 11.

      Exporting & Packaging


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About This Class

The interior design of a book can reflect the mood of a story and enhance the reader experience. With this class, you'll learn industry typography, layout, and formatting standards to improve the way you present your books to others. You'll also gain advanced skills in Adobe InDesign and inserting different types of images into various manuscripts. This class will cover different aspects of interior design and formatting. Everything from templates to body text styles — it's all right here.

Meet Your Teacher

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Nadège Richards

Author, Designer, Photographer


Nadège Richards is a fiction author and the designer behind Inkstain Design Studio. IDS is an award-winning graphic design company founded in April 2013. Nadège is dedicated to creating original, stunning, and inspiring content for authors, publishers, and entrepreneurs. She specializes in interior book formatting, as well as branding and cover design. 

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Level: Beginner

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1. Introduction: Hello and welcome to book formatting and in design with me, Dez Richards. This is a learning course with an ink stain design studio where I will be taking you through the know hows and all of the ins and outs of basic formatting with Adobe in design . Self publishing could be a difficult task if you don't know where to start. And this is especially true when it comes to design, because after all, first impressions do matter and you want a while your readers with professional and stylistic design choices. This course with an ink stain tutorials, will equip you with fast and easy rules, templates and guides to make your paperback stand out. While it is a beginner level class, I will also be touching on fundamental design tools that are useful in Adobe IndusInd, therefore creating a rubric for any other books she planted format in the future like a project this grant as an anthology or something more personal, like a memoir, download and openness of files access to course materials. You'll find the full text of the book will be working with a few J pegs and the fonts needed to follow along and each class. Finally, this course was created with every kind of author in mind. I'm excited to teaching you amazing things, So I hope you're excited to learn that. Cook over to the first class and let's get started. 2. Creating Presets, Workspaces, & Templates: you. Creating templates and work spaces within in design is the first step and truly understanding the software's benefits, especially when it comes to books of any kind. Whether it be fiction, nonfiction, self help form a more There is a pattern that is applied to all the right templates, and workspaces will make it easier for you to apply this pattern. So we're going to begin by opening up a doobie in design, a sort of home page will appear first, let's go to file new document. This is going to help us set up a new layout. However, you don't want to select book, since that's a feature that compiles all styles within a document and put some into their own folders. It's a way of spicing up the different components were going to be working with. But I think too many parts within a file tends to confuse new learners. We're still going to be working with subsections, but in a different way. This will be a more basic and straightforward approach to setting up a book file. A dialog box has opened here, which allows us to enter in the size of the book. The bleed page numbers and margins and things like that. If you haven't worked in in design before, they offer a list of templates that work well for most print, Web or mobile projects. These air great for resumes or publishing with phone APS. But we'll be creating our own templates specifically for books. On the right hand side, you'll see preset details. Now a preset is similar to a template, but it has its differences in how we intend to use it. When you open up a preset, it contains the Polish backbone of the project you'll be working on. It has all the correct dimensions. Answer your manuscript and begin changing styles and fonts. Orientation or positioning. Temples contain the same thing, but a little more. They give you a reusable set up of graphics, text boxes or other design elements so that you don't have to continuously adjust them. If each project requires the same objects in order to create a template, presets must be made and saved. First, we're going to save the preset at 5.25 by eight. This is a standard size for most traditionally or non traditionally published books. It's not too small too big, too narrow or too wide in the body. Text tends to fit really well on the pages. Our units are easier said at inches. But as you can see, the dimensions remain the same as you toggle between the different units. So if you're more comfortable working with something other than inches, feel free to do so. For within height, we're going to apply a general rule of 0.1 to 5 and 50.25 This means we'll be adding 0.1 to 5 to the with number and 50.25 to the height number. No matter what the trim size of the book is. This is shares that we account for the page, please, so that printers like Ingraham and Amazon KDP don't trimmed Emergence into close, therefore cutting off some valuable test. So go ahead and type in 5.375 for the with an 8.25 for the height in design already knows that the dimensions air portrait, so we don't need to adjust anything there, but we do need to make sure that facing pages is selected. Also, de select primary text bring. This creates a spread of two pages within a document and a gutter between them. Then we'll go to pages and type in two. The reason we aren't putting in a reasonable page count is because we don't know it yet. Page Council vary from Microsoft Word to in design. The process of importing a manuscript will solve this issue, but I'll talk more about that in the next video. The starting page numbers should remain at one as well as the column number the gutter we will set at 0.13. Once you've got that, click the Arrow to reveal the margin setting and set the top inside bottom margins at 0.75 . The outside margin will be the only one set at 10.5. The changeling to the right makes it easier to sell all four dimensions with the same number. But since we don't want them all the same, well, unlinked the chain. These are the dimensions that I've come up with after testing out a range of different numbers with my own books, they work for most trim size is like six by 95 by eat and 5.5 by 8.5, while Amazon KDP is a popular printer for many indie authors. They don't provide templates for in design on Lee for Microsoft Word and Again, the dimensions and sizing is really different between the two software's, so you can't necessarily apply those template numbers here. The slug is the area outside of the bleed, where a lot of publishers insert document comments, instructions and days for their printer. But we won't be needing back, so we'll leave it as zero. You can click preview to see the preset you've just created, and then come back up to the top to save it. It will ask you to name it again and then hit. Save preset. Once you have it in your saves folder, you can go ahead and open the preset. What you have here is called Your essential workspace provides all the tools needed to design and published, but right now yours might look a little different from mine. This is because we need to create a workspace specifically for formatting in designing books in design already makes it easy for us to do this. So let's completely rearrange this to our liking, right click at the top of the panel and then choose closed Tabb Group. Then let's drag out the smaller tabs and x them out one by one until our right side is clear of everything. Then we can go upto window and select pages. Bring this tab all the way to the side until you see a blue line appear, then release. Now go back to window and this time find styles. Paragraph styles. Instead of dropping this stabbing at the top, let's bring it all the way down to the bottom beneath this trashcan icon and release when we see the blue line, then we can drag this line up a bit so that both panels are viewable. If you do not see the tool or control panels, go back toe window and make sure control and tools are checked. Your new workspace should look like this, although we're missing one other thing. Besides paragraph styles, we need character styles to explain Paragraph styles make it easier for us to apply formatting attributes. Two paragraphs and character styles allow us to apply formatting attributes to single characters, like perhaps a few words in a section header or the 1st 5 words to start a chapter, I'll demonstrate this Morris. We go on, But let's add in the character styles panel. Return to window styles, character styles. The panel will be detached at first, but you can just drag it to the right and pop it in. Besides paragraph styles. To save this workspace, we'll have to go back to window workspace and new workspace and then named the workspace Book design, then save. So every time you open in design, you confined this workspace available to you in case things get switched up for any reason . And if you happen to accidently move or remove a panel, you can go back to window workspace and then reset book design to get everything back in order. We've completed about half of the set up process now, so stay with me and remember deposit video. If you need time to replicate my actions, we're going to move on to master pages. Master pages are non printing pages that can be used as templates to set up how all the pages and the document will look. So we're just going to be adding standard elements like text boxes, headers and footers and page numbers under the pages tab. You'll see a master double click On that toe, open the first master pages. You'll notice that it's a full two page spread, which means whatever we put on the right side of the page will be on the right pages throughout the entire document, and the same goes for left pages. Let's start adding the text boxes for our body text first. The pink and purple box you're seeing is a great outline for where we're going to place them. But it won't be exact since we still need room for our headers and footers, so make sure we put our text boxes in the right places. We're going toe ed guides from our rulers, so guys air bright, movable lines that do exactly what you think they dio. They'll help keep a lot of objects aligned as we work and insert different design elements . If you don't see a rulers, hey, command are or control R for Windows, and that should bring them up. Click hold and drag from the top ruler to create a new guide. As you slide it down, you'll see that the guide splits between the two pages. This is convenient if you're making space for elements on one page that you don't want on the other. But for this project, we want the right left pages to be identical. So still tracking down the guide, hold down the command key on your keyboard, where the control key if you're using windows, this enables a guide to spread to both pages exactly like we want From here. You can place it horizontally on the spread. Let's hit command Z on the keyboard to go back or control Z. If you're using windows, this is our eraser or our go back button. It undoes a recent action, and if you continue pressing the two keys, you'll undo even more actions. But back to guides say you change your mind and decide that you want a vertical guide instead of a horizontal one. You can do this in two ways. You can grab the guide from the top and hold down both the command and option key or the control and all key. This flips the line completely upside down, while still enabling it to cross between the pages, going a setback with command or control Z. Another way to out of radical guide is to simply click hold and drag from the left side ruler. It moves on to both pages without having toe hold down any keys. So now that we know how to drag guys in, we're going to put them in more efficiently. And this method only works if you have the exact coordinates for where you want to place them. What do I mean by co ordinance? Well, while you were dragging around your guards, you may have noticed tiny numbers at the top or bottom of the line. When you drag a guide from the top, the numbers start with a Y. And then when you drag it in from the left, the numbers start with an X. This is your ex, and why access, like in algebra, these coordinates make specific places on the spread. Since we need to put our text boxes in precise locations, we're going to enter in some numbers. First dragged down another guide from the top ruler, holding down the command or control key toe. Lengthen it. You can set it anywhere on the spread. For now, at the top left, you'll see a panel for the X and Y axis. Only the Y axis is available, since we have a horizontal guide selected, and if you don't have the guard selected, simply double click it to bring up the X Y axis at the top left. Go ahead and type in 0.4775 and hit. Enter. This automatically moved the guard to that quarter. Let's repeat this process by dragging down a second line, holding the command or control key and making sure it's selected. Then type in coordinates 0.63 to 5. We now have her guides for our headers. To make space for our footers, we're going to drag down to more guides holding command or control again. So one co ordinate for 7.7225 and the other for 7.8775 This gives us room for footers across both pages. Finally, we need guys for our body tax. You won't be following the pink lines as I mentioned before. This is because the body text will be too close to the headers and footers and there will be little distinction between them. So we need to add a little cushion of room, drop down two more guys and remember to hold down the command or control key. It's that one court in it at 0.9 to 5 and the other at 7.405 The master pages look like a mess of linear lines right now, but it's about to shape the rest of the book really soon. Keep in mind that these coordinates work best with a 5.25 by eight Trim size. If you like to work with a six by 95 by eight or a 5.5 by 8.5. Keep your guys in this general area. You don't want them to close to the edges of the pages because then they'll be cut off when printed. So I advise always keeping your head arose between 0.4 and 0.65 and your footers between 7.0 and 8.0, then allow for ample room between them and the body text guides. The very final steps in this class are perhaps the easiest toe. Add a text box, select your text tool in the tool panel you can also selected by hitting the letter T on your keyboard. Start drawing a text box from where the third blue line starts at the top left and meets with the purple vertical line dragon all the way down to the first guide at the bottom and until it means with the opposite purple line, creating a rectangle. Now return to the tool panel to grab your selection tool while the text box is selected. Press and hold the option key or the Al Kiefer windows. This is our shortcut for duplicating anything. You can see that as soon as you press and hold option or Ault, the selection tool arrow becomes to one white and one black click and drag the text box to duplicate it and drag it to the right page, placing it in the same position between the guides. Before we move on to creating headers and footers, we need to link these two boxes. This is so that when we insert our manuscript, the words can flow from one page to the next without having oversight tax that sticks toe one box and goes nowhere toe. Link them, select the right page box and move your cursor to the White Square above the icon that looks like a tiny document When you click it, your cursor should turn into a chain link. When you hover it over the next left page text box. All you need to do is click that box and they're linked. We won't need to link or headers and footers. So let's start those by hitting T to go back to our text tool and then dragging to create a small rectangular box between the 1st 2 guys on the last page. It could be anywhere, as long as it doesn't surpass the boundaries we've set up here because we're going to be moving it anyway. When you release the text box, you'll be prompted to put in some text. So let's type name here. Since this is where the author name goes in the header, center it, change it to nine point front, and then let's change it to the teeter front. We already have downloaded from the course files using the selection tool. We can adjust the alignment of the box until we meet a purple line in the middle. This indicates that the boxes aligned properly with our emergence. We don't want to go by the pink line that pops up. Since that indicates alignment with the whole page, and that's not what we want. Finishing with the headers. Duplicate this box on the right side and type in book title instead. Always remember author name on the left book title on the right Now to create footers will also need text boxes. Create a small one on the left between the last two guides. You don't have to make it too big, since it's only going to contain at most three numbers. Once the text cursor appears in is blinking right click. To bring up a few options, scroll down to insert special character markers. Current page number. It'll put in an A instead of a number because right now we're still on master pages, a master to be specific center line and change the font to match the headers. Then go back to your selection tool and then move the box until it's aligned with the Purple guide that shows up as you slide it back and forth. Once it's in place, hold the option. Are out key to duplicate it to the right page, and there you have it. You have officially finished setting up your 5.25 by eight Trim size template. If you go back to the first pages, you'll see that all your text boxes are solidified and look exactly like they do on master pages. Since we no longer need the guides, we can go up to view grids and guides. Hi, guides. This gives our workspace a clean look again. And then to save this preset, as a template will down command S or control s a dialog box will appear and we're going to name it 5.25 by eight. Underscore template. You can save it to any folder you'd like, but I usually like to save files to my desktop so that I can find them faster. The format should be in designed creative Cloud 2018 and the previous check box should be ticked, hit, save. And then you're ready for the second class, where I'll be delving into inserting text and applying different styles 3. Creating Paragraph & Character Styles: you Hello and welcome to class number two in the ink stain formatting tutorials. If you followed along carefully in Class number one, we're going to pick up where we left off and get into inserting and styling our manuscript . The chosen book for this course is Jane Eyre by Charlotte Bronte. I haven't opened here inward because I want to quickly run you through some do's and don't before we switch back over to in design. So, like I mentioned in the previous video, where did in design are completely different? They have some similar tools, of course, but they serve different purposes where it is primarily a text slash writer based software and in design caters more to design, so you can do a lot more in design that you wouldn't be able to properly do inward. However, the two software's cross paths when you're uploading any kind of text and in design, this is a full Jane Eyre manuscript, and as you can see, it's very plain. It's formatted within 8.5 by 11 layout, one inch margins and absolutely no applied styles. The fund is set at a generic font like book, Antigua and the font size is 12. The reason why we stripped the manuscript is because not all formatting techniques translate over to in design. You want to keep it as simple as possible so that we have a clean start when we insert the text. The generic font is also purposely done. Not all funds come with a night owl. It's variation where sometimes you may not know that you don't own the italics of a front, and word is pretty tricky in the sense that you can. I tell a size any phone just by hitting this I over here. This is useful if you're just working inward, but it complicates things and in design. The Adobe software doesn't read this as italics, and it will turn every I tell a size word that you have in the manuscript right now into the regular on I tele sized front. This is also the same for emboldened words, so definitely watch out for that and just stick to a plain Jane front. For now. We also don't want complicated styles throughout the manuscript, since we're going to be creating new ones in in design. So let's switch back over to in design. In the last class, we finished creating our 5.25 by a template and preset. We confined the preset here by going to file new document. However, this is abrasion without all those guys in the text boxes that we set up. Those are definitely important, so we're going to be using the template instead. I saved mine on my desktop so that I could easily find it. But you think I have the one you created or the pre made one from the course. Fuller. The foul name will be the one ending in i N D D. Once you have that open, you'll see that our master pages look great, but we only have this one actual real page. Instead of adding 200 pages to fit our book, we're going to insert our manuscript in a way that allows the text automatically flow from one page to the next. This is perfect so that in design creates the correct amount of pages for a manuscript so that we're not left with too many pages or not enough pages. This is called out of low, and it's the most magical thing about this software to do this, we're going to hit Command D or Control DE On PC to insert a file. Once a dialogue box pops up, we can locate the Jane Eyre manuscript from the course folder, select it and then hit open your computer may take some time to process all the text, so give it a moment. And then when you see a bunch of letters connected to your cursor, click on the text box of that first page in design will begin toe out, afloat every word. And then you contract the process with this bar here and you'll know it's complete when the bar disappears and you're left with the manuscript. In the in design document, we now have more pages to fit the book and every word flues as it should. Before we get into styling and formatting the text. Let's make sure that we have are hitting characters turned on. You should see a row of options right at the top of the in design window. Make sure the screen modus set a normal first and then in view options. All should be checked except baseline grids. We don't really need those with the hitting characters turned on, we can see every paragraph marker, every space in Dent or Page break. I like working with these things visible so that I know what's going on with the formatting . On a deeper level, the next thing we're going to be doing is creating character and paragraph styles to begin formatting the text. The book designed workspace that we created in the last class should be open already, but if it's not, you can go upto window workspace book designed to select it or reset book design. If you need to make sure you click outside of the document, then let's go to the paragraph Styles panel. PAB first, we only have basic paragraph right now, so let's create a new one holding down the option key or the out key on PC. Come down to this page icon to create a new start. A dialog box will open up, and it'll first asked you to name the style for the sake of this class. Let's name it body text based on basic paragraph moving on to basic character formats. Let's set the format family with our pre and cell phone from the course folder named Crimson. Our Font style will be Roman font size 11. I think 11 is the perfect size for books ranging from five by 8 to 5.5 by 8.5. It's really not too big, and sometimes 11.42 point font works really well, too. I typically reserved 12 point front for bigger paperbacks like a six by nine are letting will be 18 and are tracking will remain at zero. To explain what these are letting as the amount of space between each line of text. So think of it as single spaced or double spaced, but more refined and specific. I make it a rule not to surpass 20. Otherwise, you're heading into triple space territory 17 to 19. It is usually the best place to stay, but this is something you can play with and adjust to your liking. For this class, we'll go with 18 now. The tracking is the amount of space between each character it's loosening or tightening a line of text. I always leave this at zero because most funds are already designed with a set tracking, and they're more than always good to work with. Our position should be normal ligatures checked in case should also be normal, since we don't want all upper case or all Lower case words then asked for. The Kern ing will leave it at the default metrics turning adjust pairs of letters that may be too close together or too far part for one reason or another. So this may mean the amount of space between the letter A and the letter T or the letter T and a comma, along with leading and tracking Koerting, affects the readability of the manuscript. Fixing this issue is too much to do manually, so we're going to forgo that option. Optical turning adjust letters based on their shape. But since that very so much and may add unwarranted space, we're going to go with metrics. Metrics are just letters based on the current tables built into the typeface, so we're not going to go out of bounds of what is already set in the font, all while still making sure the text is readable. Moving on to in dense and spacing, our alignment will be left justify. Leave these two options unchecked. All the Indians here will be zero except the first line indent. We'll set that at 00.25 I like the way this in depth measurement looks when printed. I think it's not too far in, but also prominent enough to Q A new paragraph. You can definitely go further end with the intent if you like, but I recommend sticking with 0.25 in the hyphenation tab. Hyphenation should be unchecked. This is referring to those long words that may not fit on one line, so it split in half into the next line using a hyphen. Hyphenated words like this aren't too common in fiction or nonfiction books anymore, because they may be hard for readers to keep track of in. Design also tends to add hyphens in automatically and may split upwards. You don't want split up like names or pronouns, and stylistically, they aren't too pretty to look at, either. We're done with this paragraph style, so let's hit. Okay, you'll see it a pair below basic paragraph, and this is great for our body. Text, however, will be needing a few more styles. The next one will be creating is almost exactly alike, but we'll be using it for the first paragraph of a chapter or seen break. This means we won't have an in depth. So let's right click or body text up. You can always come back to edit it, but we're going to go with duplicates style. First, this will open an identical dialog box, so we'll name this style no in debt based on body text than in the in dense and spacing tab . Let's bring that first line in Dent back to zero, then hit. Okay, I list of paragraph styles is almost complete, but we need just one more here. It's the beautiful drop caps We will be adding to the beginning of every chapter. Make sure you've clicked outside of the document again and then right click the style we just created no in debt. We're going to duplicate this on the name it dropped caps based on no indent. Move down to the drop caps in Nested styles tab, and we'll do a drop caps within three lines using one character. Then we'll create a character style for it. This will open another dialog box where will only be styling the first letter in the drop caps. Let's name it caps Letter based on nothing in the basic character formats. Tab lets go with our crimson fun again, Roman, and then leave everything blank so that it goes with the default style of the paragraph. The drop caps will be it. Once we're done with that hit OK and then hit okay again on the first dialogue box. You'll see here that we now have three paragraph styles and one character style. Now, finally, we can start applying double clicking into the document press and hold Command A or control A on PC to select all the words in the book. Then let's go over to our first paragraph style body test. When we select this, our tax will change to meet the settings we lined up, which is exactly what we wanted. So since you have your styles in place, you're ready to move on to class number three. Well, I'll be showing you how to format every page to perfection. 4. Introducing the 3-Step Formatting Strategy: you. This is class number three in the ink stain formatting tutorials. We're going to go ahead and jump right back into where we left off and begin a formatting. The Jane Eyre manuscript. Now the first thing we need to do here is save the file under a new name to do this, Go to file, save as and put in a new title when the dialogue box pops up. Let's go with Jane. Underscore Print. You can save it in whatever folder works best for you, but make sure you're saving it as an in design file. I n d d hip save or okay. When you're done, the next thing we're gonna do is fix our headers and footers. We originally put in place holders since we were just creating the template. Now let's actually put in the real data. We'll have to double click on our A master page again. Don't try to change the headers and footers outside of the master pages, since they can't be moved quite yet. It's easier to change them in the A master because it will make the following changes to every page in the manuscript rather than just on the first page type in Charlotte Bronte's name, where it should be for design purposes will go with lower case, so keep the same fun and font size as you type. Next, let's move over to the right side of the page to type in the title of the book Jane Eyre. We'll also keep this lower case. The page numbers air fine as they are, since the numbers will be automatically inserted when we exit out of the master pages. So let's do that now. And yet the page numbers are on each page and they are in numerical order, and her headers and footers should be looking great as well. This means we can go ahead and move on to formatting, so I like to approach these next steps in order. I start working from the beginning of the manuscript and then work my way to the end. I don't like to jump around, since you can easily miss so much. So for this video, I broke down everything I do with formatting into three steps. Step one is front matter this first pages where we'll be putting our title page image so we shouldn't have any text here to disrupt that double click into the text box so that we get our cursor and then right click insert break Character is what we're looking for, but specifically page break. This bumps are text to the next page that access our copyright information. You can see what a page break looks like by zooming in, and it's a circle on top of a B. But it differs from the paragraph markers so that we know exactly where our page breaks are . We conform at the copyright a bit by changing the size of the font to nine and centering it on the page. Text on copyright pages are typically a little smaller than the body text. The letting is also a lot less than what you see throughout the book, so 9.5 works best, and then the letting here could be changed to 15 instead of 18. I think the copyright will also look best bumped a little further down the page, not too much, but just so it's not standing out in the middle, then highlight everything all together. An important step here is to remember that we applied an indented all the text in the document. Well, this is great. Some places may not need indentation like here. We want the copyright to be properly centred on the page, so we're going to quickly and manually remove the in dense with the textile highlighted. Move up to this paragraph styles panel. If you don't see it here for some reason, come to the paragraph formatting controls, and it'll be here, too. The first sign measurement indicates 0.25 so we're going to take that down to zero so that we remove the index. As you do this, you'll notice that the copyright text is moving so that it's aligned with the margins we've set up. This is a left page, and as such it serves as the backside of a right page. For instance, the title page will be the first thing someone sees when they opened the book, and when they turn the page, the back of that same page will be the copyright. As a rule, the copyright always belongs on the first left page. The next page is reserved for whatever you really want to come next. For some authors, it's their acknowledgements, their dedication, a quote or even a note from their readers. Sometimes it can be a preface for this book. I've added a fake dedication and a quote by the author herself. 1st 1 up is the dedication. Highlight the text and make sure that the indent has been removed, then weaken, center everything and hit enter a few times to push it down the page. Not too far 1/4 way down the page works fine. You want to keep in mind that we made the trim size of this document a little bigger for the bleed, so a bit of the page we see here at the top will be cut off. This means you don't want to put anything too close to the top because it will appear even higher up on the page. When the book is trimmed, you'll have to really eyeball with a top middle of the pages moving on to the quote. You can see here that it's on a left page, but we don't want that important front matter. Information should always be on right pages so that they aren't overlooked. This, of course, includes information like the acknowledgements or notes to readers. Information like a list of your books can go on the left, so right click again down to insert break character and then page break this perfectly. Moves are quote text to the right and then repeating the steps from above, removed the indent and center everything on the top middle of the page. I think we can get a little fancy here with Charlotte's name, so let's highlight it and then change the font to Bay Boss, which comes from the course files, then up the font size to 17. Also, I think the lie information is a little off here. The unevenness of this block of type is called Iraq because it's very ragged. You don't want this in your books or on your book cover slash back covers. It's not unreadable, but it can be unsightly design wise. Always look for a V shape, so let's hit enter after the semi colon and then again after this comma. That way we can get a V formacion going with the text. I think the front matter is looking really great. Now. There are only two things left to do in this step, and the 1st 1 is right down here with Chapter one. The first chapter is the most important chapter of a book, so it definitely needs to be on the right page. We are going to apply any real formatting to it yet let's bump it to the right side for now so that we know where it's going to be. With that done will need to remove the headers and footers from the front matter. As a rule, headers and footers don't go one pages of front matter back matter or on the first page of a chapter. Removing them can be a bit tedious, since we won't be doing it in the master pages. Doing so will remove the headers and footers everywhere, and that's not what we're going for. Instead, we will have to remove them manually, scroll back up to the very first page and press and hold command shift or control shift on PC. Then simply click on the header. You will see that the text box is now movable, whereas before it was very set into the page, this technique can be used for any element added to the master pages. They would like to later adjust on a single page. There's no real way to set that chosen element back into its solidified mode, so make sure you remove and adjust the right objects. You can always hit Command Z or Control Z to undo a mistake right now, hit backspace or delete to completely remove this header, then repeat the process on every page up to Chapter one. Don't forget the footers as well. You can speed up the process by unlocking the header and footer at the same time. To break this down. First, unlock the header by hitting command shift or control shift and clicking on the text box. Then release all the keys except shift with chef still held down. Move your cursor over to the footer, click on it at the same time you press and hold command or control. The motion is three actions. One action, three actions. This unlocks both text boxes at once, so then you can just delete them at once. Step two. Book Body Here's where we'll start applying more paragraph and character styles. You may have noticed that when we inserted the manuscript, a few style still managed to cross over from word. Since we won't be needing them, we can delete them so they're not a distraction. Click outside of the in design document, then right click the Foreign Paragraph style titled Normal Go Down to Delete Style, and then remember to replace with basic paragraph and hit OK, do the same thing with plain text again. We already created new styles so we don't need the ones that we've deleted now is come back over to the page of Chapter one, click in front of the first word there, and then apply the paragraph style dropped caps with a click. We've turned on ordinary chapter into something a little more decorative. Move everything down so that they're exactly 11 lines of body text on the page. There's no set rule on how high or how low to start your chapters on a page. But for this specific design, I think 11 lines work great. Delete the chapter text here, but make sure to keep the paragraph character in place so only highlight and remove the words. Then we're going to move down the page and little and we type it in so that it's where we want it. Remove it in Dent and center it highlight the text again and then change the phone to Bay Boss, upping the size to 60. The baby was fun is very tight, so I think we should adjust. The tracking. Remember, letting is the space between lines of text and tracking is the space between individual characters to change the tracking of the chapter title here, highlight it and find the tracking option in the control panel, which looks like a V and in a up the measurement to 20 and you'll notice that are selected . Letters are a bit more spread out now, going back with command or control Z. We can also change the tracking of words by using option or out with our arrow keys. So if we want to spread out, our letters will use option or out, plus the right arrow key. If we want to tighten, our letters will go with option or out, plus the left arrow key. The formatting process doesn't end here. I think we can take it a step further by right, aligning the chapter title instead and then creating a new character style for it. So the reason we want to create a character style for the chapters is because if we decide to later change something about the formatting. Adjusting the character style would automatically apply the change toe all the chapter titles. That way, we don't have to manually adjust each and every title that would take up too much time, and we want to move through this book as fast and as efficiently as we can. So we're going to create a character style using a set formatting. We already have highlight Chapter one and then returned to the character styles Tab holding down option or out Click on the page icon Blow. This will open up a familiar dialog box. Name it chapter title based on none. When you switch over to basic character formats, you'll find that everything has been already set for you. And that's because we have the right text selected, so there's nothing we need to change here. Just head okay to create the new style. Then remember to apply the style. Let's move on to the next page. This is where a bulk of your time will be spent with formatting the body text. The Crimson Font paired with our 5.25 by eight trim size. There's a great job of taking care of widows and orphans. However, there will usually be a few pesky ones that get away. A widow is a single word that hangs at the end of a paragraph by itself, and an orphan is basically the same thing. Except the word begins at the top of the page. By itself, most newspapers and magazines air strict about widows and orphans because of removal of them. Consejo. A lot of space on a page spread, however, with printed books, fiction or nonfiction. The author and book designer aren't restrained to a specific page count. So while it's OK to let a few widows and orphan state present in the manuscript, I think it's best to remove a lot of the obvious ones on the next page. Here is a widow and some odd spacing at the top of the paragraph. The easiest way to remove a widow or orphan is to tighten or loosen the tracking the same way we did with the chapter title. Highlight the entire paragraph and then moved back to the tracking control and enter negative 10. That sucks the widow in so that the paragraph is no longer hanging with one word. You can go even tighter, but that's not necessary. The goal is to remove the widow or orphan, but still maintain the look of the paragraph so that there is no noticeable change for the reader, which means you don't want to pull the text in so tight that the words overlap. For this reason, don't go beyond negative 25 when tightening the tracking of a paragraph. Negative 10 usually works for most paragraphs, but in case it doesn't try negative 20. Now I'm going to press Command Z to go back so that I can show you something else. Some paragraphs refused to be tightened. You can go all the way to Negative 25 that widow will still be there. If that's ever the case, you will want to loosen the tracking, not tighten. This way, the widow or orphan is joined by a few more words, and it is no longer hanging out by itself. For example, I'm going to change the tracking here to positive 10 and you can see that my letters are spaced out a little, but not in a way that's too obvious. It's just enough to bring down a few words on this last line. I think this specific paragraph looks better with the tracking tightened, but the idea still stands. Sometimes you will need to tighten the tracking, and sometimes you will need to loosen it as a rule. Never go beyond negative 25 or positive 15. If, for some reason the widow or orphan is still hanging on, revert to tracking 20 and let it be. Also remember that you can use option or alter with the left and right arrow keys to change tracking, though keep in mind that doing it this way will increase the tracking by increments of 20. Now that we know how to format the body text, we can progress to the rest of the book. We have the 1st 20 chapters of Janey Er right here. So let's copy the entirety of the first chapter title and then work our way down looking for any more widows or orphans. I actually don't see any here, So when we get to Chapter two, we can highlight everything right before the first paragraph and paste in our chapter title formatting. This also pace in our character style we created for it. Then we can change the 12 a two and add in our drop caps. The process of copying and pasting can be monotonous, especially if there are a lot of chapters. But I think doing it this way issues that each chapter is identical. And as you move further into the manuscript, I think you'll start to pick up pace. You'll know what to look for and how to quickly remove any inconsistencies. I was speeding up my process here, but again, the great thing about the 5.25 by a trim size and the Crimson font is that they work so well together. The typeface already has amazing spacing built into it, so there aren't too many widows and orphans. It easily cuts down the formatting time in half. Go ahead and finish formatting Jane Eyre until the end of Chapter 20. If you need to rewind this video to go over step one front matter and step to body text, you can definitely do so. Take us much time as you need to familiarize yourself with the different techniques. Then, in the fourth class, I will be introducing you to placing images and step three back matter 5. Placing Images: you. Hey, guys, This is the fourth class and the ink stained formatting tutorials. You've made it this far, and this is easily going to be the most fun you've had in this course. In this video, I will be showing you how to properly insert images and format the back matter. We're going to get into some great design techniques. I have the in design file open right now and have completely formatted every chapter in all the body text. There are minimal widows and orphans, and everything just looks really neat. But of course we're missing our title page and the really cool chapter page designs from the course folder. We'll have to insert them similarly to how we inserted our manuscript. Let's start with the title page. The best way to insert an image that suffers create its boundaries. We want our title page image to completely cover the page and bleed to the edges so that nothing is cut off, so we need to make a rectangle frame. You can select the tool in the tool panel recon press F on your keyboard. There are different kinds of frames when you right click the tool like the Ellipse and Polygon. Those are really great for intricate design work in magazines, but will only be meeting the rectangle frame, returning to the first page. Draw a box starting from one edge, ending at another edge the snapping function you get here. Let's you know that you are the very corner of the page. Once you have the frame set, hit command or control de toe, open up the insert dialog box. Select the J Peg titled Title Page from the course folder and hit open are images placed inside of our frame, and it can go outside of the boundaries we've set. We can move the entire frame around like this, and if we move this circle around, we can actually move the image inside the frame. This would be ideal, since you can see that the image doesn't perfectly fit the frame or come to the edges of the page like we need, however, a faster way of remedying this would be to come up to the control panel and choosing Phil frame proportionally. Make sure the image is selected, or else this option won't be available to you. There are other options here to choose from like Phil content proportionally fill content to frame, frame to content or center content. But I don't think either of them work as great as the 1st 1 does. So we'll go with that one. This is a foundation of how to insert an image, create a frame and using command or control de to select the file. Don't worry if the image isn't looking clear. To fix this, you can go to view, display performance and changed too. High quality display. The image should look really clear right now, but do keep in mind that in design tracks every change you make and saves it to your computer. So if you are low on memory space, changing toe high quality display may slow down your workflow, which is why, in design automatically has it set to typical display. Fast display turns the image completely gray so that you can speed up your workflow even more. However, don't be alarmed if you decide to work with fast were typical display. The images you've inserted will still be exported and perfectly clear quality. We'll also be adding another image on Chapter one, but it will be a two page spread instead. These are absolutely my favorite because I think they just look so beautiful when printed. We'll need another rectangle frame, so let's grab that. But now we need to encompass two whole pages, start on the left and work your way over to the right, then hit command or control deep. This time, we're going to select the Jay Pek file titled Chapter one Hit Open and you'll see it pop up here. The design is very busy and looks like it will cover up the important body text, but that's because we actually need the image to go behind the text so that the Texas visible on top. First, let's fit the image to the frame, and then we can right click the image scroll down to arrange and then select, sent to back, not backwards back. This completely puts the image in the background so that it essential waits the text rather than overshadow it. Our chapter title gets lost in a sea of black here, but we're going to leave that be for now, we'll come back and make that change later. Next girl down to Chapter two. The next 19 chapters won't have a two page spread like Chapter one does. There will be a bit more simplified, so we'll grab our frame tool again and then fit a rectangle box. Just will Rivest one page command or control D then go with E. J. Peg titled All Chapters Fit It to the Frame, arrange it to the back of the text and there you go. Repeat this technique with every chapter by copying the image and pacing it on each chapter page. When pasting, make sure you select paste in place so that you don't have to move the image, then arrange it to the back of the text like before. Now for left side pages, you want to do the exact same thing, but then flip the image horizontally so that it switches to the left where you need it. Keep in mind that we will be taking care of the chapter titles afterwards. I'm speeding up my process. Here is I worked through all 20 chapters, but definitely work at your own pace. Moving up and down a document like this can become tiring to remember to pause and take a break where you can not every manuscript you format yours or someone else's will involve chapter images. Ah, plane or more simplified design is definitely okay, and I think for many books, it even works better than a busy design would. However, I love Jane Eyre, and I think black and white images like this really makes a story stand out. Also, first impressions are everything. The first thing readers will see when they open your book. It's either the title page or Chapter one, and those two should amaze them. I've come to the end of the manuscript now, and all the images are in place. If you're not quite here yet, you can pause this video and come back for further instruction. If you are returning, let's get started with Step number three and my formatting routine Back matter. There isn't much here. Actually, I've added Charlotte Bronte's biography for this example, but back matter can also include acknowledgements, a note to your readers, a list of your other books and a lot of other extra content, like sneak peeks and excerpts. But we're going to format Charlotte's by it. Let's click right in front of her name and then use our paragraph style called No in Debt, then we can highlight about the author, remove the in dent, center it and then bring it down the page. A little change the font, a teeter and up the size to 20. Now, finally, we need Charlotte bios picture. Click outside of the document, then hit command or control de To bring up our dialogue box, use the Jay Pek file named Charlotte Bronte and then click open the images attached to our cursor because we haven't created frame to fit it into. In this case, we didn't need one. We can use our cursor to draw a box with the image. And although her photo is slightly in color when printed, it'll be turned to black and white. So we have a picture here, but it's covering up her bio behind it. To fix this, go up to control panel and select this icon here called Wrapped around bounding Box. This pushed the tax from beneath the photo, and if we were to add more text to her bio, it would still all wrap around the picture. However, there is a slight issue here, with the text being too close to the photo. We want to make sure it's readable. So let's go upto window text rap that may open up in your side panel or in a detached tab. Both are just fine. Make sure the images selected and then unlinked the chain you see here so that we are only changing one side of the image and not all four sides. Then let's boost that right. Offset 2.125 This puts a cushion of space between the image and the block of text. Not too much, but just enough. There are three more things we need to dio Number one. Remove the header and footer to change all the chapter titles toe white so that they're visible on each chapter page. Go to the correct character style right click and then choose edit and the character color tab. Choose a white paper color and then hit. Okay, this has changed our titles toe a color more suitable to our design so that they're more readable. Then the last thing we need to do is make sure we don't have any blank pages at the end of the document. If you're printing with Ingraham, you may need an extra page to even out your total page number. But if you're going with another printer where the page count isn't a factor in whether or not the book will be printed, you don't necessarily need any blank pages after your back matter. I have one here, so I'm going to go to the pages tab on the right and right click the page I want to delete . So this completes class number four and the next video, we'll be delving more into creating objects and adding bookmarks. 6. Shapes & Text Effects: you in this video, I will be showing you how to use shapes and text effects in some pretty cool and easy ways . They aren't techniques that will be in the specific Janie or manuscript, but the techniques could very well be in your next book. So I'm going to show you step by step. Let's work in our master pages since its blank, and we won't disrupt any information. And in design, we can do a lot of amazing things that you can also do in photo shop. But the great thing about in design is that you can apply it all right here to your book without using another software. So let's say you want to design a page in your book that requires a shaped like a rectangle ellipse or maybe a polygon. We can change the outline color or have no outline at all. We can change the fill color or have no Phil at all, and we can do the same thing with a line adjusting the thickness of the line here and style of the line here. This is perfect, if you everyone to emphasize a title header or a sub header a little more than the shapes are great. If you want to design text around an object. To take things a step further, grab the Ellipse tool to create a circle holding down shift so that we keep the right dimensions and we don't end up with a lob sided circle. If we want to use a circle like this, we can. But then, if we want to start manipulating it, we can cut it by using the scissors stool hit C on your keyboard or find it in the tool panel. Then return to your circle and select a point on the outline. You can zoom in and out with command or control plus and negative. When you click on another point on the circle holding down shift for a straight cut, you've successfully cut the shape in half. You can cut it up a few more times, and the option to change the border and fill color is still available. Now what if we want to do all of this and more, But with text, the text of facts and in design are actually a lot easier to use than they are in photo shop. It's a lot more simplified here and book friendly for sure. So let's begin by creating a text box and typing in ink Sting, change the font toe are lovely bay boss and then up the font size to 90. So this text right here is able to be edited. We can turn it into a paragraph if we wanted or slap it into our manuscript. But let's make it stand out like we did with shapes. Go up to type, create outlines. This has changed our tax into a vector. It can't be edited now, so always remember to double check spelling before you create the outline. But now that we have the text vector, rised, weaken, start manipulating it, one of my favorites is simply stretching it to morph the different letters. I'm really loving how this looks, and we can take this a step even further by adding text effects with their vector selected , move up toe object, come down to effects and then select drop shadow. Make sure preview is checked here at the bottom, otherwise you won't be able to see the actual changes you're making. Then let's set up our drop shadow on multiply. The color can be black with a 40% opacity. I think the distance works best at 0.6 to 5, and our angle adds 173 degrees. Now let's play around with bevel and in Boss, we can leave the style at Inter Bevel, but then change the technique to chisel hard. The shading will look really cool at 130 degrees, with opacity of 75. Another effect to try is outer glow. We already have a black drop shadow added to the vector text, so let's add some bright color with yellow. The softer look is definitely more subtle, and the size of 0.972 makes it even more so. Opacity on 75 and then let's hit. Okay, I absolutely love adding text effects to printed books because I feel like they add a really elegant and professional element toe, a book, especially print on demand books. This has a more fantasy or thriller vibe to it, but you can just as easily take a brush, were script fun and enhance its look for something more contemporary or romantic. Another great thing about adding vector text is that it can act as a frame. If you remember from the last class frames or boundaries where we can insert text or images with this ink stain text, let's test it out. Select the object, then hit command or control de toe. Open up that dialogue box that I'm sure you're tired of seeing. In the course files. Grab the J peg titled Texture and Hit Open. As you can see here, the image is inside of the text, and we can fit it in like how we would our title page image. This is added another layer of effects to the text. And truly, the possibilities are endless. With something like this, because you can do exactly everything here to shapes or other images, you can even have a drop caps letter singled out in a text box. Create the outline and then either manipulated shape or putting image inside of it to add some decoration toe a chapter page. Again, the possibilities are endless. When it comes to creativity, the more you play with the different options, the better at it. I'm sure you'll get let's delete this from our master page, since we don't want it on the pages of the manuscript. And speaking of master pages on the next class, I will be delving deeper into why they're so important in creating a beautifully printed book. 7. Master Pages (Advanced): you. It's time to learn a little more about master pages and previous videos. I explained that Master pages work as a template for the entire in design document. So whatever you add to the left and right, pages here will appear on the left and right pages down here. Which is why we don't add any information like body text to the master pages. We only want an outline of what every page will look like for Jane Eyre. We stuck with the author's name, the book title and page numbers. If this is what your book requires, this is perfect. But in cases of a poetry book, an anthology or a book with chapter names, the headers may need to look different every few pages or so with only one master page. That's a bit difficult to do, since our book is only playing by the rules of this one template, however, we can create many more master pages, and I'm going to show you how in a quick and efficient way first, right click on a master over here, and you will see the option for duplicate when you select this in design creates a be master this be master looks exactly like an A master. But if we change some of the text around in type in anything random, really, but it doesn't actually alter any of the pages in the manuscript because all of these pages are linked to the A master and in the be Master, you'll find that the current page number marker has changed to the letter B. This is an easy way of remembering what master you're working on weaken duplicate this one to create a seamaster and then duplicate that one to create a D master page, giving us a total of four master pages to work with. So now that we have all of these, how do we actually apply them? Well, first, let's create some distinction between our master pages will leave a master and be master as they are. But then let's change the headers on C and D. I'm going to go with Ruth Smith and line book for C, and then I'll go with Easter Tom and running free for D. These air completely random names and titles here, but we're going to pretend they're different authors and books in an anthology or the different names of chapters in a book. If we want to apply just the right page of Be Master Toe a right side page in the manuscript, all we have to do is drag it down and drop it onto the page we want. When you click on the page, you'll see that the header has changed to match the Be Master, but the page number is still in order. Now, say we want to apply both pages of Seamaster toe, a page spread in the manuscript. We can do that in a similar way, but dragged down from the actual title of the Master and come down to the corner of a page spread. You'll see that instead of outlining one page both pages air outlined, then release the master here to apply it. You can even drag down a master and place it before or after a spread in the book toe open to blank pages assigned to that master. This is useful if you happen to need extra pages for any reason, it does break up the flow of the manuscript, so I wouldn't use this exact feature unless a blank pages will be covered with design elements like images. Ideally, you can drag and drop every section you want designated two different masters, but the constant back and forth takes too long and may cause a few mistakes, especially if the manuscript is 300 plus pages. So to speed up the process, we can right click on a master and select Apply Master two pages in a more permanent circumstance. You'll want to make sure you're putting in the right page numbers. But for right now, let's assume that pages 53 to 70 are one whole story in an anthology. If so, the author, name and book title would be different from all the others You can choose which master here and then hit. Okay, now, if you go to Page 53 you'll see that it is now linked to the Master Riccio's all the way up to Page 70 and all the pages before and after this section are still linked to the A master or whatever master you choose to assign them to. This is how you properly and quickly create multiple master pages. If they are ever in need, they're easy to do and even easier to apply helpful methods like this short in the amount of time you'll spend in in design and quick in the time it will take for you to finally hold your formatted book in your hands. There are two more methods like this that I want to show you in the next class. So once you finally mastered the master pages, let's move on. 8. Adding Bookmarks & TOC: In the last class, I mentioned a few methods created to make the InDesign experience much easier and faster to get through. So far we've tackled paragraphing, character styles, keyboard shortcuts, the three-step formatting strategy and master pages. Now I'm going to be showing and explaining how to use bookmarks and how to create a Table of Contents. Bookmarks are a convenient tool to use to navigate your InDesign document. Much like how physical bookmarks help readers keep track of their progress through a novel. Bookmarks and InDesign won't be seen by a printer or your readers, but they will keep you from scrambling through the manuscript in search for something specific. Of course, if you know the page you're looking for, you can just hit command or control j to go right to the page. But if you're completely lost in your own book and want to get to a chapter quickly. Setting up bookmarks is the best way to go. We can add them by going to Window and choosing interactive and then going to bookmarks. The panel will either be added to the right or in a float around your workspace somewhere as a detached tab, which is okay too. We can pop it in right next to pages. We'll want to start adding bookmarks from chapter one. To do this, let's zoom in to view the full page using Command or Control plus. Or you can press Command or Control 0 to fit the page to the window right away. Then let's highlight the chapter title here and click the Page icon to create a new bookmark. It uses the selected text so we don't need to rename the bookmark. You can move through the entire document this way, but I think that takes too much time, especially if you have to work your way through a longer manuscript with over 20 chapters. Of course, this is a step that can be done as you initially paste in each chapter title. But there's still an easier and less complicated way to add bookmarks. And it's called the Table of Contents. Now, TO seize are slowly disappearing from traditionally published novels because a story is meant to be read from beginning to end. On the other hand, CIO sees are used to quickly look up a chapter like if you need to find a section about the human brain in a very large biology book. Bassoons readers are reading in order to measure small chance that they'll read out of order TO seize. And fiction books just aren't necessary, especially when they're using bookmarks. So I don't advise adding a table of contents to your book if it's friction of any kind, save it for your e-book. You can definitely still add one if you want to, but know that it's okay to go without one in your paper back. We're going to create a TOC as an example. Also, it will help us make those bookmarks that we need. Let's begin by creating a new paragraph style for our chapter titles. We already have a character style for these, but that only kept track of the color and the font of the letters. Now we want to keep track of the line spacing and page alignment. So highlight the text of chapter one. And then while holding down option or out, select the page icon in the paragraph tag, name, this style header. And when we switch to basic character formats, you can see that everything is already set for us since we have the text selected. Make sure to apply this style to Chapter one. Then let's quickly move through the document to apply the style to every chapter title. It won't actually make a visible change, but the style is definitely being applied. You can tell because the header style is highlighted in the tab when the text is selected. This step can be done at the same time you are copying and pasting in the chapter titles. But I think too many steps at once leads to mistakes. And you wanna make sure you have no odds and ends leftover after you export everything. So a slow approach is better if you want to eventually get faster and better at formatting. Once you've fully added all the new paragraph styles to the chapter titles, go to layout and choose Table of Contents. Even though we're not actually inserting a TOC into this manuscript, will choose no indent for the style, since that's what we'd ideally go way down here, we're going to search for the paragraph style we just created called header. Then select Add to move it to the column on the left. It's important that you make sure that create PDF bookmarks. Checkbox is ticked. This is what is going to give us the bookmarks throughout the manuscript. And since we won't really be adding a table of contents, let's leave this second checkbox off. We don't have a TOC for InDesign to replace. And the entry style will keep at basic paragraph. Hit OK. And then you'll see all 20 of our chapters here in the bookmarks tab. You'll also see that the TOC is hanging onto our cursor. If you were to use a TOC, you drag and place this on the appropriate right-side page in the front matter, then format the text as you see fit. But for this book, Let's place the TOC on the outside gray where it won't be able to be printed. We can't delete it since it will also delete the bookmarks. With that done, you have 20 new bookmarks to help you navigate this document. If you ever need to work on something and a specific chapter, these will make getting the job done five times faster, guaranteed. And as you near the completion of formatting, fine tuning the little things with practical methods like this go a long way in helping you understand the software. 9. Inserting/Using Glyphs & Special Characters: you when it comes to design. Text is a major key in a books, present ability and overall quality. If you've ever seen a fancy or elegant phone and have wanted to use it in some way, now is your chance to do so. Fonts within a book should be three things readable, unique and smart. Readable is obvious, one for sure. But unique is what we've already begun. Adding to the Jane Eyre manuscript. We're not going with the typical s a phone times New Roman. Instead, we've chosen Crimson as the body text and teacher and bay boss as the supporting funds, I always advise staying away from times New Roman, at least when it comes to formatting your book. Fonsi, Crimson, Adobe, Jensen, Castellan, Dante, Kelowna, Cardo and Center are much better and professional. I can really go on for days about fonts that are better than times New Roman. But those are just a few. You should definitely invest in. Finally, phone should be smart emplacement, so you don't want to add a script fund where it won't be too readable or a standard Sarah font, where perhaps the more decorated front is necessary. Always think about the context First sponsor, sometimes much deeper than what we see on a page. For instance, Charlotte's name is missing the room A over the E in Bronte. This character is called a glitch and isn't available to us on our keyboard, However, in design pockets all the glitz for every phone on our computer, and we can access them by going to type selecting lifts based on whatever fund you have selected. Right now, you'll see rows of characters that the typeface provides regular characters, numbers, ligatures, Greek letters and symbols. I'm currently on the Crimson front, but if I were to move to a more intricate font like the very popular desire, you'll see that there are even character letters with flourishes called swag lifts. These work really great for adding variety to text. They can give the illusion of text effects, even though it's simply the typeface. We can move to the master pages and highlight that E in Bronte. Then let's locate the lower case E with an arm lock and double click. This has replaced a regular character with a glitch. If and you can see here that the Puma automatically goes to our recent lifts category up here. These are all of the recent ones I've used, but this will come in handy if you need to place a glitch in more places than one at the bottom. Here you'll see two mountain icons. One is purposely smaller than the other because if we want the glitz displayed at a larger size weaken, just press the bigger mountain to zoom in or the smaller mountain to zoom out. Another neat trick is the search bar. If you want to jump straight to a series of cliffs, you can type in the name or character, like an R or a K. It will give you all the cake cliffs that this bond currently has, or you can switch to another front and look through that typefaces. Cake lifts. But if you're like me and you have over 100 fonts downloaded to your computer, navigating the different lifts can be exhausting, and you may just opt for whatever comes first. But wait. Before you ever do that, there's a great feature within this panel that allows you to create cliff sets in. Design already gives a few, but you may want to create your own one more tailor to fit book formatting, go to the hamburger menu at the top right and select new glimpse set. Let's name this series of Cliffs New Cliffs and then save it in the Unicode order. Then, to add characters to the new cliff set, we've just created right Click Google. If I scroll down to add glitch set and then select new cliff set again, you can toggle between the different fonts and add different versions of the same cliff to a cliff set and the show drop down menu. You can switch right over. It's all the glitz you've added to this set and pick and choose from there. So you may have noticed that when you have her over a cliff, you get a bit of information. The G I t. Google if I d the Unicode and the official Cliff name. If you're looking for a specific cliff like a Greek letter and only happened to know the Unicode, you can use the search bar to search for it so that you go directly to what you need. And then you can still change the font and keep the same Unicode they'll keep in mind that not every typeface comes with every Unicode character, which is why you may see some fonts with five different clips for Unicode and some with one or none. If you get a box looking character instead of an actual cliff, that means you'll have to change the typeface until you get a font that has a right Unicode . Another thing to keep in mind is that you can apply glitz like you can apply a character style or paragraph style. Live characters have to be entered in manually. So no, where in your book you'll be needing glimpse. So that way you can easily find the section and enter the cliff with little problem. But if you do ever struggle to find a specific lift, hit command or control F to bring up a fine slash change dialog box, you can use this to search for a specific word or phrase in the document and even replace it with something else. But if you're looking for a specific cliff, hit the cliff menu and then search for the glimpse in your document by selecting them here or type in the Unicode. If you know it, lives can be minor additions to a manuscript but can definitely approved the design and even the mood of a story. Keep them in mind the next time you use any fund, especially when working with more elaborate funds. 10. Exporting to EPUB (Fixed Layout): you welcome back to unstained formatting tutorials. This is the ninth class in this course, and I will be showing you how to turn all of these beautifully formatted pages into a fixed layout. E pub file is really quite simple, but first I want to discuss the difference between a fixed and re floatable pope file. A re floatable oppo file is better suited to fit e readers. They're what you typically used to upload your book to iTunes, Amazon, KDP or Barnes Noble. The reef global format refers to a reader's ability to change the font style and size or select and highlight the text. In a way, it's interactive. This differs from a fixed layout pub file, which can be compared to a pdf. Any images or tax in the file are fully embedded and can't be altered in any way. Many magazines or comic books use this feature to maintain the printed book, look in an e reader or on a computer. This is also a common e pub style for cookbooks, textbooks and Children's books for book formatting and in design will only be using the fixed layout E pup file if we want to create a refillable E pub e book and in design, we would have to lose the trim size and margins and stick to the good old 8.5 by 11 and then used much more simpler fonts and chapter headers. But for now, I'm going to show you how to effectively export this Jane Eyre manuscript in a fixed E pub layout advised not using this file for your actual e book upload, since it may contain too many images to be processed by an E reader site like Amazon KDP, this e pub is better for self proofing or for beta slash proof readers so that they can enjoy the beautiful formatting as well. Let's begin by going to file down to export. We can keep the name of the file as it is saved to a folder that works best, and then switch the format to E pub fixed, then save. If you're on Mac, the iPod file should automatically open in iBooks, and then you can flip through the file like you'd flip through the printed book, notice that all the images are in place and aren't shifting around the document again. This is very much like a pdf. But it's not to be confused with a pdf, since they often can't be used like one. If you're on Windows, the iBooks app likely didn't pop up for you, and the profile isn't able to be opened on their computer. No worries, because Adobe actually has a software not many people know about called Adobe Digital Editions. It works on both Mac and Windows computers. The link to download this software is below where you found the course files on the ink stained design studio Learn page. Once you've got it downloaded, you'll be taken to a sort of library where there's really only one book, the software manual toe. Add the fixed a pup file we created. Go to the file menu and choose add toe library, locate your pup file and then select Add. It will either appear on bookshelves. All items not read or recently added double click or hit the space bar to open it, and the pope file looks exactly as it does in my books. Like a two D flip through your book Here, you can look for any inconsistencies you may have missed while working in in design and bookmarked pages. You may need to go back and correct. This is a great way to begin finalizing all your hard work and in the next in last class. In this course, I will be teaching you how to properly save all your files and prepare the pdf for print upload. 11. Exporting & Packaging: you. We've basically mastered all the essentials of book formatting and in design. At this point, we made sure to account for page bleed by. Inserting are images at the edge of each page, and we know how to work our way through several master pages to accomplish me and organized pages throughout before we export everything and exit out of in design, There are a few more things we need to do. The first is to correct our page nation, so you may have noticed that Chapter one doesn't begin on page one. This is a must so well, absolutely need to change that. Always do this step last, since you never know if you'll need to insert a few more pages in the front matter. You don't want to end up with multiple page ones in the body text, since that will mess up your sprints in the pages tab, click on the page of Chapter one so that it's the only page highlighted in blue, then right click it scrolling down to numbering and section options. Automatic page numbering means that in design is counting the title page as page one making this Page seven. But if we switch to start page numbering act, we can manually set Chapter one as the first page. You can see the one here because of the image we've set on the background. No page numbers on a chapter page is a very popular style we've created. But if you ever want the page number visible, simply move the image up a little and unlock the text box, my present command or control shift and clicking. Then move the image back in place and make sure it's still arranged to the back of everything. In the pages tab, we have to page ones, but since this 1st 1 is in the front matter and we removed it to put in our title page, it's fine to proceed. We confined our total page count here, and then we can check our pre flight by double clicking on this green circle down here. Your pre flight is basically a monitor of how well or unwell your file is. By this, I mean, if something is wrong with a font object or file in the document, it will be listed here and the circle will be read. That is your stop sign to take this file no further than in design until this circle is green. Usually the case is a missing font or missing link. A missing font means that you have a fund set in a style like italics or bold when you don't have the bold or italic style actually downloaded to your computer. In other cases, in design may be trying to tell you that a font can be embedded for one reason or another. You'll have to switch the typeface entirely when you are missing a link. That means you recently moved files around on your computer. The same files you may have inserted into this document in design is kind of selfish and that a document needs to be linked everything it contains at all times. Otherwise, the file is no longer good. So if you move an image file from one folder toe another after inserting it into in design , it loses track of where to source it. You'll have to re link the image or file by hitting command or control D and inserting it all over again. For this reason, I'm going to show you how to properly package all your files together so that you don't lose track of anything, come up to file all the way down to package in the summary. Here we have the number of fonts we use in the document, and we can see them all listed in the fonds tab. Then the links will be displayed in the next tab. There are no real changes to make here, so let's hit package and then save to a good folder. The dialog box that pops up Next are the printing instructions. This is mostly used for magazines, but since print on demand, companies don't need all of this information attached to our file. Let's just type in the file name again Jane Eyre and then hit. Continue. The last dialogue box will determine what goes in the package file. We want to copy fonts and graphics, and we want to keep them updated. We also want to include the idea. Mao and the pdf idea Mouse stands for Adobe in design markup language. It is an XML file that lays out all the components of a document in design. This means that even if in design updates to a newer version in the next year, and you can no longer open older I and D D files in the software. The idea mall file allows you to enter the document across all versions and updates. I don't use this too often since in design will automatically convert an old file into a new file when it's opened. But you never know what may happen, so definitely keep it in design begins to gather up everything from this document to save it into one knee folder so that we never lose any links. It's also creating a print ready pdf that you'd use to publish your paperback book. Once a progress bar disappears, we can save and exit out of this in design window. And when you open up the new Jane Eyre folder on your computer, you'll find all the funds were used as well as all the images. If you ever need to open up the indeedy file on another computer that doesn't have the fonts already downloaded, you can easily grab these and begin working. The last new I Want to leave you on refers to uploading your Pia while the manuscript looks great here in the pre viewer, we also wanted to print justice. Great if your manuscript has images that lead to the edge like this. You'll want to make sure you select the bleed in your printer options, whether you print with Ingraham, Amazon or someone else. If you don't have bleeding images and your graphics remain within the margins like Charlotte's biography picture, then you don't want to select Bleed. Once that set, you're on your way to holding one incredible paperback. I hope you enjoy this thing stain course and found it very helpful. Be sure to leave a comment on the ink stain learned page and let me know your thoughts. If you're still struggling after a few tries and in design, email me and let me know your concerns, I will do my best to answer questions you may have. Thank you guys so much for being imagine a tres until next time.