Magazine Layout & Professional Design Using Indesign CC

1. Introduction To Course: Welcome to my magazine layout and professional design using InDesign CC course, where you will learn how to create highly engaging magazines in multiple industries and genres. My name is Erin, and I'll lead you through this course on creating successful magazine layout. I worked for a successful publishing house that has been in business for over a decade. We rely on Adobe InDesign CC for our layout work to create compelling layouts from magazines, newspapers, and books. We have created thousands of designs over the years. I have professionally taught Adobe InDesign Creative Cloud to hundreds of students around the world. My designs, layout, books, and magazines are distributed throughout the world. They continue to do well to this day by watching this course, you'll gain insider knowledge on how to make successful magazine layouts for any industry imaginable. I designed this course for anyone who wants to learn Adobe InDesign CC to create professional layouts that readers engage with. By the end of this course, you'll be able to understand magazine design fundamentals. You will add text, pictures, and graphics to a layout and you will confidently create successful designs. We'll start by learning how to set up InDesign CC to avoid common mistakes, you'll better understand the process and how to work with the program. Once you have that down, I will show you how to add text, fonts, images, and graphics, all from scratch. We will cover the details of image manipulation and placement. You'll receive useful knowledge to make you successful. Together, I'll walk you through the entire process step by step. I designed this course for anyone who needs to create their own magazine layouts. The ideal student is one that needs to design a magazine for themselves or for clients. This is someone who is willing to learn a valuable new skill. The only requirement is that you have a computer and have an active installation of InDesign CC to work with. Many students have used my approach and created their own InDesign layouts. Feel free to check out the course description, and I look forward to seeing you inside the lessons. 2. Mouse Clicks: When we're using InDesign, there were a few conventions that you need to understand about clicking the mouse and using the keyboard. Let me zoom in here just a moment. When we're in InDesign and I click left using the left mouse button, you will hear a specific click sound. You will see a little icon appear on the screen. And the left mouse click is usually what you use for most activities. Now however, InDesign being a powerful program, it also need you to understand the right-click on your computer or your laptop. If you right-click on something, usually some sort of menu will appear depending on what you've got going. And this is a different sound, and it is also a different icon. Now please refer to your computer manufacturers instructions on how to left-click and also how to right-click using your mouse or track pad on your computer or laptop. This is true whether you are on a Mac or a PC. Now the other thing that you need to know about our keyboard shortcuts, if you go into the menu, whether on the Mac or the PC, you'll see not only the menu items, but you will see a lot of instructions or items here that can actually help you be more efficient and more effective. Take for instance, File Save. I'll always try and remember to explain the keyboard shortcut, show you where it is in the menu and go as slow as possible that way you can better understand and get more out of this course. If you see here this little four clover leaf symbol is on the Mac, and that is command, the command key, and S. On the PC, that would be the Control key. And S, there is a command symbol on the Mac, control symbol on the PC. The up arrow is universal between the two. That means shift, save as copy means this little down arrow with a hash that's Alt on the PC and option on the Mac. If there are any other options or controls all share it with you as we go along. Just to get you better familiarized with how to use the left-click and right-click and generate all the keyboard shortcuts, like Command D or Control D on the PC. See it can be more effective and efficient in your use of InDesign. 3. Preferences: In order to be effective in using InDesign, you need to set up a few preferences in the program to make things happen on the Mac. If you go up to the InDesign Word in the menu system, click here and go to preferences. You'll be able to get to it. And under the PC, typically the preferences are under the Edit menu. And near the bottom referred to your specific installation of InDesign for the preference menu location in InDesign preference. And then general, you can bring up a huge number of bewildering options that allow you to configure InDesign to be more effective when you use it. There are a few things like the appearance of the gray background, the white background and all that I would suggest using the medium dark so it doesn't affect your vision perception too much. Under Type. I would leave all the defaults here unless you need to change them. Advanced type definitely don't mess with that. Unless you know what you're doing. Composition, no big deal. But the units and increments are important. Whether you're using InDesign in standard units of inches or metric units in millimeters, choose which one you need the most. Some people use points or picas for the rulers. I definitely recommend just staying with inches because, or in millimeters depending on where you are, because those are the easiest to understand. Also, the grids is going to be important here. We're going to need to adjust the grid to make sure our layout, it doesn't have any weird misalignment. And the grids here, when we get this set for the Letting, which we'll explain later. This is where you change that. Everything else here is pretty good. The one other key is file handling. You can actually create links when placing texts and spreadsheet files that will come up later as well. So this is where you can configure how InDesign reacts and is much more controllable when you set the configuration correctly in preferences. 4. Creating Files: In order to use InDesign, you need to create a new file. Although the preferences and all the other settings are important, creating a new file is huge. When you first open InDesign, you may be presented with this screen for different presets, whether it's letter, iPad Pro web, or a huge and bewildering array of presets, whatever that might be. These are the options. I'm going to close this window here. Instead I'm going to go to the slow but direct and more understandable method. If you go to File New and Document or Command N on the Mac and Control N nancy on the PC. There are two other options to create a book or library. These are out of the scope of this course, but you can make multiple InDesign documents merge with a book option. And that might be helpful for your layout depending on if you're working with multiple people. But right now, we'll use document. When the document panel comes up, you're faced with a bunch of different options here, custom layout functions, different sizes. A lot of these are meant for books, especially the six by 9.55 by 8.5. But what I would recommend doing is using either inches or millimeters depending on where you're located. I don't have any presets set here right now. In this, we're going to use the 8.5 inch by 11 inch. You can also switch two millimeters and InDesign will automatically convert that for you. It's very handy. We're going to start off with the portrait orientation. Unless you specifically need a landscape orientation for your layout. We're only gonna set up with one-page to start because it's a bit complex and you always want to leave facing pages on. Otherwise it will be more difficult to understand the layout as it looks in your book. We're going to start out with one column because I'm going to show you how to set up columns, your column gutter, scrolling down. You have margins. So those are important in your layout because margins will be determined by mostly your printer, where you want to put things along the edge. The bleed and slug the bleed is where we can push text and pictures to the edge of the paper. The paper is cut. The picture or even the text goes right to the edge of the paper. And that way you get that nice edge look. The slug is typically managed by your printer. So whoever is doing your printing, refer to them to ask what type of slugged do I need? If you don't know what a slug is and your printer doesn't talk about a slug, just make sure everything's 0 in here. And if you're not worrying about bleed, also, if you're just creating a digital copy and digital file, the bleed is still useful. The slug is useful. But what we're gonna do is we're going to set up a 0.125 inch bleed or that's approximately three millimeters. When we do that, that will allow us to place a picture and cut it to the edge of the paper so it looks professional and clean. And then all you do is simply click Create. Now once we created the file or once we've created the file, you will zoom in here and we'll just go to the upper corner. You can see the edge of the white paper. Paper always starts out as white. You can see this red line here. This is the bleed edge of the edge of the picture or text that will be cut off. And here is the margin. If for instance, you create this layout and you realize darn, I need to make a difference or a change. You can actually go up to File and then Document Setup. And then you can reconfigure your document as you need. Maybe you need to change your margins up top. You can change that around. Also this link here. When you make all settings the same in you click this link and you click up, you'll see in the margin change simultaneously to save you some time. Sometimes you're going to want different margin on top and bottom depending on what you're doing for your layout and you can adjust your bleed. Please refer to your printer to get the correct sides of the bleed and the margins which tell you to keep all active items inside the layout. Hit Okay here. And also in the layout, you can do a page by page adjustment. In the margins and columns. The margins here are the same margins that you can adjust. You can again link them, turn them up or down as your heart desires. You have global settings in your documents setup. And then you have page by page settings in the margin and columns to create your new file in InDesign. 5. Customizing Indesign: In order to use InDesign more effectively, you're going to want to customize your workspace. As you can see here, I've got a whole list of panels, including pages that are set up to be visible at the moment. But when you first start InDesign, chances are none of these things may be visible from the control bar to the toolbar pages or anything else. In order to set up InDesign to be more effective in this type of layout. What you want to do is go to Window and start turning things on. If you happen to lose the top toolbar, that is the control bar there, you definitely don't want to lose that. You bring that back and that will allow you to control all of your items. If you go to Window and then turn on tools, this is the toolbar here. You have to have the toolbar honestly to be effective and get things going under everything else. There are tools, utilities, types, all sorts of stuff. But oddly in InDesign, not all of the panels are going to be located in the window option on the menu. Instead under type, there are multiple items that you're going to need. Character paragraph potentially tabs, even glyphs. Glyphs was kind of fun. It shows you all the font glyphs that you may need for your layout or shrink that for a moment. You can also see how I shrink things. If you click on the two right chevrons, you can expand the panel. Then you can shrink the panel. Also you see these hashes here. You can click and drag and add that to the grouping, whether it's separate or you can actually jam them together as a different group. It's kind of handy. You can pull them out. You can dock them, you can move this group of panels and it will snap to the side here, pulling things out in a way. But you're going to want paragraph styles, character styles, paragraphs and characters all set up plus all of these different options because there's a lot of work that goes into this type of layout. And also the pages panel. Once we started expanding our design, this is how you'll be able to see your entire document as it expands out. And I'll explain more about that later. Also. In order to get these character styles and everything to pop up, you can go to the menu and click, but you don't really want to do that because going to the menu takes a lot of time. But instead, you'll notice in each of these groupings, each of those little tabs is available. So you can actually break things out into different groups, which can be very handy. Because if you want to bring paragraph styles and paragraphs together, then you can only have two tabs rather than the four character styles will show their two tabs. So depending on what you're doing, it can get a little bit busy. And this is going to be your personal style of how you work. You'll be doing layers, lengths, and pre-flight later properties is very handy. So as you can see here, there are lots and lots of options. Also under the Window menu item. You can actually go to Workspace. And you can see all the different workspaces that are available to you to turn on things. And these are all predefined based on what InDesign and adore the InDesign designers think you might need. You can also, once you get your workspace setup, you can actually go to Window new workspace and create a chain Smith. You can actually save your panel locations and your menu customization in here. That way, you can create a new workspace for yourself when you're using this. So I've got the Bob Jane Smith workspace. You can also delete this workspace if you so desire to delete it. That way you can control how your document shows up, how your panels show up. So for some reason you accidentally close this entire thing. You think, gosh, I've got to waste a lot of time opening all of these different items and getting the panels and tools setup. But instead, if you save your workspace here, that will save you a lot of time in the future. Trust me, I've done this. Also, if you hit the Tab key, you'll notice all of the panels disappear. And if you hit the tab key again, they reappear. It is very easy to accidentally do that. Also, your layout of your panels can be seen here as well. I always just go up to Window and workspace. But if you've got a big enough screen, because this only works on bigger screens, you can get to your Bob and Jane menu items here. Also when InDesign is squashed and too small, you're going to notice some of your panel options disappearing. You can get to them with customized control panels. And you can also use the flyout menu. There are lots of lots of options to deal with, especially if you're using a smaller laptop screen, InDesign can be quite challenging to use a small laptop screen. Also, in the interface here you can see there are no errors right now, you'll learn about errors like over a type setting and the preflight panels. And you can also have digital publishing. There's a lot going on in here, including your zoom level, what page you're on, all sorts of stuff to allow you to control your interface in InDesign. 6. Zoom Interface: Understanding how to zoom in and out of InDesign is critical to efficiency. Depending on the type of mouse you have, or trackpad or eraser interface like on Lenovo computers and laptops. There's a lot to it. You can actually just go to view, zoom in and zoom out. And the shortcut key is command equals on the Mac and Control equals on the PC. That's actually Command Plus, but they just don't put the shift. Their Zoom Out is Command minus. You can fit your pay or Control minus on the PC. You can fit the page in the window with the command 0 on the Mac and Control 0 on the PC. So let me demonstrate those Control or Command Zero, command plus, or control plus and minus. This is okay, but it's not terribly efficient. You can also see the zoom level controls here as well on the left. But what I highly, highly recommend is getting a computer with a trackpad. If you have a desktop computer that doesn't come with a trackpad, you really cannot recommend and like really important for you to be able to zoom in and out. Because right now I am scrolling around using a magic mouse on the Mac. There are mice like biologic and other manufacturers for PCs that are very effective to this, you can scroll around or you can click the drag slider scrolls. But if you have to constantly click the dragon slider scrolls on the right or the bottom. You're going to be wasting a lot of time in your design. Instead, if you use the pinch zoom or if you just can't have a track pad for whatever reason, the Command Plus, Command Minus are going to be efficient. But if nothing else, you really, really want a mouse that allows you to scroll up and down and left and right. Because once you get a layout going and you've got multiple pages, if you have to constantly come back and forth and scrolling back and forth, the time waste is going to be phenomenal. You'll literally spend hours and hours moving your mouse just to move these sliders and doing nothing to get your job done. So even though it does add a little bit of cost, I can't emphasize enough the power of a pinch zoom like on a smartphone or smart device or pad. And then also a mouse that you can scroll around. And that ability to zoom in and out and scroll around will save you countless hours when you're working in InDesign. 7. Grids Snaps Hidden Characters: Another feature of InDesign that's important to know about our grids and snaps. Let me turn and create a textbox here. Some text just for handy understanding. Now under view, if you scroll down under the view item, there are rulers, which you can see here they disappear. You definitely want to leave the rulers on. You can get them with Command R or Control R on the PC. But also the extras like frame edge throat show text threading that won't be important later. Show assign frames, height, hyperlinks, all this other stuff. But the Grids and Guides are super, super handy. Though. The snap to guides and the smart guides will also show you the baseline grid in a moment. These smart guides, what they do is if you see the margin here, I move this box, watch, jump, jump. You really have to observe this by moving your mouse or your trackpad and moving an object next to the margins. But when you move things, having that snapping on is super-helpful. Also, there's an invisible vertical and horizontal centering. If you drag your particular box, notice this pink line that appears in here. Also when I move vertically, that snapping guarantees that your box is centered vertically or horizontally. And now this box is exactly in the center of the page according to InDesign. Also, you can actually have margins that are different. Perhaps if you've got your glue or binding edge, I'll just show you real quick Margins and Columns. Alon lock and then the inside. Make some odd binding margins here. Now, when you move left and right, you can actually see that there's a purple line for the horizontal adjustment. But when we move left, there's the full page line. This purple line that shows up, shows you that now I am in the middle of the margins versus dragging here. This puts in the middle of the page. As you can see here, the difference is subtle. There's the margin for the center margin and then the page margin. So you need to play with this a bit. But turning on the extras and the grids and guides and locking and snapping is super, super-helpful. Also, this baseline grid, when we zoom in, you remember back in elementary school days when you say are actually K through 12 or wherever you might be, grammar school, days when you had ruled line paper. This rude line paper will come in handy when you want to set up your text so that your texts all aligns to the grids. It's really, really pretty helpful to control what your paragraphs and everything looks like. So that's something that we'll do. I'll show you real quick. And paragraph styles will make a Paragraph Style indents and spacing. Let me move. Hang on. Let me move it so you can see it's a little cramped space in this recording screen. But in this Paragraph Style indents and spacing, we can align all of our texts to these lines. And now we can actually make our text much more aligned than before. Just know that in order to show these ruled lines if you want them. If you go into View Grids and Guides and hide or show baseline grid, that's very helpful. Also, if you go to View Grids and Guides and show the document grid, you can actually get this very nice grid here. C can do more alignment and it looks like graph paper with thicker lines and then thinner lines. You can change that. In the InDesign Preferences grids. You can affect the baseline grid and the increments in grid. That way you can do everything. There's the grid lines every inch and subdivisions. Maybe you want ten subdivisions. If you can get it to go ten subdivisions instead of eight, go to InDesign preference grids. I'll change that back to eight subdivisions, that's up to you. And your layout requirement. The baseline grid is for text. The document grid is this graph paper look. You can shut that off with command or control apostrophe. That's very, very handy. If you go to View Grids and Guides, I recommend memorizing the Shift Command semicolon or Shift Control Semicolon on the PC, and also the Show Document Grid. Those are super handy to memorize. The command apostrophe or control apostrophe on the PC. It makes a big difference to your efficiency about zooming in and zooming out. Also one other thing, if you go to type and at the very, very bottom, you can show hidden characters. This will actually show you the carriage returns, the spaces and all the other interesting characters that can help you out or college, you have lots of trouble. Uh, one of the ones that can cause you trouble as Type, Insert, Break Character and forced line break. This force line break is very powerful. But a lot of times when you get documents from people, especially those written in Microsoft words or word, this force line break will cause you a lot of heartache. I will show you how to fix those later, but watch for that force line break normally you just want to use carriage returns for thing or carriage returns for things to make new lines because that can cause you issues. The little tilde is the hyphenation Mark. There are lots and lots of different hidden invisible marks that can cause your document to act weird. And the way to find that out is simply go to type and then show or hide hidden characters. And you'll be able to do that much easier and save yourself a lot of heartache when you're editing text in InDesign. 8. Creating Text Boxes: Creating textboxes in InDesign is one of the very first thing is you're going to want to do in your layout once you've got the toolbar up here, and I always place it on the left-hand side for convenience. You can also reshape it or readjust it with the little. They're called chevrons here. And also if you are missing the tool menu, it is available under Window and tools. But to get to the Tool Menu, you simply go to the Type tool that T here. And it is also accessible with the T key. As you can see here, it says Type Tool and then parentheses t. You do that and you just simply click and drag. And you've now created a text box. Text box. You can type n Just like that. Now, there are lots of things to the text box. What I recommend is always hitting the Escape key. Once you type in something, you don't accidentally hit a W or something, always hit the Escape key when you're done editing it will save you a lot of trouble. To adjust the text box. Use one of the corner adjusters. You can see the mouse changes from click and move to adjust the corner, to rotate all the way out to the nothing space. That is one challenge about InDesign is the mouse goes from 1234 modes and a very small space. That's what makes using a trackpad using InDesign quite difficult because you have to be very slow and accurate versus a mouse, which is a lot easier to use an InDesign. This is a personal preference item, but I like to use a mouse for this activity. Also clicking and rotating. You might have noticed up here, the rotation angle controls. You can 0 that bad boy out and return it. Also, if you hold, click and begin rotating and tap shift, that will allow you to rotate your box and 45 degree increments. That is very, very handy as you notice, I can put text on the side or vertical or whatever you need. Their text box controls are pretty handy. There are the middle controls as well. I don't use those as much because when you're zoomed out, sometimes those controls aren't as accessible. Also, there's a threading box here. And when you have a length, There's another threatening box. And also there is the clicked edit box frame. So you can actually adjust the roundness of the box. There's a lot you can do in InDesign just with text boxes. In these text boxes to, you can do a lot of other things with the vertical and even hovering over here, dragging to create an anchor which we'll talk about later. So just creating a text box is one of the most fundamental things you can do in InDesign with a T tool, and you will always click on the Text tool. Click and drag. This is not like Word or open office or something, where you just click and start typing. It doesn't work. Only when you're inside the box and blinking. Can you can you type something? Also? If you need just some placeholder text, you can go to type and then fill with placeholder text, which we'll be doing in this class and is very handy. Just so you can work on your layout without even having the text ready yet. You can actually do your layout work with that option. 9. Placing Linking Documents: Another option that you can use when placing text into an InDesign file is to use the place and Link option. In order for this to work where you can actually link to a live document, you need to make sure in preferences, whether it's in the InDesign menu preferences or under Edit and Preferences is you need to go way down to File Handling near the bottom of the menu. When you go into File Handling, you'll notice in the links section there's 123. This box is unchecked. You can actually link hotlink to a document. So if the document gets changed, this will actually update the file in InDesign. I'm going to show you what this all means to you. The pluses and minuses are pros and cons. We will turn on links when placing texts and spreadsheet files. Now obviously it doesn't look like anything's changed, but I will show you how it changes. In order to do this, we will go to File and then Place or Command D on the Mac and Control D on the PC. Click Place. And you'll surf around until you find your sample document or your text document wherever it is. You can see here I've got word sample doc just as an example. And I will simply click Open. And then you'll see this odd shaped mouse cursor. And what that is, is that shows you the text and where it's going to be. So to initially place it all you do is click hold, drag, then your text will appear. Do note, see this little red warning box here that's called overset text. And you will see one error here. That means that the text is bigger than this box. Do you want to make sure to expand this until all of your text appears? Now this doesn't look any different than the pasting process. But what's important here is you can see in the very upper left-hand corner, there's a little chain icon that's supposed to be a chain, at least it'll zoom in. It never scales up. But this little chain icon indicates that this file is linked. So if I click on links, all of the sudden the links panel here, if the links panel is an available, simply go to Window and then links and that window and links that will get you the links window here. And that way you can see that the file is linked. Now why is this important? Because you can right-click and then edit original if you find a typo or some such thing, bring in my Word document here and check this out. The sleepy, sleepy brown dog. Oh gosh, jumped over the energetic sleeping fox. Great. Simply save that file and we will go back into InDesign and check it out. This file that is now live and I've edited in Word and using all of words capability actually updated inside InDesign. Now this is a really, really nice feature. However, anytime we do a lot of editing and formatting, like add a paragraph style or a character style or let's say, I want to maybe bold this text for whatever reason. And then I go into the Word document. Is there going to be bold text? I will Command Save or Control Save, Save here. Now watch what happens in InDesign, dum, dum, dum. Make sure to always hit Escape. By the way, when you're working in textboxes, see this little yellow triangle, a warning symbol. That means that my file is unlinked and I have an error. I'll show you this error here. I can click on it there. The one error is that in the preflight panel you'll see this error. Always pay attention to this. But in the preflight preflight panel, I've got an error where my document is modified outside of the link in InDesign. So that's a bummer. So all you do is click on the little warning. And edits have been made to the imported version, you will lose these edits. Update anyway. Watch the bold folks. Click yes, it's imported. And voila, I've lost my bulb. The advantage of being able to use Word. In your document to use olive words, power is great. So you can link to documents. Maybe somebody is working on a file. They don't quite have the texts done yet. And you just want some placeholder text. It's super, super handy. And then whenever the person is who is working on their Word document is done, and then you can re-import it into InDesign. But no, if you've done any editing or changes or anything to the document and those edits will disappear. So the pro is you can keep a live link to a Word document or a text document, or a spreadsheet that is changeable into the text. The disadvantage you can break or cause an error in your InDesign file and you will lose any other formatting in this file. So some pluses and minuses. But you need to be aware that you can go on beyond pasting. Instead, you can place a live text document into your file. That way changes can be made. Another way to re-link is if you go to the Links panel, again, the links panel is under Window. Links right here. Then you can right-click and you can relink and then re-link that file and update the link as well. Go to Link, you can even break the link. Let's say you've got this text here and this is great, but I'm tired of having that Word document mess up my file. So if I right-click and I click unlink voila, the link is removed. I can no longer edit this Word document and have it show up in InDesign. But I don't have problems with people editing the Word document and then it messing up my InDesign layout. Hopefully that's a little confusing, but once you experiment with it with linking files and creating links, It's very helpful and quite powerful to be able to do that whether you're editing with Illustrator, finding and bridge. You can even find it in Finder to show you where in the world this document is on your computer. Also you can expand weren't right here, this little box. Then this little box will give you more information on the file, the place, date, all this other stuff that appears in the info box here. There's also linking, remove, re-link, go to Link, Update Link and edit original. There are a few icons. If you don't want to right-click on this menu and you want to be icon driven. You can go right here. I do recommend learning to right-click though, because it is faster to right-click and read than it is to deduce what in the world these little icons mean. Hopefully that makes sense to you of how to link in documents into InDesign. 10. Horizontal Text Alignment: In InDesign, you have a lot of choices for horizontal text alignment. What does horizontal text alignment means? Well, it means that in your text, you can have what's called ragged edge text. Or the edge of the text wanders around like this and let's see, I'm going to shut that off here. So you can see that the edge of the text is ragged. You can select your text. Then goto, if this toolbar or control is visible, this is called left aligned text. If you want non ragged edge text, you can click here. And this will right align your text or justify the text. If, for instance you want to send anterior text, you can just center the text and you will have this effect here. Only put another carriage return in here just to make an interesting, nothing happens there. You can also center justify the text. Or the text literally goes to the edge of both sides, the left and the right margins. But the text is centered. You can right align text. You wouldn't normally do this for long blocks of texts, but for captions and other little items that you're going to put against a picture or graph or something that is pretty useful. There is the just the full justified text where this stretches the text all the way across. This is common in your text in regular columns and text and magazines and newspapers and such. And that is for this size text, obviously it doesn't work. But what if I shrink this to a column where, hey, let's play with this just a bit on this word is not gonna work. Propene Deus. So, yeah, So that's not working there, but you get an idea, this is what a newspaper or magazine column looks like. And let me expand this text here. Select. That looks kind of weird. Then there is the other option to right edge the text. This is a little bit different than this guy. The align right align way from spine. The line from spine won't be visible until you go to the Pages panel. We will add a few pages here and I will show you the effect. This pretty slick. We're going to put the text here and then put the text here. Now you can't see this effect on a single page, but it is very easy to see this effect here. I will select this box. I will align the text away from the spine or towards the spine secant see here that the text on the right-hand side is towards the spine. We can make the text on the left hand away from the spine. Even though this looks like, hey, that looks like left align text. In fact, watch this. I will move this text box over to the other page. Watch what happens. Notice the text jumps away from the spine. Indesign has the option that you can actually say, hey, whatever box or wherever my text box is located, I can align away from spine or a line towards spine. Let's do that here. Let me get rid of this text box. Just hit the delete key, check it out. We can align towards spine on this side or drag the text to the other side and watch what happens. Book swaps back to aligning towards spine. Whether you need regular ragged edge align, left, align center, align right, or aligned towards spine. Or justify with last line aligned left. Justify with last line aligned, centered. Or justify all lines which in big text makes no sense because it's ugly. But in column text, magazines and newspapers it works. And then if you're a worried about aligning away or towards spine, you've got a lot of options to align your text. So it works with your style and layout in InDesign. 11. Vertical Text Alignment: Another thing you can do in InDesign is vertically align your text in a text box. Now the curiosity about this is this is not a text edit item. Instead, this is more of a layout item. As you can see here. I've got a text box where the text is aligned at the top of the frame. But let's say I want to put the text in the middle of this frame for whatever reason, if your screen is wide enough when you single click on the text box. Because if you double-click in the textbox, you end up with text editing. So hit Escape. And instead single click on this box. And if your control area is large enough, you will see a line, top, center, bottom, and justify. So watch what happens when I aligned top. Nothing happens because it's already aligned. I aligned center. The text appears at the center of the box. Then I align bottom. The text appears at the bottom of the box and then check this one out. Justify, vertical spreads the text. Now, typically, you don't want to use this because you're going to use paragraph styles and adjustments in here to fix the text so it doesn't do this. So I just recommend a line top, center and bottom, and stay away from the justify vertically because that affects other aspects in your text. If for some reason your control panel is not wide enough and you cannot see this. If you go into the object menu and you go down to Object Text Frame Options, which is Command B for boy on the Mac and Control B on the PC. For PCs, you can come here and you can play with the text alignment in the vertical justification menu. If you're on a laptop, chances are you won't be able to see these control bars. So instead you go to the Text Frame Options. And now you can go into center, bottom and justify. Do note if the text isn't moving when you select this, chances are the preview is not selected. You need to make sure to churn, turn preview on and off. I always leave it on unless there's some reason I don't want to see what I'm doing. That way. The text moves around and it shows you how to align the text in the top and bottom of the box. So whether you have a screen that's wide enough to see your text vertical align controls here. Or go to the Object menu and go to Text Frame Options that will give you all the different options for aligning your text vertically in your text box. 12. Text Frame Management: In InDesign, you can also reshape and realign your text box. As you can see here, I can re-scale using the corner. If you hover the mouse cursor just outside this corner here, it will convert from a diagonal pull to a rotate icon. And you can see as I rotate, you can see the angle shown on the screen here. You can usually get it close to 0. If you can't get it exactly close to 0, there is the object or box rotation item here. Where maybe you want to rotate the text very specifically to a certain degree. It is very handy. Plus the pull-down, you can come here to rotate it. Again. You can hold this box, drag around, hold the Shift key, and it will rotate on 45 degrees steps. And it's very difficult to use this with a trackpad because the trackpad just doesn't have the sensitivity of all the different fine mouse motions. You can go here to go 0. But also there's another way to tweak the text and that's to skew the text box. That way the text gets rhomboid and distorted and you can do this, but notice the text itself warps. So just be aware that you can tweak the textbox out 0 degrees. You can change it, you can rotate it, you can scale it. You'll also notice here, as I'm moving the text box that position numbers change and the width and height numbers changed. So if you need a very exact amount of space in your text box, you can do that. Height and width are adjustable. There's mirror and rotate 90 degrees clockwise. Linkedin the corner, there are a lot of options that you can do and tweak with your text box. Now, something to be aware of when you're messing with the text boxes. Sometimes when the text, oops, it's very easy to do that. When the textbox is really crammed up or narrow, it can be hard or difficult to click on the center edge for scaling. It's easy on top, but sometimes these boxes, depending on the resolution of your screen, can become uncollectable. So normally I always, for efficiency purposes, always click the corner box that way I can mess around with both the horizontal and vertical alignment only when I don't want or it's sizing only when I don't want to mess with both, do I use the bottom? But a lot of times I don't always use the right and left edges because the link or threatening links in here, here and here sometimes get in the way. So just be mindful that a lot of times you have to be very careful with the center grabbers. These are called handles, these little square blue squares that allow you to scale this box up. Just do be mindful that there are some issues that make it challenging to rotate this textbox around in InDesign. So those are some different ways to manage your text frame. There are all sorts of other options we'll talk about later. But these are the basics to get your text frame rotating and doing exactly what you want in InDesign. 13. Text Columns: Another thing you're going to want to do with your texts, especially with column layout, is actually create columns in your text box. Now again, this is a layout item, not a real text editing activity. So if you're in your text and you double-click in, you'll see in the controls here there are no column adjustment tools. Instead click Escape. Then single click your text box. And hopefully if your screens wide enough, you will see the number of columns and the column control. To get your columns setup, all you do is click upward and you can create the number of columns that you want. And you can expand this textbox here. Expand this textbox here, and we'll copy my texts that way we can actually see enough of a text in here. You can also increase the gutter of the columns. So if you wanted to spread your columns out quite a bit already, you want to shrink your columns down to go with the default whenever you might want to do. Don't make your columns to close because then it becomes very difficult to read. And some layouts even have four columns depending on the density of your text. If for some reason again you cannot see the column control in here. What you can do is go to object and Text Frame Options command B. Now you can have a fixed number, fixed width, flexible width columns, all sorts of things. I just generally recommend going with a fixed number of columns because otherwise, the challenges can be quite significant. Once you get into that sort of thing that's a little bit more advanced. You can also balance out the columns. So the text actually shifts around. If you have, let's just show you here. Notice that the columns here stay balanced versus if we go back to, oops, sorry, I don't want to use a shortcut there. Go to Object, Text Frame Options again, Command B on the Mac, Control B on the PC. And you can unbalance the columns. And we will see what happens when I drag this slider down. You can see that you end up with this awkward spacing here. That doesn't look normal. You normally never see that in layout because this big box you maybe would put a graphic or a info about the author or something to fill this space. Typically, unless you've got a layout page or something that needs whitespace texts traditionally I wouldn't say never has whitespace, but darn close again, go to Object, Text Frame Options, and instead simply use the balance the columns. And this will shift the columns around so that your text balances out correctly. Based on the number of columns you have it will do its InDesign will do its best to fix that. But that's something you need to consider in the layout and the styles that you're required to use. Now there's some other column rules, baseline options. There's a lot of other higher detailed stuff in here that once you get become more proficient in InDesign, those will mean more to you. But for right now, just focused on fixed number of columns. Three, maybe four, depending on the font size, the text density, and the word length that you're going to experience with the text files that you receive. When you go into your InDesign layout, you can make sure this looks really good. Now with the column layout, you can double-click IT, or sorry, Edit, select All or command a control on the PC. And now we can go to a classic layout where you do left justified. The one problem is you're going to end up with a lot of hyphenation sometimes in your text. But if you hit Escape, click into the nothing so you don't have anything selected and hit W. You can see that this is a classic layout in magazines and newspapers and non-fiction books. I mean, even Bibles, literally everything. This is the most common layout you'll see, because ironically, It's actually easier to read short lines rather than very long lines. It makes it much more consumable for people. Again, click away, hit the W key to do the clear screen or preview. And you'll be able to see just the effect of what your text looks like when it has columns and when it is left justified. Normally ragged edge columns just don't look great in magazines. Some magazines I actually receive. I have that is super rare if never to see ragged edge right in newspapers. Newspapers just generally don't do that. Some magazines do that, but that is dependent on the style that you're experiencing. So fixture columns get your texts, get it aligned. And then you'll be well on your way to a professional layout. 14. Text Frame Stroke: Another thing you're going to want to potentially do is add a little bit of a border to your text frame. Now, there are other lessons that talked about more complex color management, but I just wanted to give you the basics so you can start doing your layout when you're working on this. What you do is when you've got nothing selected, click on the whitespace in your screen here. Whitespace means there is no frame or anything. One click on your box and then simply come up to here you have both a fill color and a stroke color. Fill means the entire background of the box. Stroke means the line around the frame. These are older style name, so stroke doesn't make sense, but it will in a moment. What I'm going to do is I'm going to create this cell, let's say green stroke around the box. You can't hardly see it here, but when I zoom in, you'll see this nice stroke around the box. Now. If you want to select the box and increase the stroke thickness, you can do that, you can lower it. You can zoom out here and let's say you want a solid color background. Let's say cyan, that's pretty nice. It's pretty hard to read, but this isn't the point of the objective here. You can increase the stroke size. I'll clear the background so you can see what's going on. But also in your text box, you can change the style. Solid, thick, thick lines, Japanese dots, I'm in dotted edges, wavy. I mean, there's so much you can do in InDesign with your text frames to make them look interesting. Now of course, be aware that your text is going to collide with edges here. So you're going to need to adjust your margins. That's another thing about textboxes, but you have the option to create thin lines here, or let's see what other options here. I mean, diamonds. You can go really, really crazy with your design. So you don't have to draw all this stuff. It's all built into InDesign. So you can create whatever you want. I mean, there, I mean, you can add effects, all sorts of stuff to your boxes. So just be aware that there are plenty of options for you. Typically maybe a solid line, thick, thick line, but don't go too crazy because it's going to become difficult to read and see this text. But at least gives you some options for changing the look of your box. So if you want a frame around your text, you can choose that in any way you want. You can even do thin, thick, thin, I mean, just mind-blowing the number of options that are available for you to create stroke lines around your box. And then notice it's hard to read the text here so you have to be careful with your margins. And then if you want to add some sort of background color to your text, you can do that as well. So there's an infinity number of options for you to change up the look of your textbox and InDesign. 15. Indents Margins Gutters: Another thing that you're going to want to do with your text is to do some indentation. As you can see here, I've got a little stroke line around my text box. But the texts sits almost exactly against the stroke line. So how do I fix that? Relatively easy once you know how to do it? When we make some adjustments here, unbalanced the column. There we go. What you want to do is double-click into your text box and go to Edit and select all. We're going to select all of our texts. And now we're going to do some indentation. And these tools are up here. If for some reason you can't see them. You can also go to the paragraph panel. And you can do that to get to the paragraph panel. You need to go to Window, but to type and bring up the paragraph panel here. But I will show you there are lots of options, so don't worry about which way to do it. All works the same. But you can actually create left margin indents. And then right margin and dense. That way the text gets away from the Box Edge. Now hit Escape and V select this text expanded out. You can see here there's a pretty big gap, so that's not too attractive. What you do to get this margin on the left is we're going to go to type, sorry, Object, Text Frame Options. And we're going to cut down our gutter size quite a bit. Not to 0, but real close. Because when we've got this left and right margin, to get our text away from the edge of the box. The only way to really make this makes sense. Hit Escape, click out of the box, hit W to see what it looks like on the page. That is literally the only way to make this really look decent is to get the text away from the edge. You can do that. I hit Escape w So you can see everything again. Select our text is to adjust the left indent, the right indent. Those are different than margins. Margins are just a suggestion of where you put your text on the Bach or in the page. But the indentation here allows you to pull the text away from the edge of the text frame. Also, chances are you going to want a first-line indent, and that is right here. Click, click. And this looks much more like normal text. Click out of the box and hit Escape. Or you have in dense and your texts and this is normally readable. Chances are you do not want to have 0 indention in text. I've seen this in some layouts and it's pretty much unreadable and irritating. When you select with Command a or Control a on a PC, give yourself a little bit of indention at 0.125, indent is more than adequate. You do not want to use a 0.5 or half-inch indent in your text. You may have learned that in school, but trust me, it looks really, really bad in magazine and newspaper layout. In books, people tolerate it, but it looks bad. So don't don't do anything over a quarter inch, honestly. Because that's still a huge indent. Plus you're eating up more space. I would just do a 0.125 indent or about three millimeters. And that will give you a nice look. Let me get rid of this outline here just so you can see what's going on. That will give you a nice look. It gives you a professional edge, just enough indent to make it visible but not too much. Refer to the style guide of what whoever you're doing layout for. They'll tell you exactly what to do. Or if you just need to make the choice yourself and you're flying on your own ship, then a 0.125 and dent is perfectly fine. There are other options like adding space before adding space between paragraphs. So you can actually space out paragraphs in Layout. Don't do this unless you have very specific reason because it makes it very difficult to read. So don't do the space before. You can do a space after. I mean, it's, it's all sorts of options you can do. But just be mindful, that is more professional. Look, if you just use first-line indent, maybe some technical journals might have a space before, and then you can use no indent. But that again is not visually attractive. This line break here or this spacing, it's not a line break is just a space, is not as easy to visually see, even though it's all over the place, makes your texts look very messy. Instead 0 this thing out. Just do a 0.125 and dent may be a 0.175 if you really need some visual breaks in here. But when you see these multiple line breaks, it looks messy. So Command a or Control a on a PC. And there you go. That is how you manage your indentation on the left and the right, as well as creating the first-line indent for your text in InDesign. 16. Optical Margin Alignment: One of the challenges in InDesign and layout is getting all the edges of your hyphens to actually hang out into space. What does that mean? Well, if you zoom out quite a bit, you'll see all these hyphenation. Make the text actually look kind of ragged on the edge. For professional design, you do not want to do that. What you want to do is single click on the text box and go to the story panel. I know this doesn't make a lot of sense why it's called story. But this text frame is called a story. Like you tell your four-year-old that you've got a story. And then you simply click on the optical margin alignment box and watch what happens to all these items. They actually space out a little bit and then they hang out in the gut are a little bit more. And it gives it a more visually appealing look. Because now when we zoom out, you'll notice the apostrophes and hyphens and periods and all the punctuation marks hangout on the edge. Always make sure to turn on your optical margin alignment. It gives you a more professional look. There's also another reason for this thing. And that is let's cut the first-line indent. And we're going to make this huge, making a really written on. Let's make it even bigger, bigger. Let's say our text starts with this quote here. Now this isn't a drop cap. This isn't actually are the way to do this. Let me do this correctly just to give you an idea of what you're going after here. Let me get in here. Shoot. Oh, yeah, that's great. 12. There we go. Let me get into paragraph and I'm going to show you just what you want to do with this guy. Up caps. Don't worry about what I'm doing right now. I just wanted to show you the look and the reason for this. But let's say you have this quote that starts, Oh, wow, that's really weird. Check that out. What's going on? How come this is hanging on edge. I'll show you in a moment. Drop cabs, two characters. There we go. If for some reason don't worry about that, we'll show you that in another lesson. But if for some reason you've started off with a quote and you do not have go to the story panel. You shut your margin alignment off. You see how odd that is, where the quote pushes in what's called the drop cap a lot. That is not a good look. Instead, what you want to do is you can click in your text and make the adjustments. But you want to turn on optical alignment. And that way the quote marks stays outside the edge, are almost halfway outside the edge of your text frame. Let me hit Escape w. That way you can zoom in here. You can see that the quote market hangs out the edge. Now you might be when you're first starting off, you think, oh, that's ugly, I don't want to do that. But that is what all the professional designers do to give you this nice look. And you'll see that the edge of these hyphens sticks out here. If I put a period here, that period slightly sticks out. And that actually gives you a much more professional look by aligning the text better and letting punctuation marks somewhat hang off into the gutters and into the margins. And the way to do that is with story. So it is super easy to see when somebody doesn't know how to completely use InDesign. Or they're trying to do layout with Word. Word doesn't do optical margin alignment that I know of. And other programs don't. So this optical alignment or optical margin alignment will make you differentiable in the market and give you that professional look that you see in all the high-end magazines and newspapers. 17. Leading Tracking Capitalization: Another thing you're going to want to do when you're working on your text and an InDesign is to adjust the letting and the tracking. What is letting and tracking mean? There's some weird words from texts. Well, these things come from the ancient texts days when people were doing layouts with typesetting machines. And then actual little blocks of texts is the spacing in-between the lines, which is what word called line spacing is professionally referred to as letting. Letting can be set. Let me, let me delete your options here. Let me select all of the text in here, Command a and select the text. And you'll see that in the upper control box we have font size. But also this thing that looks like it's pronounced leading, but it's actually pronounced lending. And what you can do is this effect. Let me zoom in here a bit so you can see the effect here. This actually adjust the line spacing between your text. If you need to stretch your text out to a full box and a full frame, you can play with the lighting. But whatever the basic font size and letting for your main body text is, in your layout, you want to be consistent. You don't want to have crazy letting here. And then perhaps on the next page, real cramped lettering, that's going to look absolutely horrible. So just be aware that whatever you roll with, with the body text in your magazine design or book design or newspaper design, be consistent with your letting. A great rule is to let your letting be no more than 50% larger of your font design or your font point size. That is, if you've got 12 font, you don't probably want anything more than 18 letting. The letting allows you to visually read this quite easily. If you select the text and you crank, you're letting down to the same point size as your texts. This is pretty much looks like a Bible where it's crazy, alter dense. That's really hard to read. I don't ever recommend making the letting and the point size exactly the same. Also, this can be adjusted in the paragraph panel. If you can't or sorry, not the paragraph panel, the Character panel. The character panel, if you can't see this control here, is under type and character right here. Character there. And you can increase the point size. The minimum that I would recommend is adding at least two points of letting to your text, whatever your texts point sizes. And that gives you enough visual space. Without going too crazy, you get to 12 font and 16, letting you'll notice the text looks a little bit gappy and aired out. That's actually not too bad. It makes it visible and readable, especially for readers, depending on the genre or in where they may be a little bit older or have vision issues or whatever, it's something to consider. So whatever style you go after, the letting allows you to control the line spacing on your text. Another thing that you can play with texts, I mean, there's just endless, endless options here. This is my heading. Oh dear, that's not going to work. Let me try a different space. What we're gonna do is we're gonna create a text box for you. We're going to sit your margins. We're going to create a textbox here. This is my wonderful heading. Looks great. Now totally boring. Select this text. We're going to center the text here. And then we're going to crank up this font size quite a bit, but it still doesn't look that exciting. So what we're going to do is we're going to select our text Command a again or Control a on a PC this is Edit. And we did the Select All. And now what we're going to do is play with what's called tracking. So we're going to crank up the tracking. And what that does is this adjust the inter character spacing including enlarging spaces here. You never want to double-space in texts. It's especially after periods. Do not double-space after periods, please, please. It makes you look super, super rookie, but you can crank up the letting in your text here. You can also change the style. Bold, italic depending on your font and you can do a lot of stuff with this. You can also change whether it's all caps, drop caps, superscript, subscript. I mean that the number of options really are quite endless. If you want small caps to really work, you need to capitalize my wonderful heading. And small caps is a great thing. Small caps is not available generally in Word, this is a special thing. Not all fonts styles support small caps. So if you have some sort of crazy script text, sometimes they support it, sometimes not. You just had to be very well aware of that. So if we select our text, I mean, you can go crazy as you can see here. Don't worry about me moving the mouse around too fast. But this gives you an idea. If you really want that cool sort of look to stretch things out because this stretched out text in a heading is much easier to read. Then when the lending is set to 0, ironically with this font, it's way too crammed up. Instead, maybe set the letting two positive 50. Make sure once you get to 200. That stretched out text looks really, really weird in this case, it's okay. But be very mindful because when you select the text, you crank the letting up to 200 is great. How about 500? Now, there's so much spacing between these letters that you, people's brains actually start to think these are individual letters. And they're not actually words. You have to be very careful of not going too overboard. This is a great look. I'll show you a little trick here and Gill Sans light. If you wanted to make a cool movie poster look, Gill Sans Light is a great way to go. This is one of the tricks that's used in movie posters. But be careful that this way huge letting just doesn't look that great so that the letting and the tracking allow you to make adjustments. And the style and the small caps and the no small caps, these are all choices you have to make in your layout. And I can't tell you a right or wrong way because everyone does something different. It gives you some stylized flare. The small caps really set you apart from other people because most people would have to select this text, change the point size. But in InDesign, you have to do is choose small caps and voila, you've got it. So those give you some ideas for letting and tracking and cap control in your text. 18. Vertical Path Text: Another thing that you might want to do with your text is to create vertical text in InDesign, or even type along a curved path. The number of things that you can do with text is really pretty much only limited to your imagination. Once you understand how to do that. To get this vertical text here, what you're going to need is to create a path or a line. In the toolbar on the left-hand side, there is a line tool and that's accessible by the backslash key. So what you do is you select the Line Tool here and then you click. And then instead of randomly dragging, hold the Shift key down and this will force the line to be 450 or 90. Expand the line out here. Now, we don't want to stroke or anything on the line. We're going to want an invisible line. So don't lose this because once you click away, It's a little hard to find. Then what you do is you go to the Type Tool, but instead of just the type tool, left-click and hold. And you're going to shoot choose Type On a Path tool. And you'll notice the little cursor that shows the type on a path tool has this little dotted S-shaped through it. Then on this line here you'll notice when I get close to it, I'd see a tiny little plus everything's kind of tiny in InDesign. So you click on this and now we're going to type title. Now, not too exciting. You could've done that was just rotating a text box. Hang on. Now what you're going to want to do in New Title, double-click into it, is you're going to want to do justify all lines that will stretch out all the text. Still not very exciting, but hang on. Then what you do once you've got your text here is you're going to want to go to type, type on a path options, and this is where the magic happens. So instead of the rainbow effect, you want to do the stair-step effect and make sure it's centered here. If you do top or bottom, it doesn't kinda acts a little bit funny but centered to the path aligned baseline, no spacing. You can even flip the text if you want to go crazy. Hit Okay, obviously this text is a little bit small. So we will double-click into the text, go to Edit, select All or Command a, and then crank up this font. Yeah, there you go. That is how you create vertical text in InDesign. If you select this text and you fail to do full Justify, let's say you leave it left justify center, left ragged, x. Really weird. The trick is to do justify all lines. And it stretches out this text. And then you can do all sorts of things like select the line text, go to Edit, Copy, and then Edit, Paste. And then you can do, say what can we do here for fun? We can maybe fade this text out to 50%. This is the opacity slider. And then we can go to edit, copy, edit, paste, and then drag this line out here. I'll just try and evenly space it. Now we'll drop this to maybe 20%. Then we'll go to edit, copy, edit, paste. And then we'll come out here. Hopefully I don't mess this up. See if we can do this. And then we're going to drop the opacity to maybe 5% or something really, really low. You can get this really cool effect very quickly by copying objects and fading them out. I mean, the, the limitation is really dependent on your creativity and vision. Just things like this. I mean, you're only gonna do this once, but just know that you can do all sorts of effects. Salome, oops, let me click and drag to select all of these at once. Click and drag to move them over. This is great. But what about this curved text that's pretty slick. What you do is you go and select the Pen tool or with the P key. Select the Pen tool, click, release, and then click, hold and drag. And this creates a curve. And then release. And then click hold and drag again. And this creates a curved path that you can now type on. Now if you go to the Type tool, choose type on a path. You'll move over here and you'll see the little plus that shows up. Now. We can type on a path along a curve. Oops, crew. There you go. Now you can type on a curved path and make your text look really fun. Should you want to adjust this curve instead of the direct select tool with the V and the Escape tool, you need or the regular selection tool, you need to use the Direct Select tool on this path. And I would recommend zooming in. And when you hover your mouse over this path, you can select the path. And now this is only with the direct select tool. You can move. And this is not easy to do because it clicks the text. You can change the curve of the path. You can move your path. You could do all sorts of things. Now one trouble is when you get to the end of this path and your text path here terminates. If you make your path too small, you can cause the text to disappear. So let me type in here and I will watch this overset. I have to back this out with the delete or backspace key. That way, I can control the space now, adjusting a curve once you've created it, hoops, easy to delete. One way to go and fix that as edit, undo Command Z on the Mac, Control Z on a PC. Once you've created this path, it's a little bit hard as you've seen to adjust the text box on the path. So what I would do is I would create my general path, create my text, and then just play with it. Because once you hit to a, by the way, for direct select, once you kinda mess with this and you select the path, it's very difficult to get the type anymore jammed in there. So if you need to redo your type curve, make your path longer because once the incomes up, It's really, really difficult to edit. Now, with a key, you can select the path, it's hard to find. You can select the whole path and then tweak on curves. Or you can hit Escape and v, you can move the whole path. You can hit a, and then you'll notice, oh shoot, the whole thing is moving. That's because all of the points are selected. You can see it's a solid here. You have to click away and then hover over until you see the path. Then click the individual handle. And now you can move it around and including these corners. Handling curves is a bit of a challenge, but once you get the hang of it, using the direct select tool, moving the handles, clicking away, and then clicking on individual handles. Then you can have a lot of fun creating curved text, vertical texts and texts that pretty much does exactly what you want. 19. Threading Text: When your text exceeds the size of the text box, you'll get a little warning here. It's just this little red square with a tiny little arrow. It's very difficult to see. But you'll also see you have an error at the bottom, and that indicates you have overset text. What I'm going to do is I'm going to expand this box out and shoot for whatever reason my layout requires me just to keep this size of text. What do I do? This is called threading your textboxes. So what you do is you hit escape and you go to the Selection Tool or the V key. And then you click, left-click once on this red box. And you'll see your mouse cursor changes to a different shape. And then all you do is click and drag. And voila, wow, that's not very exciting in the stretch text. Let's add some more texts to that experience so it looks a little bit better, shall we? Oh shoot. Now my textbox here is columns. And this is not columns. This is not going well. What I'm going to do is just add two columns. Yeah, that's not bad, but maybe my design forces me to shrink this text down. Oh, I've got that error again. Expand the text just a little bit. There you go. Now one of the challenges is that how do you know that this text is attached to this text? What you do is you go to the View menu here and then you go to or are we extras? Yeah, here we go under extras. Show Text Threads. Now nothing happens until you click on this box. And this line here indicates text threading. Now you can actually have a lot of texts threaded throughout your box. I'm going to command copy. I'm going to command paste will end up with some oversight over set text. And then we'll come here and click, Expand. And oh, yeah, Let's add two more columns. So as you can see, oh, I made a mistake. The column size here is different than here. So let's fix this 2.1. So what are my 0.1667.667166700? There you go. As you can see, there's a lot of clicking to take care of. And now you can see that this text threads all the way through this. So if I, F and a new line of text to this section, you can see the text shift throughout the layout. Pretty handy know. So as you can see this text threading causes the text and move between the two boxes. Or if I delete this paragraph, the text automatically marches. Text threading is a very powerful tool. Now, there are other things like, Oh, you need to break a thread or do this. The best way is to just the easiest way without scripts or anything. Just select your text. Click in here, hold the Shift key down, and then left-click at the end of the thread and then Edit, Cut that will break the threatened. Now as you can see, there's no text in here. And how do you know there's really no text in here. What you do is you go to Type, scroll down to show hidden characters. Once you do that, if you zoom in a lot, you will see this pound sign. That's not a social media hashtag. But this pound sign indicates that this is the end of the thread of the story. And now if you click on this box and hit the Delete key, click on this box and hit the Delete key. If you've got your text here. But what happened to that text? We took into space with cut. Now we can go to Edit and Paste. Then voila, we get a text box and we can expand this quite a bit. We don't want to go all the way across the page. We will crank up the columns and there we go. Now, could you linked to the other one? Sure you can. Let's say you end up with two sections of text here. And you say, hey, you know what, I need to link this box to this box. So everything we flows, you can do that. All you have to do is click on the little link box in the lower right of this frame. And then simply click, do you see where that let me show you. The mouse cursor looks like a chain symbol. Click in here. And then this will auto thread your text throughout your document and make it look a lot better and easier to control. So as you reshape and resize your text, or maybe you have to change the font size of the first paragraph, whatever you might want to do. Now everything is highly interactive and you can control the threading of your text. 20. Font Types Families: One of the biggest considerations you need to look at when you're doing your layout in InDesign is, are your font choices. There are roughly five to six major families of standard fonts that you're going to want to consider when you're looking at your layout, plus an infinity of other choices, scripts and everything. What we're going to do is talk about a few of the common styles to help you understand the differences. The first type of font are called the geometric fonts. Futura is one of those styles of fonts, as well as the ultra popular and famous Helvetica or I think that's how it's pronounced that I didn't even know. But the this style is very blocky and uniform with very little styling in it just exactly enough to get the job done. But no more. The geometric sans style. Sans meaning sands. There we go. The sans serif means these little hooks and points on the end of letters are called serifs. This style of font, there are two fundamental families. One is called the sans serif with no points, and then the other on the bimbo and Baskerville, these points are called serifs. So the first thing you have to decide is between Serif and non serif fonts. In long form books and magazines and papers, serif fonts generally are the best choice because they're arguably more readable than San Serif fonts. This first, the geometric sans are universal, very utilitarian. But as a risk of that, there are also a little bit boring. If you want to be safe, go with Helvetica. You simply can't go wrong with Helvetica, but that will make your material look like everything else. However, long form text, I do not recommend sans serif fonts because they're just harder to read. Some will argue that, but if you open any book from any major publisher or magazine, unless it's technical, sans serif fonts aren't used in the main threading of the text. The next style of fonts are called the humanist fonts. They have a variable stroke weight, a little bit of a different look. This style and here is very uniform and blocky. First is the humanist style. They have a little bit of different changes in the thickness of the letters. Before it starts a little bit thin and goes thicker. It's thick here and goes thin versus soups and see if you use the Helvetica, the D, you look at it just doesn't have as much compression as the humanist fonts. Great examples of this font family or Myriad Pro or my Myriad Pro. That's how I've always pronounced it, or virginica or Verdana. For Dan is very popular on PC machines. The next style that you can go to is old style. This is the classic typeface that you will run into just about anywhere. The bimbo or bimbo font is a very good choice. The most famous font is Garamond. Garamond was designed several 100 years ago. And the old story goes that when Garamond created, nobody created a font for like a 100 or a 150 years. Is that true? I can't argue that or I don't know that information for a fact. But if you want to go with a serif font, that is universal and nobody will call you out and say head, that was a bad choice. Garamond is a great choice to use. I personally prefer Minion Pro. That's just me, but that's just my personal style and taste. The next style are called the transitional fonts. Where you go between something like sans serif or something like a serif font. The transitional fonts still have the serifs on them, but they're a little more geometric and modern looking compared to Garamond. And somewhat minion. He could see Garmin has an older typeface look, but there's a reason that it was designed a long time ago. The transitional fonts, the most famous is Times New Roman or Roman or times. This font you can see everywhere It's a default on a lot of computers. The old story says that The New York Times use this font as their font for their texts. And last time I checked that as print proven, untrue, but don't worry about it. You can't go wrong with that. Then we come to the modern fonts that are much more stylized. And just like dido or did dot. And the Bodoni or Bodoni. Fonts, these guys are really useful in giving them more geometric, save virtuous and sharp sort of looks. The final basic font that you're going to use are called slab serifs. These have serifs on them, but the serifs are squared off. They have hard edges compared to the very stylized serifs here, the transitional serifs and the old style serifs. Let me show you Garamond here. Look at Garamond and the styling of this. I'll zoom out and then we'll zoom into slab serifs. These are a classic technical Look. They're very specific and you don't always want to use them. They have what's called the Egyptian look. The most famous and popular is a courier typewriter font. This is a slab serif, but it does have some rounded edges on the serif here. So if you want to make something look like a typewriter, Courier font is the font to use. Now, going from these specific examples over two, what I use most often in books and layout and magazines and newspaper. I either go with minion or Garamond for the last couple of years. I prefer minion because I can get a few more letters in per line and which saves me and page count and multi-hundred book or multi-hundred page books. Garamond is classic, but Minion just seems to work better for me. Also, it has some fun glyphs that I'll show you. Also. For a thin, good-looking sans serif font. It's hard to go wrong with Gill Sans, this particular font. You can control your fonts right here. Whereas the regular, classic, strong and effacing. But that ultra light thin Gill Sans is just so unique. Then we get into things like French script and there's so many styles and scripted fonts you can go crazy. But just be aware, even though this is what you would call cursive writing, when you have a lot of this hand written out, it is very difficult to read. You may be want to use this for a header or something, but do not use this style font for your main texts. Stick with your basic classics, and then you won't go wrong. The Edwardian Script there were their hyper stylized compared to the French script. This Edwardian is beautiful, looks great in a romance article or a cover of a romance book. Something ancient but be aware of this is very difficult to read even though like, Oh, I love this. At best you want to use this for a drop cap, something like that. Otherwise it's gonna be really, really tough for your readers to read. And please. Even though for some reason the Mac standardized on starting to use a Comic Sans font. Unless you really want to make your magazine, book layout, newspaper look like a third grader designed it. Don't use Comic Sans. I'm sure somebody will say, I'm in a million bucks off Comic Sans. Just be aware that you're setting yourself up for a little bit of embarrassment. Something interesting to note too. I'm going to hit the W key. You'll notice that all of my boxes are aligned top to bottom. But the font baseline, where you can go, let me draw the baseline here. The baseline as a font between the, between the different fonts is different. So if you look at the baseline or the bottom of that font through Tura versus Helvetica. It is dramatically different. If we take this guy down here, the humanist fonts are much closer. And the reason you care about this is if you're trying to align boxes and get your fonts on lined up, you're going to have a lot of trouble doing that. Let's try. It's a little hard to select. Come on. There we go. The old-style fonts, again, their baseline is different. The transitional fonts, wow, there's a huge difference Times New Roman tends to be a little bit squatter and ride much higher in the box. The modern fonts are very close, so that's something to be aware of. Two, then slab serif between courier. Let me just show you the difference here. I'll move this box so I'll put Courier up. These font sizes are all the same. I made them 30. If I move this up here, if I can grab it. Now we'll guideline and it's super, super close. So as you can see, different fonts have different baselines of where they start, how they're scaled up, even when they have the exact same point size. So just be aware that you can cause yourself a lot of trouble. If you're not conscious of what you're doing. Again, hit W key with nothing selected to take away all the boxes to see what you're doing. And you can create the rulers by clicking and dragging down or get a horror or vertical ruler by clicking and dragging this out here that we can create alignment grids and other things. So those are the basic font types and families. There are literally likely hundreds of fonts on your computer. As I scroll through here, and each style has different font styles. I mean, it's really, really crazy. So just consider when you're doing your setup and lay out. Don't use this as a general rule. Don't use very similar fonts in the same page or near each other. If you choose humanist and Verdana on the same page or near each other, the contrast looks very mushy and weak. In fact, it looks like you made some sort of typo or you're printing has gone wrong. Instead, go with a lot more visual contrasts like using Verdana for your header and Garamond for your text or Gill Sans and Minion. Don't use Garamond and Minion together because when you put those two together, they look similar, but they're different enough to where it just looks like you had a printing error. Instead Gill Sans and let's say Minion, very distinct. Also. You can use Gill Sans and this is the extra text. Select this guy and if you need to stick with that, go with bold, they'll mix it up, make it more visually interesting. That's one of the fun parts about layout and design, is to make things look visually appealing or appealing. If you just have single block font all the way across it is boring to look at. You want people to keep reading your articles and your text. And the only way to do that is to make it visually interesting and add variety. That said, Don't make your entire thing and guardian or fringe script or let me see, let me find some other crazy choice that might cause you a lot of heartache in here. Brush Script, don't you make your text and Brush Script? Or oh my gosh critter, check critter looks totally cool. Is pretty much unreadable. It's only good for a Zoom magazine or something like that. So even though it's very fun, just be aware, especially with people who have vision issues, they might not be able to read this and never pick up your articles again. So just be conscious that readability is more important than style, but you can stylize things and make them readable. 21. Fonts On Your Computer: Selecting fonts in InDesign is all well and good, but how do you add fonts to your entire computer system? Depending on whether you have a Mac or a PC, there are different ways to do this. If you have a Mac, there is a program called Font Book. If you simply go to the spotlight search in your computer, or you go to the launchpad where you can see all of your different programs, figure out how to bring up a launch book in your specific operating system or not launch folks, sorry, font book in your specific operating system version on your Mac. Then you can bring up the fonts and you can see all the different types of fonts on the computer archipelago minion. It's really pretty slick. So you can actually choose things also, let me pull up minion because that is very important to know. There are things called glyphs. Where are you minion? It's usually alphabetical. Yes, here we go. And Microsoft Minion Pro, perfect. Okay, so in, again on the Mac, I've got Minion Pro and I've got all the variations, but that's not as interesting as you see these four options, the fonts, the sample, the grid, the grid is what you're after. And if you scroll down, let's make the font size a little bit smaller, expanded out. Scroll down. You will see what are called glyphs. If you've ever seen those neat little icons in your book, like the double curved, a single curve for section Breaks, little swirls, arrows or whatever. These are actually not graphic items drawn in Photoshop or Illustrator InDesign. But rather they are just literally like the letter a or Q or R or F. You can literally go into these and command copy. And then we'll open a new document in InDesign. I will create a text box and I will do command paste. And there you go. You can literally, if you like these little icons and glyphs, you can command C, copy. Come here, command V. Let's see, Let's Sue. I liked, I liked the flower to flower. Looks nice. So if we want to use a flower as a section break, we can select that center, it, maybe scale it way up. And this is an actual embedded fonts. So it goes right along with your PDF that you're going to generate. You can use these things in your computer. Some fonts have glyphs sets or icon sets. Other fonts do not. You have to scroll through and find them. I prefer Minion Pro just because it's a great font to use. Plus it's got these nice glyphs. Now, if you're on the PC instead of font book, you're going to go into control panel. You need to refer to your current operating system, whether it's Windows 7810 or even 11, or whatever you're using at the time that you're listening to this and watching this video. But if you go into control panel, however you're supposed to get there, usually at the bottom left and the start bar just type Control Panel. And then you go to the L All Control Panel Items list, and then choose the fonts option. You can begin scrolling through the control panel. The nice thing about control panel is it shows you examples of what the fonts look like. That way you have a good idea that we don't have to click into each and every one of them to view them. One of the nice things though, about InDesign is that, let's say these sleeping dog. If you select this and you go to the font controlling the upper-left, the best part is that InDesign will show you a sample of what the text looks like. But if you have texts selected, the neat part is that the computer marches through and loads the font. You can actually see what that font is going to look like right straight away. That way. You don't have to click it and select it and click and select it. Just simply select the text. And there you go. One other interesting point to note, see this pink salmon color that indicates the InDesign cannot display a glyph or a font or whatever. So that is an issue to watch out for because even though you have no errors, let me get rid of the font panel here. Even though you have no errors here. This is a non-printable character in the particular font you've selected. So let me go back to minion. You can also type, by the way, million regular. There we go. So now we've got the million regular glyphs. We've got the sleeping dog and the font, Batesville or baiting Ville, sorry about that. There you go. No. Dog, capital dog, the sleeping dog with a nice little glyph. There are lots of ways to do that. Once you view your fonts, neither font book on the Mac or the Control Panel in the PC. You can look at all of the fonts on your system. And also in Font Book on the Mac. If you download a font, you can actually import the font. All you have to do is double-click it, double-click the font in your system, and the computer will load that. And then on the PC, double-click on your font and the windows should ask you, Hey, would you like to load this font? Because it's not currently loaded. Also another incredibly important point, just because your downloaded a font does not mean you have a license to use that font. That is a key, key aspect because if you do not have an export license for your font, when you try and go to export out of InDesign, InDesign will give you a warning that that font is copyrighted and you don't have an export license. What you can do and same thing on the PC here. You can get to the info on here, but I'll show you on the Mac because that's what I'm running. And you go to the info part of the font, you can see all this noise. It looks like noise. But the critical thing here is copy of protect NO. And enable yes. And duplicate. Know if this is copyright protected yes. And enabled, no, you will not be able to export it. So even though you have the font, that does not mean you have a license to use a font other than infer display or for personal purposes. As soon as you go to commercial purposes, when you go to a website, let's say, let me pull up a website here, like to font.com. And this is just one example. I'm not endorsing the font or anything, but as you look through, let's say morning rainbow, that looks like a fun font. Okay, This fonts license is for personal use only if you want to use it in a commercial project like a magazine or a newspaper, or a book or whatever, you have to actually go and purchase the font. Now, It's saying morning rainbow is one example or another. But that is something to be very conscious of when you're choosing fonts. Let's try wild love. This font is for personal use only if commercial you need a license, which I'm not going to click on that because I don't know where it goes. I got to be careful about that. But you can see there are beautiful fonts, but just be aware that you might have to get a license for this font. Also, Adobe does have a font engine where you can actually do a fine more. And Adobe fonts as a huge, huge selection of fonts here. You can see if you click the fine more and then you scroll down. These are all of the fonts that are available in Adobe that you can use. I mean, it is literally mind-boggling. Pull down here. We'll do the fine more. So do the fine more in the font pull-down. This brings up all of the fonts, at least that I can tell in Adobe fonts that you can use and get a license for saving you the problem of having to worry about if a font is licensed or not. That is a thing to check on that raceway font that is a really cool. You can also download or activate the font. It displays and shows you what it looks like. But you need to show similar fonts. You can add it to favorites and you need to activate it on your system so that way you can use it on your computer. So that is the, those are the different ways to get to Fonts. Whether you're on the PC using Control Panel, whether you are on the Mac, using Font Book, and whether you use Adobe's built-in fonts, which is a huge, huge thing in and of itself. There are a lot of ways to look at fonts on your system to make your layout look cool and attractive, indented in InDesign. 22. Fonts In Documents: One of the things you want to do when you're working on your design and layout is finding all of the different fonts that you've used in your document. I've created just a few pages here where we've got a few different fonts selected and use. But after you've got a multi-hundred page document, how do you find all the fonts that you've used in your layout? Well, when you go into InDesign and you go to the Type menu, you go to the Type menu, scroll down to the 123 fourth group and find, find slash replace Font. When you click Find slash replace font, this interface will show you all the different fonts in your document. Five fonts and document, fonts and graphics missing types, nothing going on there. You can see all the different fonts you've used in your document. And potentially if there are any issues. So this beading Ville regular, all you do is select that font. You don't have to check this because well, it doesn't allow you to check it. And you click find first. And InDesign will scroll through and bring you to the font and highlight it. Let me find where he found my Calibri or Calibri. Find first. Oh, and it shows me the first instance of the font. What about the French Script MT Regular? Click here and there we go. Now, I'm going to hit Done because I've found this font. And I realized while French script probably wasn't the best choice for readability, I'm going to show you how you can alter the font and the entire document. There we go. If I choose French Script, MT Regular. And I realized, wow, we got to dump this French scripts stuff and I need something a little more readable like Minion Pro. You can either do the fine first and change. We'll do the fine first. And you can change or change all. And this will take the interface, will take this font you have and replace it with whatever you choose. So you can literally go through your entire document and just blow it away. I'm going to choose Minion Pro. And I also want to use font-style regular. I click Change all because I went to change the whole document. And voila, I've changed my document. Of course, it's overset, so I need to cut that size down a bit. There we go. That is how you search out fonts in your document. You can do a Find, Replace font, and figure stuff out there. It is super, super-helpful to deal with that. If you need to find your fonts, if you realize you have a font missing or you have a problem, this interface will show you if for some reason you receive an InDesign document or you send an InDesign document and one of your fonts is missing, you'll get a warning missing fonts. And usually the font will be highlighted in that pink slash salmon color. That's how you can figure out where all your fonts are and what you can do about them. 23. Font Case: Would you might need to do in your design two is change the case of your text. In the case of all these examples here, maybe this is all the body text. But let me create a text box by going to T, holding the T key, creating a title box. This is my incredible title. That's great, but that doesn't really look like a title. Once you can do is click, double-click into the box, select all of your text. Then go to the Type menu, scroll down to the 123 fourth group, and come down to the Change Case option. In change case, you can actually take the text and change the titling and the upper and lowercase of your document. Let's say I wanted to make everything lowercase to get rid of any titling. That might be good, but probably not. Let's go do title, Change Case, Title Case. Hey, check that out. Indesign automatically made the first letter of my text all capitals and then the rest lowercase. But let's say I want to make everything uppercase. So go to type, change case. And then we're going to do uppercase and be really, really loud. Now this actually changes the case of the letters, rather than using the uppercase or all caps mode. This is actually changed the typing in here. So let's go back to tidal casing. So if we go to type change case, we will go to title case. This is probably a more normal experience, but if you use the mode, whoops, sorry. If you use the mode here, or you can all caps the text. This can instantly be changed in the all caps mode. Does not fundamentally change the text here versus going to type changing case and then making an uppercase or sentence case or whatever you want to do. So just be aware of that when you're using the modes here of the text that is not changing the actual text. Whereas the Type menu interface, when you come down to change case and Titled case, that fundamentally actually changes the text. Also you can change this to title case, then turn on small caps and get their way kit quicker than having to retype all of this text. So you can save yourself a lot of time and effort by using the case adjuster in the type menu, change case, and then use these guys to alter the text very quickly and permanently compared to the different mode changes in the control. 24. Master Pages: When you're working with a long and complex document where you're going to want to use master pages. Master pages are template pages, or you can control the different headers, footers, the look of the page, everything you're going to need in a complex document, because as you go along in your layout, what you'll discover is that you might want to change the running head, the header here, the footer, maybe some glyphs or icons on the side whenever your layout might demand. Now in order to do this, what you need to do is bring up the pages panel. The pages panel can be found under window. And then pages I highly recommend always leaving the pages panel open. Because as your document grows longer and longer, this is a very good interface to use. Now one peculiarity about the interface of the pages panel is that when you select items that just simply selects them in the pages panel, it does not go to them. And you'll see this group of master pages and then your main pages here. If you double-click into the master pages, you will go into the master page editing interface. However, I will double-click here and you will think, okay, great, I'm in the main group of pages, but I single click on the Master page. This only selects the page. It does not get you into editing it. The way you can also tell that is if we can spank span the window here, this shows right here at the bottom, three pages and two spreads. But that's not the case. I thought, Oh wow, I selected master page. That's not right. You have to double-click and watch what happens here. When I double-click voila, you can see one master here. This indicates what you've got going from master pages. You can also add pages and delete pages in here too. I will go back to this page. In the main interface, I will add a few pages, and we can do that as well. Let's go back to master pages. And you think, Aaron, what's the big deal here? Hold on. I will show you in a moment. This is really important. Let's say I need some sort of running head in my text. Will get these master pages set up. Maybe I just want some sort of, let's expand it here and title of my magazine. And I should probably capitalize the my expanded out. And then sections all about flowers will make this right adjusted, will bring the text up. Now, everything that has a, under the a master, you'll see very small letters here. I'll show you what that means in a moment. I'm going to create a new set of templates and the master's hit the Plus Create new page. And then the B master I'm in, this sounds crazy. Just stay with me. I go to the A-Master. I'm going to click and copy these guys. Command copy or go to Edit, Copy, command copy on the Mac Control Copy on the PC. And I'm going to go to the B master pages, which has nothing on there. I'm going to go to edit, paste command V on Mac, Control V on a PC. Click, drag this up into position. Now instead of all about flowers, we're going to have all about birds. Very nice. Now I'm going to check this out. This is pretty slick. Double-click into the pages and now on the right-hand side, I've got all about Flowers. Scroll down in the right-hand side is also called the recto side. And on the left-hand side is also called the verso side. It's ancient book terminology. And you'll see this title running throughout my text. Now you'll notice when I zoom in here, you'll see this as a line you think, Oh, I can click in and edit it. And yet you can do nothing about that because these items are in the master pages. So this is a template. So if you want to put a line or graphics or whatever over this item, you can mess with it all day, but you can't select it. So the running heads and adjustments and master pages are very nice. Now go back into B master pages. Double-click here. And then all about birds. Yeah, all about. All about North American American birds, perfect. Now, our first part of the magazine was all about flowers. Now we're going to say, Hey, I'm now going into get into all about North American birds. So what I do is I will shift and then select whatever pages I want. Then you right-click on the active pages. Scroll down to the third group. Click Apply Master to Pages. Click here, and then apply master. We're now going to choose B. And when I choose B, watch what happens to the headers here. Choose B, hit. Okay, and now we've got a section on title of my magazine. And then all about North American birds. And then this section is all about flowers. All about flowers. Obviously this is just an example to give you an idea of what you can do. Now if you look in your pages panel, you will see a, then B, B, B master applied. And if I click this page and I add pages to it, or perhaps I right-click and I can insert pages. Let's say I wanted to five pages after page seven. You can do before it started document apply B master m. And you can really go crazy with this guy. And now all of my magazine pages have all about birds. You can do a lot of controlling of your layout to create templates so you don't have to add all of these items to the pages. Now, also double-click into the master pages. And let's say that B master is not that exciting of a title. If you right-click on this text, another entire option menu pops out. That's just how InDesign is. Go to master. Options for B master, sounds crazy. Then do not change the prefix letter. Don't use anything else than the letters because that can cause you trouble later. But the name, we can choose to be something more helpful in a North American birds. And hit, Okay, now we've got North American birds. And then the master, the master groups. We can double-click and then right-click on it. And master options for here, again, leave the a, don't mess with that. We'll call this flowers. Now I've got something a little bit more helpful, a flowers North American birds. How about we duplicate this? Right-click? Duplicate master. Now we've copied this template, so this is a bit easier. And we're gonna talk about South American birds in this section of my magazine. I will scroll in, makes sure this is double-clicked and selected. Now we'll call this South American birds. But see Master is not helpful because when you have a dozen master templates, master, master, master is not useful. Right-click new or master options for C Master. Come in here and do essay birds. Now, we've got flowers, North American birds, South American birds. And we can come to our magazine. Double-clicking here to get back into your pages and shift click to select all of your items. And then lots of clicking here. Right-click. Go to apply Master to Pages. Then we're going to talk about South American birds again, just an example. Now, you can see the letters C here, b here, and a here. And now we've created this very useful set of templates where we first talked about all about flowers, my magazine, all about flowers. Then we go into the next section of north American birds, then scroll and now South American birds. So as you can see here, the controls in the master pages to rename them, create templates so you can save yourself huge amounts of work. Because when you've got a, the magazine or a book or a newspaper layout that's hundreds of pages. And you only have one master and all these titles, if all of a sudden you decide, Hey, I need to change this. Throughout a 100 pages. You've set yourself up for a huge amount of work in order to avoid that you use master pages. And that will save you so much time and effort. Because if your editor says, Hey, we don't want to call this South American birds. We want to call it South American mammals. And then voila, all of a sudden, all of my template pages all about South American mammals, all about South American mammals. And I have saved myself countless hours and making mistakes and needless changes throughout an entire document. When you have a template that you need to change throughout your document. 25. Running Headers Footers: Chances are in your layout you're going to want to have a thing called Running Headers, which is the text across the top of your document, and also footers. Now what might be a running header, literally anything you want that will show up on multiple pages. Just an example of what you might want to do is go to the Type Tool. Click here, click and drag across this document and make sure it's snapped to the margins. I'm going to zoom in here because I can see the margin alignment isn't right. I hit Escape and I'm going to drag this until it snaps to the edge of the margins. Now what I'm going to do is double-click in the box and the title of my magazine looks great. But I'd rather have this centered. So it can double-click in this text. Normally I would do paragraph styles, but that's for another lesson. We'll just simply edit the text at this moment. We will click Align Center, title of my magazine. That's okay, Let's stylize that a bit more. How about better, better maybe small caps and then let's increase the tracking. Stretch this out. Yeah, that's pretty cool. Okay. Now many magazines have a section in them. So we'll select this box, go to Edit, Copy, and then Edit Paste. Don't worry, I won't override it. And then we'll come over here and drag it up. And you'll see notice those green lines across the page that shows me that the boxes are the same height and they have the same centers. And then the pink line in the middle that shows me that my box is centered on the page. Now I don't want title of my magazine on both sides. Instead, I want to talk about Section one. Not very original, but that's not the point. Section one here is the first section of my magazine. Maybe onto I can type and ventures. Okay. That's the first section of my magazine. Now, I don't want to have to do a lot of work to copy these over. So I'm going to trash my other ones that I've created just for kicks, just to show you what needs to happen, you can right-click Delete master spread. Yes. Now these guys have no masters. And I'm going to right-click and rename adventure. We'll just make that short so it fits in this space. Now instead of redoing all this work, I will simply right-click on the master, and I will click duplicate master spread. And then we will right-click. And we're going to call this instead of automotive adventure onto maintenance. Because on an automotive adventure, probably going to have to maintain your vehicle. Maintenance. Perfect. Now we've got a section that can be used for automotive adventures. Maybe the latest subscribers reading about your driving through wherever or you're following some people on the Baja 1000. And then we're going to have a section in our document or magazine called Auto Maintenance. In your document here. Instead of automotive adventures on a moment ventures some good stories for readers to read about. Then we're going to get into automotive maintenance. Things that you might have to deal with that. So click on the first page, then hold shift down and click on the last page. Then right-click on all of these pages. Scroll down to the third group, apply Master to Pages, then go to automotive maintenance. Hit OK. Now hopefully, my sections of my magazines start with automotive adventure. Tyler, my magazine on a mode of adventures. And then title of my magazine and automotive maintenance. Running headers are a common tool that you can use, whether you're National Geographic, Vogue, Peterson's off road magazine, maybe something out of AAA, Iowa, whatever it might be. You have to choose what you want to have for your Running Headers in your magazine, if anything. And in fact, my editor just called and said, Hey, we don't like centered text. We want text away from the spine. Oh shoot. Okay. So we're going to make text not towards the spine, but away from the spine. Same thing in here. We're going to go away from the spine. That looks a little more magazines. So shoot, we've got to do this here. This is a lot of work, not near it. It away from the spine. Away from the spine, and there you go. Now if I go through my magazine, you can see the headers away from the spine, away, away. Here's the automotive maintenance section of my magazine. Perfect. So as you can see, you can alter your magazine and lay out very quickly to make it much more interesting to read with Running Headers. But there's more importantly, helps people know where they are in your document as they're reading it. Whether you have a print or a 0x01 as they call them, or a PDF or whatever reader you might have. This helps people understand where they are in your document because it's important to make it easy for people to navigate. Because if people have to keep flipping through pages back and forth to find where they are, they become frustrated. Subconsciously. They won't want to read your documents anymore because they're hard to use, are difficult to use. Instead, if you simply go through and give them a few navigational breadcrumbs, as we call them, to help readers go through your document, find where they are. It will make it much easier on them and it will keep people coming back to your documents that said, you are absolutely not required to have headers or anything like this. But if your layout and design requires it, that is how you create running headers. And then also let me demonstrate footers here real quick. Zoom in a bit. And then we will click and drag this out, create a new box. And we'll call this volume one. Why I don't want to call volume one. No idea, but that's just what we're going to call this volume one. Then this will align up for volume one here, greats, and then click and drag. And then Edit, Copy command copy on the Mac Control Copy on the PC. Go to the automotive maintenance layout, paste in here, drag to the bottom. Make sure my alignment is just so I want this everything to be perfect. Scroll over. Perfect. Oh dear, that means I made a mistake. I didn't check this close enough. So let's go look at my a loud a layout instead. Sure enough, double-click. Drag over. Oh shoot. Yeah, I made a mistake. So this is something that's very important to check, is don't be lazy about making sure everything is aligned, especially before you go copying things, because now you're copying mistakes. That said, once we go back into our layout, now we've got a running header title of my magazine, automotive adventures volume one. Volume one maybe. Oh, shoot. We don't want volume one. We want to say 2023 series. Sure. Sounds good. I'm just making this up, of course. And 2023 series. Perfect. Now I can go into all my pages and I will have my Running Headers. Thailand, my magazine, automotive adventures, 2023 series, whatever it is that might make you happy and make it easier for people to understand, navigate, and also brand your material. These Running Headers here and running footers here and here, can make all the difference in the quality and performance of the professional layout of your document. 26. Page Numbering: Chances are in your layout, you're going to want to have page numbers in your document, whether it's on the top or the bottom. Those are the two primary places where people put page numbers. But let's show you how to do it in the top here. I'm going to take, oops, let's go into master pages you want to do page number is always in the master pages. This is really important. We're going to center my title here. Perfect. Now we're going to create another text box, going to T type tool and click and just make a box and we'll fix it in a moment. Now that you have a blinking cursor in this box, you're going to want to go to Type, scroll down to the second to last group, and then go to something called insert special character. Then scroll over to markers, and then you can see current page number. You can actually use a shortcut Option Shift Command N on the Mac or Alt Shift Control N on the PC. I don't often put page numbers once I get them in the header, That's all I need. So you simply click the page number and then you get well, a, how is a make any sense? Well, this letter a is not just an a, it's a special marker because I'm in the page numbers of the a master pages. Trust me this workout in a moment. In fact, I'll show you here soon as we add another one, we will drag this box up and then I will align it. There we go. Now we're going to want to copy this box by going to Edit, Copy command C on the Mac control C on the PC. Scroll to the right. Edit, paste command V on Mac, Control V on a PC, and drag this over. Obviously I can't have my far-right titling here. So I will just center this guy with a centering tool. I will come back to this title, but now I want this away from the spine. And now I know it sells a, but don't worry, that will fix in a moment. We zoom out. Now we've got the title of my magazine, AMA automotive adventures a and a. But look what happens when I double-click into the main pages. Now we get a 123. No, shoot, That's it. The running pages or the running heads on my B master pages need to be changed too. Darn it. Alright, so Tyler, my magazine, automotive maintenance, That's going to be a lot of work to fix. So instead, I go back to here and I click this box and then a whole command or control on a PC and select this box. Oh, no, Dang, I can't select those. What if I use shift and click? Now I've got both boxes selected. Then I go to edit copy, and then go back to automotive maintenance here. And then edit, paste. Hey, I've got my page numbers were doing pretty well. But we need to fix the running header here. Title, my magazine needs to be centered. And automotive maintenance that needs to be fixed. Double-click into this guy and center it. And now watch this instead of moving one box up at a time and wasting time, I can select both boxes, drag them up. And now you'll see instead of a, you will see B. But in the B pages, check it out, double-click. I now have page number 234567, and so on and so forth until we come to the end here on page 12. As you can see here, it's a little confusing to see that the letter a is page numbering, but the InDesign system shows that the a and a are for the A-Master and the B and B here are for the B master page numberings. Now whether you want to put the page numberings out board or in the center of the page or perhaps in the bottom. That's completely up to you and your design and layout team. But this is how you easily insert page numbers, interior layout to effectively and easily make things work for you in InDesign. 27. Hyphenation And Overrides: One of the things you're going to want to control is hyphenation. When you have columns of text, especially in a magazine or newspaper layout, you can see that you're going to end up with a lot of hyphenation. However, sometimes you might get triple hyphenation is it can start looking a little bit messy. Instead of just letting the system go crazy. Which you can do is double-click into your paragraph here. Actually let me turn on all the items here. Double-click into it, go into your body style because you're going to use paragraph styles from now on and go down to hyphenation. So you can control the hyphenation. Hyphenation limits how many hyphenation do allow. How much hyphenation, what's more important? Fewer hyphens, better spacing. The more spacing you have, the more hyphenation is you're going to have, the less hyphenation is the weird or the spacing's going to look. This is just a tradeoff, just the natural structure of how letters work. So we'll just put this in the middle. And I don't want three hyphenation. Maybe I only want to available that will change the layout. Hyphenate words with at least a lot of options in here that you can control. You can hyphenate across a column, capitalize words, last words. When you can really go pretty crazy with this, let me hit Escape and Type, and go to hide hidden characters. So you can see this effect better than hit Escape. Always hit escape, and then the W key. And now you can see the hyphenation is a little bit more under control. It's not as crazy. Well, the text still honestly looks quite good. If you individually want to control hyphenation, you can actually just select a single paragraph. You don't even have to select it. Instead of the Paragraph Styles panel, you can just go to the paragraph panel and then you can just shut off hyphenation. And you can see the difference of when you shut off hyphenation. This look is very common in newspapers, not as much in magazines, magazines, or it was supposed to be the gold standard of journalism. You want them to look good. So make sure to turn on hyphenation. Now, one of the things too with the align with grid, you can actually enable and disable they align with grid. I mean, it's not going to show in here, but if for some reason you need to select that alignment adjustment, you can do this in the paragraph panel. So the paragraph panel is really useful if you wanted to make some custom tweak in your paragraph, let's say shut off the hyphenation. You can see it does not look as good. But what I wanted to show you here is if I double-click into this paragraph and go to the Paragraph Styles panel, you'll notice it says body styles plus. Compare that to when I click in this paragraph here. Just body style. What's going on? Well, when you click into a paragraph that has some other modifications outside of the paragraph style, that means that there are overrides. You can right-click on that. You can edit the style to match it, redefine the style to match it, but they will change all of your texts. You can force it to apply the style, or you can even clear overrides. If I click this, you'll see things change. However, there's a big danger with doing that. Let's say I have this text that requires, let's say italics like, oh hey, I want some name of a ship or a name of a book. And you click in here and you select this whole paragraph. You'll see this plus come up. And you can say apply the style. Nothing happened. You right-click applying clear overrides, you will get rid of italics and bold and everything else, potentially inadvertently. So when you have text, you see this plus don't just go crazy. Right-click and Clear overrides because depending on your magazine in your text, you might have a lot of different italics and bold, all sorts of things that you had to be very, very conscious of. Because it's easy to just blow stuff away without thinking about it when the text requires that perhaps you have Bolds and more often that you have italics. That's a really important thing to understand in your InDesign layout. 28. Character Styles: Character styles are also an important aspect of InDesign. In addition to paragraph styles, where you can set up different paragraph styles to change the look of your paragraphs. You also want to consider saying a paragraph styles, especially for things like bold and italics. Because as you go through your layout and your magazine and newspaper, your book or what have you. Instead of just going through italicizing text, you can actually go into character styles. The character styles panel, which can be found in type. And then character styles. Or if you just want to go to characters or you're not going to do the style control, you can just go to character. But I went, I would recommend is when you import text into InDesign and you find some italic texts that you need to take care of. What I would highly recommend is going into character styles. Hitting the plus, which is the create new character style. Double-click into that style, go to basic formats and it will show you italics with what you've already highlighted or you can choose italic as you need. Change the name of the style to italic text. All right, Good. Now, anytime you have some texts that you need to do, italics width, you can click italic text and you'll be able to control that style. This is highly valuable when you're importing text and you need to make some big changes and make changes that would potentially strip out the italics. But what you can do is when you select, say this paragraph for instance, in paragraph styles, you will see body style plus. But when you right-click it, you can now select Clear overrides, clear character styles, or clear all. So if you get some weird imported textiles from say, Microsoft Word, you can clear the override, but it will not delete the character styles. Watch what happens in this text here. Watch what happens to that bold. When I clear the overrides, the bold disappeared, but the italics stayed. Because I kept the italics as a character style. I'm going to go to Edit, Undo, Apply textile. And now this bold text, I'm going to select this text as well. I'm going to go into character styles right here. Then I'm going to create a bold style by clicking the Plus, going to character style. You can also click once and then slowly once. Bold text, double-click, go in and see that the system and picked up the bold style hit. Okay, and now the character style has been applied. So if you need to make some change to the paragraph, let's say, and paragraph styles. Your editor said we're going to go to I don't know, whatever Helvetica text. Oh, shoot. It deleted it because Helvetica is different. So you're gonna have to tell your editor, editor that's not gonna work. We're gonna go with Minion Pro. Then. Yes, the texts still retains because one of the problem is in Helvetica. Find Helvetica here. I can just type it in and they'll vendor copes. Helvetica. Where are we? Light teleco irregular. There's Helvetica Regular. If we go to Character Styles and we do italic text, oh, it does retain it. I just couldn't see it there. That is the nice part about these character styles is you can retain styles even when you're changing the whole paragraph styles, character styles somewhat override the settings and the visibility. So that is a big, big consideration. Let's try that again. We'll go to Paragraph Styles, go to body style. The editor says Helvetica or die. That's what editors always do. Helvetica hit. Okay, and then scroll down. There they are. There's the italics. I just couldn't see it for the screen. But the bold disappeared because bold in Helvetica perhaps, and this is a big challenge. Bold is not called bold, that's called a different bold. You maybe need to make a different style. This is one of the challenges of fonts, is because there's bold, there's black, There's regular, There's all different styles of text. To be very conscious of what you've got going. When you make changes. You can't just willingly go through and oh, hey, I'm gonna change the fonts because it might blow away all of the italics that you have in your text. And that can cause you a lot of problems. Using character styles is very valuable for keeping consistency in your text. And it is also useful for doing Drop Caps and other things in InDesign. 29. Drop Caps: Another item that you want to consider are using Drop Caps. What Drop Caps are is the first character of a paragraph is enlarged. So let's set ourselves up to do that. The body paragraph one bowl, that is a style here. But what I want to do is create a new style, hit plus. And that creates paragraph style one. That's just how InDesign does. It's a little weird, but that's just what you got to go with body style. Parallel one drop cap. It's a little verbose, but it tells me exactly what I've got going. Now. I'm going to go in and I don't want to base it on anything because I don't want to change things right now. You can do the basing. Just be careful that you don't cause yourself trouble later. Now that we're inside the paragraph style, go down to drop caps here. Wherever it is, Drop Caps and Nested Styles. And now what you'll see is we're going to take the first letter and drop it three lines and we're going to take the first character to do that. Now you'll notice there's a little bit of an indentation here that we don't want. Now I'm going to go to indents and styles. I'm going to get rid of the first line Indian. So the serifs on the x Hangout the edge like it should look. And now this drop cap style, we can also, let's try and different character style, maybe italics, maybe bold. Or let's go crazy and create a new style. Seen drop cap style. We're going to choose a completely different font. Let's see French script. That sounds like fun. If I can find it here, it's a little bit fast. Where are you? Print script? Let's find a different script for Tana. Lucinda Handwriting. That would be kind of cool. Okay, drop cap style Lucinda Handwriting, italics. Okay, cool. Now we've got this stylized text. But you'll notice there's a little bit of a problem there with the x. So that can be a challenge too, of some fonts sweep into your text. So you might have to use spacing or all sorts of other stuff. Let's see if we can fix that. Character Styles, drop cap style. Can we do anything about the kerning? Nope. Oh shoot. And we're not gonna be able to do this. That can be a problem. Sometimes some fonts just cause problems with and see if we can get the tracking spaced out. There we go. And we can also change the letting the case, the kerning. We're not going to be able to change at all. I'm 6.17. There's all sorts of ways. Oh, there we go. Crank the tracking out. That way the x is not on, are overlaid on the text. So some things, depending on the font that you choose, you're going to have to be a little bit of judicious when you do some experimenting. Oh, check that out. Mature empty script capitals. But boy, that thing is all over the place, so that may not work. So this is something Mesoamerica. Oh cool. Not that that letter means anything. I've got all sorts of fun things on here. Mr. All that looks pretty neat. Now some magazines will have a much bigger drop caps, will just select the paragraph here. We'll go to paragraph styles, will added our style again. We'll go to Drop Caps. And sometimes a magazine will put a huge, huge letter into the layout. But visually it's so compelling to have that large letter, especially if you've got long-form text here. Just to visually break up this wall of text. That way, when you're doing this, it doesn't really matter unless you've got some demand and character styles, your editor or your publisher or whoever demands that you do something crazy or huge. Whatever the cases will drop this down a bit. You can control the cap style independently, but be careful because in the paragraph style, the indents drops and caps. You can cut it by the number of lines and scale it up. So there's a lot of different considerations you can do. But you can also going to be too big. But let's say you want to capture three or four or five characters. Now you can also do stuff. You can also scale it for descenders, like on the p. If I don't scale it for the descender, excuse me. You can see that it's P overrides the text. So you might need to scale it there. You can align it to the left edge to make it look a little better. There's lots and lots of variations and additions you can do in your text to make it interesting for people to read when you're using Drop Caps in InDesign. 30. Bullets And Numbered Lists: Another item that is very common to want to do in paragraphs are just set up bulleted lists and numbered lists. You can either do this manually by selecting your text, going to paragraph, the paragraph panel, clicking the little, it's called actually a hamburger, this little fly out here. And you can do Bullets and Numbering. But what I would recommend is actually doing this in a style because you can do an individual one. But we'll, you'll discover over time, is that you actually should do a paragraph style if at all possible, to do this because you'll save yourself time. Because once you establish the style, it can propagate through your entire document, saving you a lot of time. What we're going to do is create a bulleted style. We're not going to base it on anything for now, so we don't have the problem of Nested Styles. Then we're going to go down the list to Bullets and Numbering. And then you can choose the non. We'll start with a bulleted item list. And there you go. Just literally like that. Let me move things over just a bit so you can see what's going on. Just like that. I've created a bulleted list. However, I don't like the spacing here. So instead of a large tab, the text after, what I would recommend is the n space, roughly the size of an int letter, or the EM space, the size of an M letter. It's a little bit bigger than an M. But that way the items are relatively close to their bullets, but still totally visible and usable. Now what we're going to shrink this up here. So item 12345. Now here's another shortcut key. If you hold the Option on the Mac or the Alt key on the PC, and you hover and you hold that key down and you see your mouse here it looks a little bit different. Click hold, drag, release, mouseReleased the Option or the Alt key. You can copy and paste without command copy and command paste. Very, very handy. But now instead of a bulleted list, let's create a numbered list. So we'll create another paragraph style, and we'll call this numbered list. We will not base this on any style here just to save our itself trouble. For the purposes of this class, we'll go down to Bullets and Numbering instead of bullets. And by the way, you can choose asterisk. I mean, you could literally go crazy with all these things. In fact, you could bullet and then put an a or a command character. You can add styles to the bullet. I mean, you can change the indentation whether you're in didn't left or right. I mean, you could go really, really crazy. But let's look at numbers here. Numbers have the same issue. Let me scroll over where numbered lists, numbering in the list again, right now we've got the control number period. Tab. The tab I feel is a bit too big. And my personal opinion, instead, I'd rather use an EM space to get the numbers closer or delete this right here, and then go with an n space. That way the items are closer to their numbers. There are also other placeholders, level one, paragraph symbols, hair space. When you could really go crazy. Let's do like a thin space. Delete this, and then hit Tab and then you can get the numbers really close. But that's a little bit too close for my taste. That little in space seems to work pretty well for this. Now another challenge you're going to have, let's say item two list is really long and falls apart over the text. So you can see here that that layout looks well, not that great. We'll just call it not that great. What you do to fix this is you go into your numbered list here. Then under Bullets and Numbering, you can play with the left indent and then the first line indent and make the first-line indent negative. Maybe put a little bit more indentation, make the first-line indent negative. And now your list looks much, much better and much womb, much more professional. Oh shoot. It looks like the spacing isn't quite right. We'll go back to the paragraph styles. Let's add numbering. And we're going to left indent a bit. And negative intent. Oh shoot, that's too far. We're going to do this manually. All right, so go to negative 0.2. Oh, that's really close. That looks pretty good. So as you can see here, you can create a much more professional looking list. Then having your items fall, pass the bullet points. This look is terrible when the bullets fall pat or the text falls past the bullet points. I would recommend never doing this because it just does not look good. Instead, go into the style here, go into the Bullets and Numbering. And again, we learned that about 0.2, then negative 0.2 pretty much worked for a numbered list, but the bullet lists, it's a little bit not as good. So we'll do a bigger indent little m shoot. Maybe 0.23. Yeah, You can't do that. You got to do the negative first, negative 0.23 and negative 0.23. And that's close, but it's not perfect. Let's go with negative 0.2 to negative 0.2 to maybe asked to be 0.24. Sometimes it just takes a little bit of experimenting. There we go. Good. For the numbers, the 0.25 work, but for the bullets, the 0.22.2 for work. So you need to do a little bit of experimenting. So you make sure that your bullets and your texts and your numbers stay where they should be. Let me hit Escape. Click out of the boxes, hit W. And now you can look at the text. Doesn't that look a lot more professional where the text rolls over and does this two. Now here's another thing. Maybe your list items are little bit too cozy. Which you can do is go into your numbered list. And we're going to use the indents and spacing so you can see the left end tendon before. But we're going to put a space after and then space things after here. But you can see that there's a huge jump. Why is that? Hit escape? The W key. And you can see our text is jumping over a line. This is where the line and indents and spacing to all lines could be an issue. Let's try a first-line. Lonely. Nope, that's not gonna work. So maybe we have to use none. This is where you have to make an artistic determination of word texts is lining up or not lining up. That's a real tough call. Sometimes people don't mind lists jammed together, and other times they do, but you don't want your text kinda offline with another piece of text in the page because it just doesn't look good. I'll show you what I'm talking about here. Go and turn numbered list in Denton spacing. Go to a line grid and do none. Now, when we zoom in, if I move this box right next to it, you can see that the text is completely out of alignment with the other text here and now it just plain looks bad. Your layout doesn't look professional at all. So again, I would highly recommend using a line to all lines at all times and then work out your alignment issues and spacing some other way by having your text not on the same line, just never looks good. That's how you take care of bullets and numbered lists in InDesign. 31. Placing Pictures: One of the most important aspects of placing items into InDesign is getting pictures into the layout. There are multiple ways to do this, and I'm going to share those with you. If you go to your file browser, whether it's finder on the Mac or File Explorer on the PC. You can find your pictures wherever you just navigate through the system. And then you can literally just click, drag and release into InDesign. Now, as you can see, nothing has happened but when you click once into InDesign, that picture shows up but it is not placed. Now what you do is you click hold, drag until you get to the right size and then you can release. But notice near the mouse cursor right now it says 3737%. That tells you how big the size of the picture is relative to the full size of the image. When you release the picture, the picture is now placed into the document, but it is also linked to the original file. For some reason something happens to this file. It gets moved, renamed, deleted, this link will actually break. So that's something you need to be mindful of when you're placing images in InDesign. Now, as you can see here, I've selected this image and there's a little target reticule on here. If for some reason you click and drag this, what that does is it moves the image inside of this bounding box unless you have a good reason to crop the image, don't do that because you'll lose control of your picture. Instead, go to Edit, Undo, Move item, which is Command Z on the Mac and Control Z on the PC. Then you can click and drag as long as the outline as blue around the picture. Now, to scale this image, it is a two-step process. Because if you just click and drag, all you're going to do is clip the bounding box. Again Command Z on the Mac, Control Z on a PC. If you hold shift down and you drag, it will keep the aspect ratio the same. But again, this frustrating portion of the picture being cropped, which you have to do is hold on the MAC commands, Command plus Shift, and then click and drag, or on the PC, Control and Shift. And then click and drag. And then the picture will scale correctly and not develop any cropping issues. One thing to note here is that when you click and drag from the middle at scales differently, it acts very different. So what I would recommend is always just use the corner control for Command Shift and drag or Control Shift and drag to scale your picture. To move the picture around the frame. Hit Escape. Click out of the picture, click the picture once and then you can move around. You can also release and just click and drag and the picture will move in the frame. There are also other handles and controls for anchoring objects. Scaling, you have to be careful not to use these other tools or the click to edit corners. Because then you can do all sorts of weird stuff like rounding the corners. Now rounding the corners, perhaps that's exactly the look that you want to use. But just be aware, click out of it. Just be aware that once you do this and you crop and do this to your picture look kind of looks like an old-school rounded corner. You've got to be careful with that. But you can in the control box here, you can actually affect the corner shaping of the pictures as well. You can use some corner fancy beveling, rounded inverse. You can do all sorts of neat stuff to the beveling of the picture. Just be mindful of the shape of this. But we're going to go with none for the minute. Also to rotate your picture. What you do is you click in the picture once you move the mouse just outside the corner. And this is very difficult to do with a trackpad because it trackpad tends to not be as easy to control as a mouse. Highly recommend the mouse hovered just outside the picture, so the mouse changes to this different shape. And then you can rotate the picture all the way around. You'll notice this degree symbol here that tells you the online degrees of rotation that picture is, the picture is rotating from the center. If for some reason you get your picture and you can't get it quiet bag to 0. If you go to this control, you can simply choose 0 or 30 degrees or 0 degrees. Hit Enter and do whatever you want to do. You can also rhomboid out the picture if you feel so desired. There are lots of options to adjusting your picture as well. Now, you can also mirror or flip horizontally in the picture. Or vertically doesn't exactly work well, does it? You can do that here. I'll click your backup. But you can also under The whereas a transform and you can, you can transform and scale objects here in the transform menu. Move, scale, rotate, shear, rotate 90 degrees, flip horizontal. If you for some reason can't see the controls here, instead, you can simply go to Object, Transform, Flip Horizontal, and flip your picture horizontally. There are lots of options that you can use to control your picture in this setup. If that is not available or you cannot see that because of your screen size with the control here, simply go to Object Transform. He couldn't even sheer your picture and shear at 20 degrees and do all sorts of crazy stuff, whatever you wanted to do with your pictures. But if you want to toss your pictures down, make them look a little more unique in your layout. And you can do all sorts of fun things with your pictures. You can also edit, cut, or Command X or Control X on the PC. Scroll to another page. Click in the blank space. Go to edit, paste or Control V on a PC or command V on Mac. Paste the picture here, zoom in, Command Shift, shrink the picture and I don't want this rotated. So I can go fix the rotation here, 0. That's because my picture, it's flipped. I'll fix it again. Now, I don't like the shape of this picture. This is where the bounding box adjustment works. So instead of holding Command and Shift or Control and Shift, I can just drop and shrink this box here. Shrink this box here, and now change the aspect ratio of a picture. Click and drag it and expanded a lot. And there I've gotten my little picture and perhaps I went to put the picture over here and let's add a caption to this picture, something you might want to do. So add a text box and we'll just add some text here. The Snake Snake River overlook and Jackson Hole, Wyoming. Perfect. Just to give you an idea of what we do with pictures and then the paragraph style, we can make a, let's call this caption. Caption here just to show you what you can do with pictures. No indenting, no one tinting and captions are loosely. Little smaller, 10. There we go. Now we've got this nice little caption with our picture. It looks much better as this perfect, no, but it's certainly get you going here. You'll notice that little sticky piece of graphic there, depending on what's going on in InDesign and your computer graphics cards. Sometimes InDesign ends up with these weird artifacts. Just scroll your page and come back and then it fixes it. And she can see you can place, rotate, scale, skew, mirror, flip, crop. You can literally do all of the basic editing that you'll need to do with your pictures and images in InDesign with the interface. You don't have to go into Photoshop or some other editor to do some basic editing with your pictures. 32. Linked Vs Embedding: When you place an image in InDesign, you can either link it or embedded. What does that mean? Currently, this image here when you zoom in, of course, is linked, doesn't enlarge. But if you can see this tiny little chain icon, what that means is this image is linked to the image in my computer system. So if for instance I decide, Hey, I want to rename this file, hit a there, I've renamed the file. It come back to InDesign and I get this warning, this red question mark, and that tells me that InDesign no longer knows where this picture is on my computer. Now. Right now, this image is not not embedded in the computer or in the InDesign document. You can see one error here. What happens is when you link in pictures into InDesign. By default all pictures link rather than being embedded. Why is this important? When you embed the pictures into InDesign, you make the file much bigger. But the trade-off is that the entire document in InDesign carries all the pictures. However, with a layout that has a 100 or 200 pictures, you can end up with a gigabyte InDesign file. That can cause you a lot of problems in transferring the file to other people. Normally, what I would recommend is first not renaming the file. We've got it live in the document and you'll see the link is unbroken, but leave the links and then you can do a package export for somebody if they need to edit the file. Should you want to completely embed this file into InDesign and not worry about where this file resides on your computer or on the network, is if you go to the Links panel, which is available under window, and then links and you can see it says Shift Command D on the Mac or Shift Control D on the PC. If you take this picture, you right click it. There are all sorts of options. Let's say you lose the picture but you find it somewhere else. You can go relinking it. You can copy the links. You can go to the link and the picture. You can do a lot of stuff. But right here, you can embed the link, BI embedded, embedding the link. This picture is now part of the InDesign document. The original picture is, let's see, 6.9 megabytes. So if I've got a 100 of these pictures, I can have a file by the n, that's three-quarters of a gigabyte. There's no way you're going to email that. It's just not going to happen. So you're going to need a file transfer service to send that file elsewhere for people to edit. So even though embedding is handy and you only have to worry about one file, the file can become huge, so that's something you have to be conscious of and that's also an aspect that you really have to be aware of and discuss with your team and the people working with you. What you want to do. What I've always done is just loved my pictures unlinked or sorry, an embedded and just leave them as linked. That way I don't have as many problems. Plus I can edit this picture outside of InDesign, have it update and have no problems. It can edit this picture in InDesign or Photoshop or whatever software tool you might be using to edit these pictures. As you can see here, if I've got a picture that's 6.9 megabytes, and another picture that's ten megabytes. And another picture that's seven megabytes, that's 23 megabytes. I'm almost to the point where there's no way I can get this e-mail out to somebody to send it to them. Also, another way to place pictures is to use the place Picture option in the menu here. When you go to File and then Place, and that's Command D on the Mac and Control D on the PC. If you do that, then you can surf around on your computer. You can find your picture, and then you can do some export and import options if you want. I'll show you that real quick. Changing the color, changing the document. These are advanced sort of things. You need to ask your printer about that. But you can just show the preview, the command D and pull in the picture. And voila, we've got a picture that is placed whether you want to do a linked or embedded or place picture from the system. Rather than clicking and dragging, we'll see, we'll add another picture here. Choose for good times just to show you what you can do. I'll take this picture here, the park sign, and I'll again just click and drag, click once, drag scale out, and there you go. As you can see, it's a lot of options in placing pictures and how you link versus Embed. You have to consider what you're doing, how big your files are, what your requirements are working by yourself or with your team for your picture sizes because this document can become very unwieldy under View. You also can this overload your computer. You can actually convert to Fast Display toward doesn't show any of your pictures. So if you're working on a slower computer, you can hide the pictures or you can go to screen mode under view. Sorry, I display performance and go to typical display and that doesn't use up as much memory as the high performance viewing. This is especially true if you have a 100 plus pages of a lot of pictures and graphics intensive work in InDesign, your computer can slow down when you have embedded a bunch of these pictures. And InDesign is trying to drag those all throughout the memory. You're going to have a big challenge with dealing with that. So just do some experimenting. See what the file sizes are that you need to deal with. And then you can choose linked versus embedding in your document. 33. Opacity And Effects: You can also control the opacity and add some effects in images using InDesign. Let me just drag this picture over here. You can see that it covers the text. But in the control bar here, you'll see the effects window here. Whether you want to apply effects to an object, create a drop shadow, add some additional effects, or run the opacity. You can tune and tweak the image as transparent to 0. And it's completely opaque as you want. If you want to create this nice perhaps background effect, we'll scale this up here. Move this image over, and we will make this ONE, whoops, wrong one. Undo. There we go. We'll make this almost completely transparent where there's just an idea of a mountain background. Now we've got the text and then perhaps we can put traveling the mountains. Just to give you an idea of what this opacity effect can do for your layout. Center will choose an interesting font. I wonder if I have a mountain font. Traveling the mountains. There we go. Crank up the size 36. Traveling the mountains. And zoom in here. And maybe instead of black text or making green text, make it blue text. There we go. Now we've got this transition here. You can change the opacity just a bit. You still want this to be readable. But now we've got this nice background where the text transitions out. You can do all sorts of things with your images. Let's see Also let me take this particular image. We will expand it out. You can use the quick and easy drop shadow. If you want the drop shadow look in your picture, you can certainly do that. However, please be mindful that you don't want to go crazy, dropped shadowing everything, because it becomes an overused look. You want to do this for very specific reason. So if you've got two images on top of each other and you want to show depth, their perception or something like that, then drop shadows are a good idea there. Let's shut off drop shadows here. And that way you can get some overlay look to give it the image, some three-dimensionality. But do be careful and don't go too crazy with drop shadows. Because ultimately if you look at most professional magazines, folks and then design and layout people don't actually do a lot of dropped shadowing. Let's go to Effects. Let's play with inner shadow. You can zoom in here and let me bring the effects window over here. One thing you can do is go to Window and effects. And there we go. There's the effects here. Double-click. And now we can control all of the different effects like the inner shadow, the drop shadow. I mean, you can go buzzer work some Satin sheen effect, multiply effects. You can actually feather the image and crank it up, make some feathering lines around it. You can add some gradient feathers. I mean, the amount of stuff, oops. The amount of stuff that you can do in an image is just mind-blowing. I had to make sure to select it. So if you went to feather out this image, check this out. I'll show you how you can feather transition this mountain image. Let me select the mountain image. Keep the effects window open. Double-click, go to gradient feather, and right now it's from the, from the side. But we want to gradient feather towards the bottom. See how the mountains here, but then they transition to invisible. You can change how the gradient transition looks, where it breaks apart. I'm in the amount of things that you can do to this to make it look interesting is huge and varied. Each one of these settings has its own controls. You can bevel emboss. You can make the image look more three-dimensional. I mean, it's just mind-blowing. How many different things you can do to an image to make it look really interesting. So you could get literally shut off inner shadow, go to bevel emboss, increase the bevel emboss look, don't go too much. Now we have this three-dimensional effect with our image that we didn't have to go into Photoshop for. It's really, really nice to be able to do that and do some effects like an inner glow. I may, just, as you can see here, you can go really, really crazy. To be mindful. You don't want to go too crazy and make things look awful and weird. Just be careful about what you're doing because the effects can go overboard. And you'll end up with the magazine or the article that, Oh wow, this guy loves their basic InDesign effects. Traditionally it's much easier to just drop your picture, goes straight away, scale it up. Be done just like that. So Snake River overlooking Jackson, we can lay this in here so people know what this is. You can really go pretty crazy with your layout in InDesign, with opacity and effects and effect boxes. So just be careful about not going too, too crazy about your layout. 34. Stroked Borders: Another look that you can create an InDesign are stroked borders. Let me take this picture. In fact, let's get rid of that. Let's drop a new rendition in here. That way it's not so messy. Ready? Now another fact that you can add to InDesign in pictures are stroked borders. You need to select the picture. Don't double-click into it because that edits in a different mode. But just a single click on the picture and then come to the stroke color here. I will simply choose black for convenience. And then selecting the picture, you can increase the stroke thickness. I'll zoom in here so you can see what's going on. You can go to all of these different lines styles if you want to create an effect, dots, dashes, not that you would ever do this, but just knowing that you can actually create all these interesting effects, you can make the lines very thin. You can change the color when you could really do a lot. So if you need some sort of line around your picture, you can do that as well. The fill however, nothing happens because well, the picture is already there, so leave it back to none. But just be aware that you can add all sorts of borders to your picture if you need to do so here. So stroking is an ability to create some sort of border effects. Also noticed the corners here. You can start to round them if you choose the fancy or the rounded. So you can actually make a nice little frame around your picture and create some sort of bordering effects. If you want to make it look like that. If you went to stair-step and stagger images to give some depth perception, stroking and stroke borders allow you to do a lot to your images to add visual interest. Again, like so many things you want to be careful not to go crazy because just like this beautiful black and white image of Jackson peak and Nolan peak here. Do you really need to add corners and crops and rotation to it? Probably not, but perhaps a little rounding. Maybe crank up the rounding. See how that looks, that looks kind of cool, maybe, perhaps old-fashioned. And then you decide, Whew boy, this red outlining thing is no blame, no, get rid of that. And then one of the challenges is, of course, now that I've got these overlaid pictures with no stroke around them, watch what happens to the layout. Now it's very difficult to see the differentiation here. Sometimes if you have this style layout, a little stroke border or perhaps interrupt shadow will make it easier to differentiate pictures. But you do have to be very judicious about creating the stroke borders, knowing that it can cause you problems in visual impact and just making things look weird. So do be judicious and a little bit light handed with some of the stroke border effects in InDesign. 35. Text Wrap: Wrapping text around images is one of the most important and useful things you can do in your InDesign layouts. When you've got this text and you've got this picture here, Let's say I want this text to start at the top of the page and the picture needs to be bigger. What am I going to do about this? Well, let's say we scale it up to here. We get rid of those rounded corners. Most of my text is invisible. Shoot, what am I going to do? Well, there is the tool called text wrapping. In this picture. If you choose the text wrap panel and you can find the text wrap panel under Window. Text Wrap. You can see that there are lots of options. Currently the selection is no text wrap. You can select wrap around the bounding box. You can say circle around the bounding box. You can break the text up so it chops. Or you can force the text to be below are in-between. Typically, when you're starting off, the best suggestion is to do just wrapped around the bounding box. Now as you can see, the position in this image is not the best. So let's drop that down. Whoops, I clicked the wrong thing. Easy to do as you can see, there we go. So I dropped the text around. It fits. Okay, but this looks a little weird and the text might be a little too close to here. So what I'm going to do is let me undo this. Let's move this picture down. It's moved this picture down to here. Then notice this text is way too close. What you can do when you've got the bounding box is you see these four controls. The offsets. These offsets allow you to push the text away. I will zoom in here, and you can see this edge here. As I increase this edge, it forces the text to be farther and farther away. See you can control exactly how tech, how close text comes to the bounding box or not to the bounding box. Just like this. If I drag this picture up here, I turn on text wrapping. You can see that the text is way too close to the box or the picture. And so we will just turn on this little click here and will force the text to be farther away. That way the text is close to the picture, but it is not too close. Now, for instance, let me copy this picture over to this full page layout. Pays the picture here, drop it in there. And you can see that I've already copied this style of the picture using Command C on Mac or Control C on the PC. And now this picture forces the text to wrap around, and it actually looks pretty good. We might need a caption here. So let's create a caption and have the caption force text away to what you do for text wrapping with a box. And it doesn't matter what it is, is you create this text box. Let me zoom in here. And it'll be a little challenging to start because this page is pretty full. But I can draw this text box here. And I'll just put some filtText. Great, it looks like a mess, don't worry. Now this fill text box, we're going to also wrap the text around it. That way we can push the text right up to here. We can expand the box and maybe drop it down. And we're going to talk about horses on the prairie, checks and home at sunset. Not the most insightful caption, but you get the idea of now I can use this wrapping to force the text in the main text to stay away so there's enough space for the captioning. Let me hit Escape and W and we've got the nice caption here. We'll go to paragraph styles. We choose Caption, and there we go. Now one of the challenges is that this picture hit the Escape and then w, the text wrapping is forcing. Let's see, where are we on an advertisement from InDesign, how nice the text wrap is forcing the bottom to be away. So let's put this caption a little bit closer. As you can see, sometimes you get graphic errors in InDesign. So just scroll away. This caption is a touch close, so just pull it away, but notice the caption keeps hopping. That's because I've got captioning aligned with the text or the baseline layers. What I would do in this caption of the picture is I would actually go for none here, but this will mess up my entire paragraph style. So instead, I would go to paragraph and then click the do not align the base grid. Hit Escape. And now I can put this text wherever I want so I can get it close or farther away As I need based on the picture and the look that I want while still using text wrap on the text box to control the text. In addition to the bounding box for text wrap here for the top. So there are a lot of, lot of options you can do with text wrapping. So let's see how that looks. Hit W, That's not too bad. This text is perhaps a bit close, but instead of pushing it down, what I would do is click and drag and then just drag the text down a little bit. Click here, shrink this. Okay, How's that look? Oh, gay, way better. Obviously this little word here is not that attractive, so we will fix that problem. Good. Now we've got a much better looking layout using text wrap so the text does not Jam completely against the picture. There's plenty of space. The text regards the column view. Maybe we can make it just a touch, touch bigger. Let's see what happens. There we go. Then we'll move this down. But as you can see, the shuffles that around. So how about we crop the image a touch, expand the image. There we go. Put my caption back close. Now we will hit W after hitting Escape. There you go. You have this nice inset picture with texts that's wrapping around. You have a caption here that also has text wrapping controls. That way you can control the flow of the text around an object. You can have the text literally flow over or under or behind or wherever on your object. Just be mindful that sometimes with text wrapping around the picture, you're going to have a real problem with that. Also, when you hit Escape, make sure to hit the V key, the selection key, because I'm having trouble right now for some reason. Indesign wants to go back to the a or direct selection tool. And that causes me to move my picture incorrectly. Always hit escape and then v. And then you can move your picture and control your text wrapping to make your layout look good in InDesign. 36. Layers And Grouping: One of the challenges you might encounter when you've got pictures and text and everything in your layout is what do you do about let me shut off the text wrapping here. What do you do about things but timed and in front of each other? Maybe I need this picture in front of this picture. Why is the text falling behind here? Well, here's how you solve that problem. In layers. The layers interface is super, super important. If you don't have the layers panel available, go to Window and then Layers, and then you go here. Now, InDesign has multiple layers and multiple objects can be on a single layer. This is different than Photoshop, where each layer is just a single object. Indesign is much more complex where you can have multiple layers. By creating new layers, may be taking our text item, which is highlighted blue. I could drag it up to the top here. It now becomes red so you can see what it is. It can hide my layers. I can select items. When I select an item, it's blue. Maybe I went to put that behind Snake River. There's just a myriad of options to change the stack up for how things might look. Now also, you could say, Hey, is there a shortcut key instead of me clicking and dragging around? Sure is if you right-click on the item that you want to move and then you look around and you find transform. You can't see anything here. But what we want to do is work with a range. And range is the ability to change things. But first, if you've got an object behind, you're going to have a problem with selecting the objects above and below. So what you can do is hold the control key down on the PC or the Command key on the Mac. And if you click, you can actually cycle through what item is on there. So again, this is a real important shortcut key is Command and click or Control and click. And that will cycle through all the different layers of the objects that are around there when you're looking for things to find them. Now you can look at transform. Transform again, select object up and down. That's a real, real challenge for you sometimes to be able to do that. But if we go to range, you will find and their objects. There are tools to automatically switch. Let's say I need this box in front, but I don't want to do this clicky, clicky action. If you go to Object and Arrange, you can have the Shift Command right bracket on the Mac or Shift Control bright bracket on the PC. And then you can move things in front. You can move things behind right bracket, left bracket, and move things forward. Now this only works in a single layer. If you've got an object and another layer, this control will not advance the item up into the second layer. It will only change the position in that particular layer. That's one of the confusing things about InDesign is sure I went to march this thing down or March this thing up. But notice I can't make it farther up with the command right bracket, which is under Object. And Arrange, Send backward or CIM forward. The Command or Control right bracket and left bracket or the most useful that you're going to use. But you can't make it hop a layer. What you would need to do is click and drag and see that thin gray line. Now you can put that on another layer and you can move or select up and down. You can change the layering as you need. Also, if you need to hide a layer, you do is poke the eyeball and you're good. You can hide an entire layer rather than just the objects on here. It's super, super powerful to be able to do that. Also. Excuse me, there is the ability to group items. So let's say this picture and this textbox need to be together constantly. If you click on this item and then shift, click the other item, right-click, and then go down to Group or Command G on the Mac or Control G on a PC. You click Group. Now you'll see this little dashed line around this group and watch when I hit Escape and I click out of the group, I'll move this picture away. And I began dragging this selection of items actually moves back and forth as a group. Also, you can see the collected group here, or you can expand it and you can adjust the name of this. Let's see, a snake river overlook with list. So now I can tell what this actually is. I can move this around, I can even rotate them simultaneously. Grouping is very powerful when combined with layers to adjust the layer positioning in your layouts. And now you can put things behind. You can move groups around. There's a lot of power because when you've got, let's say another item, you need to add that to the group. You can ungroup, you can regroup. You can really, really go crazy with your grouping. And then if you need to break things out of the group, you can simply right-click. Go to Ungroup. I never remember the shortcut key because I do this so on rarely, once I grouped something and generally stays together. But what that does is that allows you to keep relative positions. Now this item here is ungroup from this group, but this group is its own group. So we need to ungroup that group. It can get confusing pretty quick, but when you've got a lot of things, all you have to do is look at the Layer menu and then you can see the grouping. And then we'll select this and create a new grouping. And then you've got a group within a group within a group. Don't go too crazy because it'll be really, really difficult to see things in here. So unless you've got something seriously complex, don't go all wild on the grouping because it's really difficult to find where things are in your layout when the grouping is two stacked up in your layer system. 37. Image Bleed: Another thing that you're going to want to do when you've got a picture, is take the picture all the way to the edge of the paper. Now if you're doing an easy scene where the PDF print is only going to be distributed digitally than this doesn't matter as much. You can just put the picture to the edge and you're pretty much done. However, if you wanted to print, remember the bleed that was set up in the documents setup in order to have the picture actually to the edge of the actual paper, you need to drag the picture all the way to the bleed edge, not just the paper edge. And again, if you don't remember where that is, you can go to File documents setup, and then you can set up your bleed and this is determined by the printing company are using. So make sure you double-check with them what they need and whatever the bleeds setting is when you take your picture all the way to the edge. What will happen is when the printer prints the magazine or the brochure or whatever you're working with. This line here is the actual print where the paper is printed and right along this edge the anchor might not look as attractive. Or though the printing company will print this on a much bigger piece of paper that's out normally is done. Then a Qj cutting machine comes and slices the image right on the edge of the paper. When you've got your actual document and you've got your magazine, the image goes straight to the edge of the paper and this is what's called bleed. The reason for that is that printing machines cannot print to the edge of the paper and make it look good. There are some ancient printers that say they can do the edge printing. I've tried them, I bought them and they look terrible. So don't think that Oh yeah, that won't be a problem. That's just necessity of the printing industry is there is to get this beautiful look to go to the edge. And this doesn't matter what it is on book covers, magazine covers, flyers, brochures or whatever to get printing to go to the edge. The image always has to be beyond the edge of your document and the edge has to be cut that way you get the crisp look right to the edge of the paper and then things really look good. That's how you take care of image bleed, whether it's on top, whether it's on bottom or perhaps should doing off full, full-page spread where you gonna go totally crazy. We're going to spread this guy all the way out I'm in. You could go wild. Making this beautiful scene. Let's see, the grass is kind of boring. Let's get rid of grass. Grass is non-effective in this image. And then we'll crop it down a little bit. Now this image literally will be what's called double truck. All the way across both facing pages. The left, diversify, the right, the recto. And this image will literally print to the absolute edge of the paper. And it will look incredible when you use this technique of pulling the image all the way to the bleed. Again, make sure to contact the company you are printing with, get their bleed requirements, send a sample before you go into your 100 page layout and asked the printing company, Hey, is this okay? Does this meet your standards or do you need something else? That way you don't have a lot of hard feelings and wasted time when you do it. So you're printing company can't use it. Just be mindful of these facts. Because if you've never printed before and you've had to go to the edge of the paper. It can be totally confusing. It may make sense and maybe silly. But that is just the physics of the problem here. There's no real way of getting around that. If you're figuring out a way, you'll probably make a billion dollars or a trillion dollars. But until then, you have to get your image to the edge of the blade of the paper. And then the image will be cut. And you'll be good to go with your layout. 38. PPI And CMYK: One other factor that you need to consider when you are working with images and not text is the pixels per inch, the dots per inch, and all the printing requirements that you're printing company may have for your picture. Take this picture for instance. If you scale it up too much and you blow it up eventually it's going to look very ugly and pixelated. You don't want that for your image. So you, what you need to do is be aware of the effect of over scaling an image. The way to figure that out is go to Links. Bring up the link panel. If you can't find the link panel, simply go to Window and then links. And you'll see, hey, there are a lot of instances of this image. This doesn't tell me a lot of information, but what you want to do is hover right over the edge. It's a little tough to get there, especially if you have a trackpad and drag this way, way out. So you can see all of these different items on the top. If you can't see this icon and this icon, what you need to do is right-click. Go to panel options first item in that flyout menu. Scroll up or down until you find actual PPI, Effective PPI. These are super important numbers, as well as the ICC profile and the color space. I'll tell you about those in a minute. But once you get these columns set up, what will happen is you can see the actual PPI or pixels per inch of this image here, and it's at 300. So that should print just fine. However, that's only the file size. If you hover over this column, the effective PPI, that actually tells you how big this images on this page. Right now it's hovering at 537 pixels per inch. So you'll have plenty of space here to print and lots of data. Most printing companies require you to have at least 300 pixels per inch. Some will tolerate dropping down to 240 pixels per inch and the effective. But you really need to talk to your printing company about this. Because I'll give you an extreme example. I'll just crop this down and I'll blow this way, way up. Now you can see I only have 96 Effective PPI. If you can look as horribly, horribly pixelated, That's not going to print it all. No, respectable printing company will print that unless you sign a bunch of waivers saying, hey, this is going to look bad, they just generally won't do it because then that gives them a bad name. So being aware of this is a big, big deal. Also, all of the images that I have in this document are what are called red, green, blue format. All printing is done in what's called CMYK format. Cyan, magenta, yellow, and black. This is red, green, blue. If you send an RGB picture to your printer, they do not print in RGB. Only cheap, inexpensive printers really do that. And they look terrible. Cmyk is where it's at and that's how everyone prints. This is a thing that you need to talk to your print company and have them explain monitor calibration and CMYK, standard colors and all the other things that you're going to need when you print. Because it's a really important factor, because this RGB look on your bright screen will absolutely not look the same when the material is actually or the images actually printed on the paper. So you need to get your images into CMYK using Photoshop or some edit, other editing program That's beyond the scope of this class. But suffice it to say, contact your printing company, makes sure whatever RGB or ICC profiles they need. And whatever RGB profiles they need to CMYK, make sure that's all corrected and just ask them and they can explain the process for their specific print specific printing operation to make sure you have the correct effective PPI and the effective RGB to CMYK conversion. That way when you print your material, it comes out looking good. 39. Adding Tables: Another item that you're going to likely need in a layout for a magazine or newspaper is a table something that looks like a spreadsheet. I'm going to show you how to do that here in the menus here if you go to table and then you can see a lot of options for upsells and inserting and deleting. But let's start with a table by going to table and create table. Now, this interface, you can determine how many initial body rows and how many columns you're going to have if you have any header rows or footer rows that you might need for titling. Let's give it a single header row just for kicks. And then also notice here that there can be table styles just like paragraph styles and character styles. There are also Table Styles. So if you have multiple tables or complex information that you need to repeat, then you can use table styles to your advantage. You just simply hit Okay. And then the mouse cursor changes and all you do is click and drag to scale up your table initially to the size that you need. These are the header rows, gender one or two, or three. Header for as well as content one, tab, tab, tab. What I'm doing is to get in or to hop in-between cells. Instead of clicking, clicking, clicking and clicking, you want to use the Tab key on either the Mac or the PC. It's a lot more efficient. Then all I'm doing is pasting the information. Perfect, so we'll just stop there. Now the frustrating thing with tables is when you hit escape, your cursor is actually still trapped in the table, and it is super, super easy to make a mistake. Normally when you hit escape, your tools go back to the V key. If you hit escape and then v, then you'll build to get in and out of the table and then click out. There's one peculiarity within design. Now as far as tables and adjustment, if you double-click into the table, you can adjust the rows, the columns, the headers. You can double-click in here. Maybe create a paragraph style for headings. I don't know. Let's see. Table header style. And then we're going to make this No Style indents and spacing and we're going to go center. Great, and now I can apply that style to all of my headers. All right, Good, So you can start with there and then whatever columns and column information you might need and row information you might need. Let's say our table. I don't like Gill Sans for this. Let's use a straw. And definitely not knowing to use that. How about shoot, table style header? Gosh, where are we? We're something nicer. Minion Pro, perfect, goal, bold condensed Minion Pro. As you can see here, you can generate tables of any size and density. You can change the columns and experiment with here in order to add a table row. If you hover your mouse just inside the table and it's real touchy. This is hard to do with a trackpad. Is click here when the mouse turns to a right arrow in black. This will select the entire row, then right-click and all of a table options magically appear. Whether you want to do a different table setup, alternate rows. You can add text, fill graphics lines. Maybe we would just need to insert a row. And we're going to put, let's add two rows to the table. Now you think, oh no, nothing has happened. But look in the lower right-hand corner. You will also see an error here. I'm going to hit escape and then V. Select my table. You could see this overset table warning and expand, and there you go. Now you've got your space. Just like images and objects, tables act very similarly in InDesign in that if you squish the space, it will actually chopped parts of the table off. And you just need to be conscious of that because otherwise you will have a table error. Let me scroll up here. We will detect this error in a moment. Preflight panel text over set text and text frame. The text frame here is overset, but they don't call it table over set frame, which is unfortunate. It's just overset text frame. And once you go in here and you'll see this warning, It's a tiny little warning on the lower right. Just to expand your table. If you wish to copy the contents of multiple cells, select them all. Go to edit, copy or Command C. And then click in the first cell, edit and paste Command V or Control. Oops, Don't do that. Notice that what happened. I paste cells and pasted cells inside of cells. That's no good. Is it possible to do something different? Pasting in place? No. This is a warning. Interesting. You cannot paste cells inside of cells. You can copy the content of a cell, but watch what happens. It pastes the cell inside. If you select the contents, hit Command or Control Copy, go into a new cell and hit paste, That's fine. But if you double-click or you click, drag and pull and you select the entire cell that insert cells inside of cells. So all in all, working with tables is a bit challenging in InDesign. It can be a real experience in frustration, just trying to deal with that. Also table options, C table setup. You can add headers and footers. You can split cells horizontally. So if you want to create a new cell inside of a cell, you can do that as well. I mean, it's really mind-blowing. If for some reason you can't find all of your table options, you can always go to Help and type table here and help. And then you can go to the Delete Table, select table and Type and Tables. There's a lot, lot, lot you can do here. Also there is under Window Type and Tables. Go to table. And there's an entire interface for controlling how your table looks, the style, the cells and everything. If you want to do table styles or cell styles or tables, There's just so much you can do inside of InDesign to make these things align in the bottom, the top, maybe spread them out whether you want to rotate your text. I'm gonna just so much you can do in the variety in here that makes it possible to make very interesting tables. And whether you have borders are headers or let's just say we don't want that thick of a line for the edges. Let me hit Escape and hit V C, that doesn't work. You have to hit Escape, click out of the table, then hit V. It's very frustrating to work with. That's just the way InDesign works. It's unfortunately not a spreadsheet program. So let me hit the W key and you can see are thinner lines here that we selected or thicker lines. You can really do quite a bit. Man, See it's really hard to select this table. Come on. There we go. See quite a bit of struggling there. We're going to make this maybe a three-point line, and we're going to make dashed lines just for kicks. Just to illustrate that, hey, maybe we want to highlight this table for the readers. As you can see, lots of options with tables. These aren't as often used unless you're doing some sort of infographic and collection of information. But you definitely need to know how to use tables because so often it will come up if you have an ingredients list or maybe something you're working on a top ten something out there and you got to do a pros and cons. Who knows lots of table options here. Hopefully that's helpful to give you an idea of just what you can do with tables. If you're familiar with spreadsheets and you've used Excel or Numbers and the Mac or something like that, chances are you will be able to have no trouble using tables and InDesign. 40. Color Swatches: Instead of just black and white, you're going to eventually want to add color to your documents and your layouts. The way to manage color is with the color swatch control up here. If you simply click the fill color, you can bring up the color interface. And you can see all of the basic colors that are available to you. You can make as many colors as you want and you can rename them. Handling, let's just say in this field color instead of CMYK, what's that? Well, let's find out. Let's select the color and then double-click on the color. And this will give you the panel that's called Swatch Options. These numbers represent the cyan, magenta, yellow, and black. They don't use B for black because B is for blue. This shows you the color matching or the color mix of cyan, magenta, yellow, and black to generate this color. Now, the reason that printing uses cyan, magenta, yellow, and black is that when Nk is laid on the paper is actually a light subtractive process. And whatever light is remaining after it's a subtraction of the subtractive colors that bounces back to you. That's the color you actually see when you're looking at your monitor and your screen here, you see projected colors which are done in red, green, blue, those are much more familiar. Thinking in the cyan, magenta, yellow, black is a little bit more difficult. It's just not as familiar. But that said, if you have some questions, talk to your printer and they'll give you some better ideas of what you can do with this CMYK color set. But suffice it to say, you can name with color value or uncheck this box and say title colors. Now when we hit OK and we go up to our color control swatches here. Now we have a much more friendly name titled colors. And then you can double-click and edit and change all of these different colors. Wonderful green, whatever it might be that you need. Now let's say you need to add a color. What you have to do is if nothing is selected, and of course, when you first bring this up, that's how it works. But you need to select a color and then go and click the new swatch button. And what that will do is copy the color you just selected. Now you can double-click into it and adjust the sliders to make whatever color your heart desires or your layout requires new color. Also one cheat that's a little bit easier to understand as assigned magenta black is go to the RGB, red, green, blue, full red green, blue is white. So 255 on an 8-bit scale, let's just say we want to make a pure magenta color here. But notice there's a warning here, this is not a printable color. We have to drop this little bit out. Oh boy, that's way out there. That's one thing about CMYK colors is it's not printable and everything, the CMYK color space is much smaller than the RGB. Also, instead of memorizing these numbers, and you can use these hexadecimal codes, which are very popular on websites. Now that you've chosen your red, green, blue, you can simply go back to CMYK and let InDesign do the calculations and conversions for you. We have this nice purple color. Great, So now what do we do with this? Well, let's add a text box and I'll show you. So go to the Type tool or hit T. Expand this out and this is my title color. That's a bit small, obviously, let's crank that up to Minion Pro. And it's a title, so it needs to be nice and big. Great, still boring black, no problem, let's expand this out. Black text is great for reading, but you have the ability to use color. You're paying for color. What do we have here? My title colors, perfect. Now, you can see what your title color looks like. Perhaps let's get rid of the hidden characters. So it's not so busy. And select all of this text. And we're going to make it centered. But also we want to make this, Let's say Change Case, Title case because this is a title. And we're going to use small caps. Plus we want to stretch this bad boy out to 50 tracking. And now we've got something a lot more interesting to look at with a title color. Now, if you want to center this text and I'll show you some interesting stuff with colors. Again, we will center the text. And let's say we want to make a colored border around this title for whatever reason in our layout, you go to the stroke menu. Purple, the purple that we made before. This is great. Now it looks black, but when we zoom way, way in, you'll see that nice purple. That's really good. Wow, we need to tweak that purple color. So let's go in purple. And the editor said that we have to have 50 cyan, let's see, 60 magenta and maybe 40 yellow. So that gives us this kind of brownish, weird color. That's what the editor once, That's what we're going to give them. And this line needs to be much, much thicker. There you go. We can zoom in, we can see that brownish purple color. And you've got your title color here. The nice thing about the color swatch interface is you can rename colors and get that set. Only double-click into this. Now, I need to point out or double-click into this. I need to point out a few other things. The color type, use process instead of spot color. Unless you specifically know that spot colors can be done by your printer. Because when you do spot coloring, that is a specific ink on a specific location. And you need to talk to your printer about doing this. Most of the time, people use what are called process colors, which are the build-ups of cyan, magenta, yellow and black spot colors are, let's say some of the Pantone color options. Oh boy, it's going to build up and you're going to get all these Pantone color options. If you've ever heard of Pantone, perhaps your company or the place you're working for has a very specific Pantone color code that they use for their logo and their banners and maybe some circles or anything. The Pantone color spot control is a great way to go to create your colors. But just know that normally you want to use a process color. If there is a spot color when you export your document into a PDF and you send it over to a printer and you didn't talk about spot coloring, chances are they will reject the file because the spot coloring may not be supported by their printing system. This is something you have to verify with the printer and distributor. If you're only distributing a digital magazine, a PDF as it were, then this really doesn't matter, just make your colors and send it on. But just remember you want to future-proof yourself and be very, very careful about that. As you can see, there are a lot of potential colors, systems and operations that you need to talk to your printer with. These are advanced topics. Don't get into it if you're not familiar with it, just stay with a CMYK and use the RGB cheat to get whatever yellows and bright colors and everything that you need for your layout so you have a successful color mix in your design. 41. Boxes Circles Lines: In addition to text and outlines and pictures, you're going to often need to add shapes to your layout. Let me shrink the pages panel here in your toolbar here you can see these two rectangles. One is a rectangle frame that's designed more for placing objects. You can actually use them interchangeably with the regular tools. But I want, I would recommend is start with a rectangle, an ellipse, and Polygon tools, and there'll be a little bit easier to understand for the beginner. What we're going to do is go choose the rectangle tool here. And you'll see your mouse changes to a little targeting crosshair. So you just click drag and voila, you've created a box. You can change this box color by going to the fill colors here, whether it's red or wonderful green or tidal color blue, or this very eye popping magenta or the cyan, whatever you need here. Also, if you need to add a stroke or an outline color to this box, you can go crazy and add a magenta and cyan, which probably wouldn't be that attractive, but it sure is eye-catching. Now, this style box, you can also change the corner style to perhaps rounded or inset, which if you want to make something pretty fancy, maybe bevel and then you can increase the bevel depth on your boxes there. Or you can just go back to the plain Jane square here. Now in a rectangle. Now note that let me put this box and the other page. Just like pictures, you can also have text wrap around the box or have the box fall behind the text. So you can illustrate a point, but let's just say, I want to force the text to wrap around this box. All you do is select the box, go to the text wrap panel, which is also available in Window Text Wrap here. And then just simply click the basic outline or the option to wraparound bounding box. And now you'll be able to force text around this bounding box and scoot the text around, maybe one to text. And the box wrapped up whatever you might want to do for your particular layout here. And then if you want the text to rollover your box, this isn't gonna be terribly readable, but you get the idea. Also on layers. You can see where your rectangle is here. I've got this in the upper layer. I can hide my rectangle. I can actually drop it down to be below. Or it can raise it up so it completely can block everything or not depending on what you need to do. This is something you have to be careful about. Choosing where you want your text, where you want your boxes and everything to be overlaid. It's just something to be conscious of when you're working with boxes. If you need a circle or an ellipse, you can choose the Ellipse tool. Let me zoom out here. We'll go to another page. You can click and draw ellipses. Now, if you want a perfect circle, all you hold is Shift and then move the mouse diagonally, not horizontally or vertically, but move a diagonal. And then you can get the perfect circle for the needs of your drawings and graphics. Again, you could choose your reds or maybe something. Let's make a color that's a little bit more subtle. Maybe. There we go. Maybe something with a, but more tint, maybe some sort of floral pastel circle, whatever you need to do. So you can add these circles. You can also add polygons. I mean, there's a lot of options for creating boxes and circles in your layout. Also, you may want to add simple lines to your graphics as well. If you go over to the line tool, which is the backslash key on your keyboard. And you select line. And then you simply click and drag. And I'm just going to make the line diagonal for the moment. And we don't see much of a line. That's because I had my strange yellow color selected here. Let's choose the blue. Oh, but it's totally invisible. What do we do? Zero-point, it's too thin, so let's make a nice fat thick line. There you go. Now hit Escape. And the V t, V key, which is the move key. Now we can realign our line, draw it across. We can do just about anything if you want to do non-integer symbol with a blue and kind of holiday sort of color there. You can do that. You can really build up your lines. Again. Maybe we want to select our lines and we need some dashed lines to go across the space. Just like any other item, you can rotate these lines. You can scale them up or you can 0 out the rotation. Maybe you need to straighten out this line and draw it there. So there are lots and lots of options. If, for instance, you need to draw a line that is perfectly horizontal to start with, choose the Line tool, click and drag, and you'll see this going wiggly. If you hold the Shift key down, then you get 45 degree rotations with your lines. And we will again choose the cyan color. We will increase the thickness. And there you go. That way. Instead of creating a bounding box line, you create just a simple straight up line that you can now rotate if I can hover just outside of it. And it acts differently. So if you draw your line initially horizontally perfectly, it won't generate a bounding box type line, which is interesting to deal with. But you just get a plain line that can be extended and adjusted in this manner and then very carefully rotated. That is another option of how to create lines. So the difference between the lines is that the controls are a little bit different, but the final result is you get a line across your layout. So whatever you need with lines bounding boxes, circles, ellipses, and everything else. For your basic layouts, they are all available in InDesign. 42. Text Inside Shapes: Chances are in your layout, you may need to also add text inside of a shape, rather than actually typing out text drawing a box. Let's say you draw a circle and then you put some text over it and you try and line it up. Instead of doing that, which is twice the amount of work, you can actually just add text directly, intuition shape, permanently into Demonstrate. Let me choose a color. Let's say, let's go with this cyan. In fact, let's create a new cyan that's not so intense. There we go. Something a little bit more subtle. Now I'm going to choose the box which is the M key. I'm just simply going to draw a box. That's all great. But instead of putting a text box over this box, instead what we're going to do is go to the Text tool or the type tool with the T key. And you'll see the cursor out here. It looks like a regular text box. But as soon as I hover over the text or the box, that cursor changes from a square to a circle shape. Now I can click in here and type my amazing text inside this space. Chances are I'm going to need to specially tuned this text so it works better in this box. What I would recommend is going and creating a style called text inside of box. Nothing terribly original, just gives you a queue. Don't base it on any paragraph style. And then go over to indents and spacing. And we're going to give a little bit of a left and a little bit of writing. And I'll show you why that is in a moment. Head. Oh, actually, no, I don't want that font. I need something more Minion Pro. Perfect, and I don't want it bold. I wanted regular. Good. Okay, I will zoom in so you can see what's going on here. Now we will add our placeholder text using type, fill with placeholder. And there we go. As you can see, I've got this text instead of a box. The box needs to be a little bit bigger because the text is too close to the edge. That's actually pretty good. But if you notice the text is a bit close to the margins. Simply click in the text box here and go edit your design in your paragraph style. And let's fix the left indent, the right indent. Let's see what that looks like. Hey, we're getting somewhere. Now hit Okay. And we've got a much better box of text. Now, when we reshape this box, the type goes right along for the ride. Now, do be aware if you squish the box too much, you'll get an over set text error. You can see the error here. But as you expand this box, you can experiment with your text and it will much easier than creating. Let me show you the difference here. We're going to create a box. Just draw the box. And now we're going to go to the Text tool or the Type Tool. And we're going to type something in here. And we're going to change it to texts instead of a box style. And now the temptation is to ride this text over the box and alignment and mess around with it. And all. I need to move the text and I need to move the box that generates a lot of work for you. If you use the Type Tool and you add the text inside of the box, it will save yourself a lot of heartache, effort, and lots of time clicking, doing nothing. Plus, if you miss a line, the box slightly, it just doesn't look as good. And you had to choose the box by holding Command or Control down to select the box. As you can see, a lot of work that's very undesirable and completely avoidable if you simply use the type tool. And then just inside the box, you can type inside of your box and make your life a lot better when you need to add text to a box and perhaps let's hit escape, hit V, select our box. Maybe we don't want a color inside at all, but we do want a border around our text. Let's go a cyan here and crank it up a bit. There you go. Now this is different because this is a box and text in a box, then creating texts and then creating a stroke around the textboxes acts a little bit differently, but the result ultimately is the same. So you could actually do a type box, click out. And we will do text instead of a box style and then go to type. Fill with placeholder text here. Place this text, hit escape, and then go to our box and generate the color that we need for the background. So that is another way to generate texts instead of a box is create the textbox and roll it around. But if you want a circle, Let's say we want a circle or an ellipse with texts inside of that. How is that going to go? Because there is no circular type tool box. This is the way you can get text into a circle. You can see the mouse out here is square and it converts to a circle here. And now type, insert placeholder text. And there you go. And we'll do texts inside of a box style. Yeah, perfect. Now the text is over set. We need to Command Shift and expand the circle a bit. Oh, it's not working. We're going to need to edit our texts just a bit. Just so this all fits inside of here. We're going to select our text, Right-click Clear overrides, and there we go. That totally works. Now as we change the circle, text literally goes for the ride. If you need to create some sort of oval shaped or your text fits in it. Whenever you might mean, this is a very useful tool. Now, are you going to do this often, perhaps not. But watch this. Let's just say you want oval text, but you don't want to color behind it. Click the Color panel here, click None. Now, click away from the box, hit Escape, hit the W key, and you literally have created shaped text inside of an oval. There's no lack of shapes are options that you can do and create cutouts of text. That's really up to your creative mind of what you want to do when you're creating text inside of shapes. 43. Gradients And Effects: Just as in other items in bounding and circular and rectangular boxes, you can actually create all sorts of effects. I just drew a box here using the box tool with a rectangle or M key. Now that I've got my box here, I can select my box. And then up top, I can go to drop shadows. I can change the transparency or opacity of the box. Or I can go really crazy and start doing some gradient feathering inside of my box and change the way things look. Now there's directional feathering. There's all sorts of things that you can do to change the look of your box, change the way it transitions from light to dark. I mean, literally anything that you can imagine you can do here now, one of the things that you can switch back and forth is how quick the transition line is here. But also the type of linear or radial circular shape you want to give it where you can do a drop shadow. Let's shut off the drop shadow. And now without the drop shadow on there, you can see the linear, you can actually get this nice gradient transition. This is one of the challenges of drop shadow, is that shadow will appear behind the box and make an undesirable look. If you wanted to create this nice gradient feather here, hit Okay, and now let me hit the W key. We can create this nice gradient feather. Go to the Type tool, click inside this box, and then we're going to add some fill placeholder text. That is a problem. So texts inside of a box, the gradient feather affects the text box. This is unfortunately one of the times where the text is actually going to have to sit outside, inside of the box. We're gonna delete the box here. Now that we've got this nice box shape, we're going to put the text over the box. And we're going to do that. Now let's expand the text and then Control or Command click to select the box behind it to get our gradient to work here. And now hit Escape the W key. And now you can see this nice gradient transition for the text. Maybe we need to center that text in that box whenever they effects you might want for your boxes. Let's move the box over here and gosh, enter directional basic feathers, satin, bevel, bevel emboss. You can actually give some 3D looks to your boxes. You have to be careful about this because that bevel emboss you can crank up the size and the depth. You can change it. And instead of shadowing, you can go normal and change it to magenta. You can really, really go crazy, as you can see here. Now, does this make sense in the design and layout look? Maybe, maybe not, but I just wanted to give you the idea of you can do a lot of different gradients and effects in your boxes with these tools in the effects here. Or if you want to go to the Effects interface panel, you can go to effects right here. This will bring up the effects panel. And then to edit it, just simply double-click. And then you can bring up the complete Effects interface where you can change the shading, the directionality, get all sorts of looks without ever having to go in Photoshop. Which means that this design goes along for the ride, which is really, really nice and saves you a lot of trouble. Whether you're doing InDesign or layout or graphics or anything. Indesign is vastly superior for long-form text compared to Photoshop. There's Photoshop is not a good choice when you do need multi-page text or you need to make sure that the PDF has embedded text to make it look correct and still have graphics InDesign just blows away Photoshop on that. So that's how you create different effects with the boxes and shapes and circles. Let me show you just one more just to give you an idea of what you can do here. We're going to create this ellipse. And now we've got it selected, double-click it, and it'll create a radial feathering. So you can either have radial or you can actually let me move the box over here. You can switch it so you've got this nice shading feathering. Maybe change the transition here, maybe make it lighter. And that way you get this beautiful gradient feathering effect in your circle. That looks wow. How did they do that? With just a few clicks from this lesson, you've got it. 44. Ink Density: One of the challenges when doing ink and color density is in magazines and newspapers and print items. You don't want to have too high of an ink density. What does that mean? When you are printing? Let me choose my circle here. When you are printing a color and you have this ink that gets laid down in cyan, magenta, yellow, and black. Let me undo that. I'll draw you another rectangle just to give you the point here. When we're doing this and we add title color, There's cyan, magenta, yellow, and black ink that are laid down on the paper. However, if you put too much ink on here, you might have experienced this with your ink jet printer at home that the ink gets so heavy on the paper it starts to ripple. Now, a production printing company or a professional manufacturing printing company, they won't let the ink density gets too high and ruined the paper. They will either warn you or they will simply fix it for you. But this is something you definitely need to check. What I'm going to do is I'm going to create a color that will basically break the rules, Rule Breaker. And we're going to increase the ink density really, really high. And I'll show you what I mean in just a moment. We'll drop the black. I'll add some color here. Okay. Now you see this, it looks black on your screen. However, with a Separation Preview panel that can be found in window output. And then Separation Preview. We can then bring up what's called the separation preview here, and then turn on ink limit. Now you need to know what the ink limit for your printing company is. The one I use, they usually say 240% ink density is the maximum. And you can see that the ink density in here and here is light gray, meaning no violation, but this is ultra red. Let's go look at the pictures. Ooh, I've got my pictures. They're a little bit denser than should be printed with my printer. Same thing with this picture. Now. The printer might just take care of that for me. But fixing this is a big deal because if you don't do this and the printer assumes that you're super smart, they're not going to ever let it print to ripple the paper, but they will shift the color and that's something you want to know. Often the setting is 280 or 300 and ink density. And you can see that this is light red. And what this means is if you have 100% of cyan, 100% of magenta, 100% of yellow, and 100% of black. That adds up to 400% ink. I know that doesn't sound like a logical thing, but every color has its own percentage and the total doesn't need to add up. Typically, most printers don't allow anything higher than 300. So let me show you on here. I will show you on this box we're going to create a gradient effect. Feather the gradient out. And there we go. We've got this gradient, a linear transition. Now we can see, Let's see, There you go. Good. So this all of a sudden, it doesn't have as big of an ink density issue, but right here it does. If I go down to 240, yeah. Now you can see that this part of the ink is fine, but this part of the ink of simply too dense. Now you might say, Hey, I've got all this gray blobs and I don't know what to do. If you look up on the tab in your layout, you'll see this little bracket here saying in climate, this is really, really important to watch for, is going to shut this off. Now the ANC limit looks just fine. That looks fine to you. But to a printing company, this is a big deal in the ANC limit. Now also, if you're creating a PDF just for digital distribution, this doesn't matter at all. However, what invariably will happen is you'll get the PDF, you'll say that's great and you distribute it and then you say you're done. But sometimes later or sometime later, you might say, Oh my gosh, we should print this. This is so good. And then you've got all these beautiful colors in here. You send it to the printer and then your printer tells you, we cannot parenthesis, the color is going to shift. And then you're going to have to go back and do a lot of work. This separation preview is a big deal if you can think that you'll ever, ever go into printing. Let's get to there we go. Some sort of color there. And in climate. So this color is actually okay, no problem there. So I just shifted the color quite a bit to that more magenta or Burgundy or whatever color that might be. But it's something to be very conscious of. That's a separation preview is correct. You can actually see, and if you really go crazy and your professional, you can see the different cyan colors or the magenta colors are the yellow colors or the black colors in your layout. That's for more advanced layout people. But the thing you really need to care about is just the ANC limit. Just take a quick look through your magazine or your layout and just make sure that there aren't too many problems. And you might want to contact a printing company you're using and say, Hey, I've got a little bit of ink over limit. Is that gonna be a big deal? Talk to him about it, email, a screen capture or whatever you need. And they'll let you know if that's an issue. That way when you get your magazine and your print back, it looks exactly like you want it. Rather than some sort of color shift. Also, your colors on the screen. We'll never, ever look like they will imprint. That's where soft proofing, color calibration and turning your monitor brightness down can come into play when you're doing this sort of thing that is beyond the scope of this class, but it's suffice, that is, say, if you're spending a lot of time doing professional magazine layout and you know, hey, I need to make this look exactly like it's supposed to. You're going to need a monitor calibrator and you're going to need to spend a lot of effort and time making sure things print up exactly as you want them. And the starting and the separation preview with the ink limit manager is your first step in that journey. 45. Pull Quotes: One of the structures you're going to need in your document and your article in your magazine are what are called pull quotes. Pull quotes are quotes taken from the main block of the text and offset and placed somewhere in the page. That way you can grab your reader's attention and draw your eye to it immediately. Let's say in this entire article on this page that this little quote here is the most important thing you want. So what we're going to do Is simply select this text and then go to edit copy. And then we're going to hit Escape. Then we're going to go paste, edit paste. Let's go edit paste command V on Mac, Control V on a PC. Click paste. Okay, so we've got this down, not that exciting yet. Hit Escape and WC can see your entire structure here. Now what we're going to do is take this object, which is a text box, go to our layers. Make sure this layer is on top. Then take this box, activate text wrap. Make sure to activate the wrapping and we'll experiment with a sizing in a moment. Then we need to add a paragraph style. Go into paragraph styles, and click a new paragraph style. If you don't have Paragraph Styles up, you can go to type. And then paragraph styles here. Perfect. This is paragraph style to double-click, to edit it. Pull quote one, perfect Double-click. And now we're going to change the style, the size, and everything about it, just to make it more interesting, let's go with no, that's not readable. Gill Sans, perfect. And we're going to crank that font size way up. We're going to let the letting automatically go spaced. But we're going to change the indents and spacing line nothing to the grid because this can float as it needs. And then I think that's good for the moment, but we're going to get rid of the first-line indent. We don't really want that. We're going to crank up the font size a little bit more. It'll oversight, but don't worry about that for the moment. Alright, hit Escape. Drag this text in here. We're not going to overwrite the first paragraph because that's important. And then this is the quote here and the quote here. And so far so good. But what else do we need to do to this? We need to give this a little bit more breathing space. Go back to detect strap and increase the space above the text. And we'll just put some space below the text just in case. So far so good. We'll zoom in here. Now we want to change the quote, Look here to something. Perhaps a little bit more interesting. Where we're going to do is use character styles for this. And we're going to call this quote marks. And we want to crank up the size, say a lot, 48. And we're going to change the position to know, let's not do that because that'll act a little weird. But we're going to change the color here, change it to color there. And I think that's about it. That's not bad. So we'll select this. We'll do quote marks there, but oh, hey, it kind of blew my layout away. What happened here? That's not good. Let's just select this shift the baseline a bit. Select this shift the baseline a bit. And that works. But man, that makes a real mess on my layout. What's going on there? Well, that's a problem with this. Change in the font size is at 27 versus the 48. In that Gill Sans. It just kinda blows it away. What we're going to do is get rid of that quote mark size and we're going to drop it back down to our 24. But shoot, I dropped it down below. So let's go back to the 27 size. And this takes some experimenting. You'd be surprised just how much effort goes into the layout as you're starting to see. Now this position is minus nine. Crank that back up here. And the minus nine here inside the box. Crank this back up to here. And now we can increase the size just a little bit. And we don't want to strike out. Accidentally got to strike out on their all sorts of fun things happen when you're doing the layout. And there you go, That's not too bad. Now, if for some reason you need to have, hey, I want this quote really big, and it's messing up my layout. What you can do is just copy over this box. So Command or Control C, Command or Control V, bring this box over. And then we will simply delete that, delete this, but put a space there. It's kind of a cheat, but it works. Okay. Now we're going to make this text white paper cool, Good. So you can't actually see it, but we don't want this text to mess up our layout. Go to Text Wrap, clear that and let's see what happens. That's a problem. The text disappeared. Why did it disappear? Because you've got this box here forcing the Text Wrap not to work. So that can be a real challenge when you're trying to drop things on there, you almost have to make things that are basically immune to the Text Wrap effect. What we're simply going to do is delete this, enlarge this text quite a bit. And then take our text wrap on the left-hand side and make it negative. This will allow us to bring in our quote as close as we can get it. Then increase our quotes. There we go. Then same thing with the little quote box on bottom. You do whatever you have two groups. You do whatever you have to do to make sure this all works. Let me make sure that Type Show Hidden Characters. Okay, good. We're going to shrink this box. It works here. Then we're going to copy this box. We're going to use a closed quote course space. They're close quotes. That is a problem too, because now we have a problem where the quote doesn't totally closed. So that this can be a real, real challenge. To get everything kind of work in here. We'll pull this back on the page and shoot that quote like totally disappears. What's going on with that? That's because our spacing here isn't allowing this to work. Hey darn what's going on? Oh, that's right. I need to change the layer, shift up my layer. Maybe you have to put a fully separate layer and it's still blocks us out what's going on here. Drop this down, and eventually we'll get our quote in that space. So as you can see, this is a real challenge to make sure that everything works fine. To get the quote in the space so you can see where it's supposed to be. So now we're going to go type, hide hidden characters, it escape it w, and it's pretty close. Let's just put it a little more. I know this as close as we're going to be able to get. Let's go to text wrap. Drop the blocking space. That messes that up. Man, as you can see, it's a real challenge to get these things where you want them to be so that they don't get blocked out by the text wrap. Which creates this wrapping effect, but still allows us to get other objects around our text. Pretty challenging. So this is one of the challenges of InDesign, is once you start doing these more complex structures, you will stand Sibley have to work and figure out problems and problem-solve. So doing pull quotes with multiple structures and perhaps an outline box can be a real challenge. And that's something for you that you're going to need to experiment with. The look and what InDesign allows you to do and doesn't allow you to do. What's another way to get around this challenge of, Hey, I need to add pull quotes, but I keep pushing them over and they disappearing. This is so frustrating, is InDesign actually gives you a tool to solve this problem. Let's say I want to crank the character style of my quote marks and make it really, really big. Like huge, super huge. There we go. No strike through. Good. Now hit escape and if I put it too close, it disappears. And that's frustrating. Well, what we do is this box, you can actually say ignore the text wrap options by going to Object. Then Text Frame Options, then Ignore Text Wrap. And now that particular item can go right exactly where you want it. Just like this guy keeps jumping off. You go is object Command B on the Mac, Control B on the PC. And then Ignore Text Wrap and we can put it exactly where you want to put it. So chances are the problem has already been solved in InDesign. You just need to apply quote marks. There we go. Nice and fat. Now. Yeah, that looks much better. So as you can see, as you're initially trying to do things around this text wrap issue, it's a fight, but as soon as you come here, you go to that object. You go to Text Frame Options and ignore the text wrap. And you can literally cheat the rule that you created by creating something like this. And now you have a much more interesting pull quote. Of course, this could be in real English or German or whatever you're doing. But let me tell you, it looks much more interesting than just with a wall of text. Pull quotes, add a lot of visual interest. Guide the reader saying, oh, this is the brilliant moment. Why should I spend the time reading all this threat of texts? Pull quotes are the way to do it. 46. Table Of Contents: Chances are in your layout, you're also going to need a table of contents. Now, structuring a table of contents is a totally artistic decision, but it's pretty rare to have a catalog, magazine, or wherever that does not have some sort of table of contents. Now, Table of Contents is usually based on the header or title of your articles throughout your magazine. So let's work on that a little bit. Let's see what we've got here. Traveling the mountains. Paragraph Style, body paragraph, bold, that's not a good choice. So how about we make a style. Let's call this article title for lack of a better term, article title, that's pretty good. Okay, now we can use the article title style. Let me hit Escape. And w, we're going to have Article one, article title. Great. This is something that you will have to work on and maybe create a couple of different style titles. I'm just doing this to demonstrate quickly what you can do Command C on the Mac, control C on the PC, traveling the mountains. This article is a bit long. Where am I going to put the title? Well, it just so happens. I know the writer and I'm going to delete the text that rolls over here. And I'm going to have to squish this down because as well, I failed to remember I need a title for every article. Nothing wrong there. It's easily fixed article Article three. And this is kind of a messy article over here, but we'll make it article number four. Now I've got these article titled spread throughout my document. Maybe this is Article 40, article five, right? So we're just going to keep working on this until we get everything we want. Let's select this command copy or Control Copy and Paste here. Create Article five. Now we've got some article titles that we can work with. Let's scroll to the top of the page or the magazine here. And I need to add a couple of intro pages that well, we missed putting in here before, but that's okay because as you're learning, you'll go through and realize, Dang, I forgot a few things. That's easy to fix. If you double-click in the pages panel here, right-click and then do Insert Pages. Don't use after or before a page at the beginning of the document. You need to add at the start of document when you need to add pages to the beginning, make sure to add two pages here for the inset to make sure this position doesn't change. Hit, okay, and now we've got, let me zoom out. We pushed our magazine to start articles here so we can have a table of contents and maybe some sort of nice opener page, whatever it might be. Now we're going to create a table of contents. However, we need some Table of Contents styles as well. So this is, you're gonna go little style crazy, but that's perfectly normal. We're gonna do is create. To see content title. Work on that in a minute. And I just wanted to show you how to create those. And we'll do another plus and double-click to edit TOC entry will go to no paragraph styles. This will all make sense in a moment. Now we've got an article title, table of contents entry. Table of contents title, perfect. Now, on the table of contents, usually you don't have some running heads. So we better go in and get everything all set up. New master. And it's gonna be a master. We're gonna call these blanks here and hit OK K. There we go. Now go back into our master pages. Shift-click, select, Right-click, Apply master. And I want some blanks. I don't want any page furniture on here. Good. Now we're cleared to add our table of contents. What we do is go to Layout Table of Contents. And we're going to generate our contents. We'll call this contents. Why not Table of Contents? We're going to choose the style TOC Content title. And then the only thing we're going to have in our particular real short magazine here is, where are they? Table article. There we go. Article title. Add this to the list of included paragraph styles. But the entry, it needs to be TOC entry. Then we're going to have the number after entry. In designs default is always this tab. I never like that. Instead, choose the right indent tab and that will put the page numbers to the far right. You don't probably want to store an interest in alphabetical order. They'll make a mess. I only want the TOC entry style to be there. And I think that's about it. Let's see what happens. Hit Okay. Do you want to and we've got overset text problems. Yes, we'll go fix that. Click and drag. And voila, we've got some real small stuff, but we'd better go fix this error preflight panel. And whereas our overset text in our article. Remember we did this, we need to expand here. Now I don't have problems. Good. Now in the table of contents, you can see this is not that exciting. We need to work on that. Now that we've created styles for the paragraph styles here, instead of regenerating, we can just edit the paragraph styles and mess around with it right here. Basic formats, we're going to crank this up to use the Calibri font, and I don't want to use that. Let's use something a little more classic. Helvetica. Crank this up. Table of Contents, indents and spacing, no alignment. We don't need that for here. Then the entries, when I click into here TOC entry, we're going to do, we're going to use Minion Pro. You can actually type this in. I don't need to do bold. This will be just fine. We're going to let spacing automatically space out, but go to indents and spacing and go to none. That way things don't jam up. But we want to do some little spacing before and spacing after. You can see the differences. First article collides, that's not too bad. Hit. Okay, and now we've got some basic table of contents. Maybe we need to cram this down just a bit and you can center it or do whatever you want on the page. But that's basically how you do table of contents. You can actually do sub items. So if you have an article and maybe it's a real long article and you have a sub item in here, Let's say article number three. Whereas article number three, that's a pretty long article. So what we can do is add a subsection here, just to give you an idea of how crazy complex you can make your layouts. Let's delete the text and we're gonna call this heading article four. Alright, we're going to need to create a sub title here. So Article, article subtitle, great, No Paragraph Styles. And we're gonna make it pretty intense and spacing. Reduce the first-line indent, and crank up the font size. And of course, we need to add some color just to make it more interesting. Now, we've got subheading article, that's good. Now we've got the subheading article phone all those three of those four. Let me change that to three. Now we're going to scroll up to our table of contents, expand this out. And Article Three, nothing's happening. What's going on? That's because we have to update the table of contents. What are we going to do is go to the Layout. We're going to edit our table of contents and we need to add the article subtitle. On the first level. We're going to say for now, we'll just call this a TOC entry. Again, I don't want to tab, but instead, I want the right indent tab. And everything looks okay so far. So let's hit Okay, See what happens. Not too bad, but chances are this subheading needs to go to the right. So instead of TOC entry, I'm going to make TOC sub entry. We're gonna leave it just based on this style. The onetime we're gonna do this so we're consistent, then indents and spacing first-line and that looks about right. That's pretty good. Space before. Nope, don't want to mess with that. Let's make it space before, just so it's more obvious here. Good. Now, we've got this TOC sub entry. We need to go correct. Our layouts go to Table of Contents under Layout and our subtitle instead of TOC entry, we want to go TOC sub entry. That works pretty well. Hit Okay? And everything is changed. So as you can see here, we've made a table of contents with a title was some article titles. We've got our traveling in the mountain article. We've got a subheadings. So if you have a really long article that helps people navigate and find where they're going. In your magazine. There are more complex things like adding dots and adding subsections. You can also add subsections in your magazine. You click on your page here, right-click and you can do numbering and section options. You can actually create subsections in your article or your book or your magazine. Just be aware of once you do this, it can get a little bit complex. So just know that if you want to create subsection to restart your numbering, be careful but goes once you restart your numbering, it can make your PDF act weird and you can get lost. So it's something to be careful and mindful about, about making subsections. That's usually meant for books. Although some magazines, like professional trade journals or scientific journals will do that. But just make sure you're not setting yourself up for extra heartache when you set up your table of contents. 47. Spell Check: One thing in InDesign you definitely want to do when you're just about ready to output your file to PDF is just do a quick spellcheck. Even though everybody claims they did all their spell checking and Google Docs or Word or Microsoft Word or whatever they send to you. As long as your schedule allows it, definitely do a quick spellcheck just to make sure everything's okay because it's so easy as you're going through and maybe you accidentally hit a key and inserted some random character into the, into the text. It's very common to have happen. In order to do spellcheck. You go to edit and then spelling and checks spelling command I. Command I is very handy. Now when you go into Command I or spellcheck, you can start searching. You can search forward, backward. You can use your own dictionary. You can search all the documents you have opened in InDesign, only your current document. There's a lot of stuff that you can do with this spellcheck. And what you're gonna do is you'll notice this harbor. This is a text that's from a British author. And I can just choose to skip that. We're going to skip that too. What are Hindus? I have no idea, but that's spelled correctly from that book. So you can just simply go through and skip or change as you need to. Or if you discover that there are a lot of instances of a text where you're tired of skipping. You can ignore all instances, or you can change and change all and skip. The spellcheck is a very important tool as a last second check against the inevitable typos that simply happened because the last thing you want to do is create a 100 plus page magazine or brochure or a book. And it looks all built beautiful. But it's loaded with typos that were easy to capture at the last second and make sure that everything looks good that way your authors look good. Your product looks good, and you look good. Your editor will definitely appreciate it. Do note though, if you have a lot of technical terminology, chances are InDesign spellcheck will catch a lot of stuff that you need to choose to ignore. So do work with whoever your publisher and printer and manager is to ensure that you're not making some sort of mistake and messing stuff up. It might be good to have whoever is running the show sitting over your shoulder when you first start out, just to make sure you're not messing up, your spelling went into is actually correct for what you're doing. 48. Preflight Check And Packaging: When you're getting your document ready to generate PDF, you want to make sure to do a preflight check. What does a preflight check do? That ensures that everything is just fine before you get ready to launch. How do you find preflight? Check where is it in the menu system? If you go to Help and type pre output, preflight check, it's one of those buried things. But you really want to do that. You can't find it again. Just go to help pre and then output preflight checks. So you go to Window output pre-flight and this buried in there, but that's something you want to do. Looking in this preflight check, you can see no errors and that's not very instructive. So what I'm gonna do is I'm just going to create some errors. And now we've got an overset text that's got an issue. Maybe we've got a picture that could be sitting halfway off the frame. All sorts of issues that you can take care of. Doing. The preflight check is very helpful. Also, once you are done with your document, you want to make sure to do the package. So when you are sending this entire document plus the pictures and everything to somebody, you want to do a package checks, so you go to File and then package. And this is where things get really, really interesting once you take care of your preflight issues. So let me cancel this. I will fix my text frame so I have no errors. Then we will go back to File, then package. And under packaging we can go find all the issues that were potentially going to fight with. You can see all the different types of fonts. None of them are protected if they are protected and they have an oak or not, so okay, problem. You're going to want to deal with that now. You can also tell it just show the problems only. My document conveniently doesn't have any problems. But the links and images do have issues. Because all of these are RGB. If I'm going to go to physical print, six pictures using RGB color space can be a real issue for printing. So definitely we want you want to double-check on that. Also, you can look at the effective PPI pixels per inch here. If you're a magazine or brochure or whatever you have, has a lot of images. This is going to be a lot of work, however, doing the package check and the preflight check will help you out a lot. You can check out the color ink process, any print settings that you might have. So you can verify this against the specifications of your printing company. If you're using an external plugins, which I'm not. But the two things that will always get you, our fonts and pictures linked. And also just double-checking the summary that unless you are specifically allowed to use spot inks, make sure you don't accidentally have or have not accidentally introduced spot ink colors to your setup. Otherwise, your printer is likely going to automatically reject that. And you're going to spend a lot of time going back and forth. The few minutes that it takes to go through here is very helpful. Also, you can look through your fonts and just make sure you don't have some very surprising font like this Mongolian, but T regular. What heck is that? I better go bring the fine place font and make sure we're in the world. That is because I didn't think let me hit Done and cancel here. Oh, yeah, that's right. My editor called and said Dale, really want to use this font for whatever reason. Now I've got to do something maybe a little bit different. And so this is another good check as you go through that system, is that kicks you back into the Find Replace font and just scroll through to make sure you don't have any little surprise fonts hanging out as you've done your layout. That way it keeps your layout looking good and you don't go too crazy and make a mess. Because when you have dozens and dozens of different fonts in your brochure or magazine, or newspaper or whatever you're creating, it will actually start to look messy. So you only want to go with a couple of fonts and then just do variations of bold and italics and black and whatever else. But just be careful about that. So make sure that you do your final package check. You've got your package here and click package once you're all done. And the point of creating the package is to send the entire document with the pictures and everything in it to somebody else to work on. This isn't the general PDF generation step, even though it does make one. But this creates a package. So that way if you lose the files or something goes missing, you've got an entire set of all of your images and everything ready to go. And they always warn you about making sure you have a license and being careful that you're not violating some sort of copyright. This process, if your magazine and everything is quite large and you have hundreds and hundreds of issues. This package document can take quite a while depending on how fast your computer is. Now on my desktop here, we'll pull this up and I can see the layout sample folder. I've got all of the fonts that I need, all of the linked pictures. I've got my sample PDF and I've got my IN D, D, which is my InDesign file, and an IDML, which are IDML, which is a more universal format for people with older versions of InDesign. Going and packaging your document will allow you to make sure you've got everything you need in one place. So if something goes wrong, you say, oh no, six months later, I need this and it's lost on some computer. By packaging this up, this saves you a lot of heartache later. Notice that this thing is 46 megabytes, no big deal now, but you can't email that. You need to be conscious of those issues as well when you're packaging your article to send it out. 49. Exporting PDF: After all this hard work, you finally need to generate a PDF or Adobe PDF file. So you can send this out either to print or for digital distribution. I'm going to show you how to do that now. What you do is you go to File and then Export, and that is Command E on the Mac or Control E on the PC. Go to export and then find the location on your computer where you want to save this. Now you can generate print and interactive and HTML or reef flowable. There's a lot of stuff you can do here, but we're going to focus on the Adobe PDF for print. That will be the most common thing you will likely do. Hit Save. And now you're presented with this interface. The standard that you're going to print two is determined by your printing company. Double-check with them to make sure whatever standard you're using. Views the pdf x dash 182001, that's oldest but most compatible standard. I, my printer uses the x dash 32 thousand to never have any problems with that guy or the X3 2003, but definitely verify with your printing company before you go off and doing it. Make sure to do all of your pages unless you need to do something else. And generally makes sure to export as pages, not spreads, because you want individual pages in your layout. You can create separated files you can view. Usually I prefer to view my PDF after exporting. What this does is that tells my computer, hey, open this thing. For this particular file, I always use the optimized for fast web view. That way if I'm doing online, it doesn't seem to impact my printing at all. Visible included layers. I don't do any non-printing objects here. Make sure the Adobe compatibility that's ancient for Adobe, but it works. The compression, this is the kicker. You need to make sure to get the specifications from your printing company to make sure that images or eight, or a 100 or a 1000 PPI pixels per inch aren't too big. So what I do is I down-sample to 310310 pixels per inch. That way I'm above my printers standard of 300 because they're so often the math works out to get to 99 and I get an error. So what this does is it takes images that are really huge, compresses them down using auto JPEG algorithm. Again, double-check with your printer to see what the requirement is. And I always like to leave the quality at maximum because I don't go into all this effort just to have an ugly JPEGs squished down the monochrome images and aligns, double-check the standard here and the compression as well. Marks and bleeds. Now, you can add all the printer marks, the crop marks, the bleed, the registration. You need to find this out from the printing company. And because I've got maybe bleed edge, always make sure to double-check that this document bleeds setting is checked. If it's not, you won't get to your bleeds so your pictures won't go to the edge. Again, like I said before, double-check about the slug if your printer requires it. Output, check to see what kind of color conversions are required. And output profile name advanced. If you need to do some special transparency flattening, it can always crank that up to high-res security. Do not add security unless you specifically need to, because once you do this and you forget that PDF Password later, Good luck and opening it. And then summary just gives you all the other things that you're going to do. But the most key parts or the output color conversion, the marks and bleeds if you need the crop marks and the compression and the printers mark registration that's determined by your printer. The compression and the general settings. After all that stuff, you simply hit Export and wait for your computer to cook. You'll see the swirling icon here. You need to have a little bit of patients depending on the size and speed of your computer, because this can take a bit. There we go. I've got my PDF, are ready to go. Let me expand it here and hopefully there's something inside of it. Sure enough, thumbnails, yay. We get a final file. Do know that Adobe Reader does not respect left, right, Dennis, when you have the first page of your PDF, make sure it comes out on the right-hand side of the page. I'm viewing this in preview on the Mac, which respects the left, right or verso recto. Adobe Acrobat Reader does not do this. When you scroll through and you look at your magazine layout in to AP format, in view two pages, it's gonna look messed up, which is kind of irritating. So that's why I use the Mac for this sort of work, is I can see the left, right spreads always look correct for me. So it's just something to do. If you are a PC user, make sure whatever view mode you have. The first page is on the right-hand side. So your layout looks correct. So just a couple of things to consider. When you're doing your layout. Do the view and the two-page, and it works very well. And congratulations, after all this work, you've completed creating a PDF of your magazine layout to make sure that you've got your material and your communication in your message for whatever you're trying to tell people. It is in this PDF. It's a lot of work, but you've successfully completed it by doing all of these steps. 50. Home And Garden Magazine: In this lesson, I'm going to take you through an example of creating a page in a Home and Garden Magazine. This page layout will give you an idea of all the effort that it takes using everything we've learned to create a wonderful image. The first thing we're going to do is place our picture that I've got and I downloaded from my service. I'm just going to drop that picture in there. We've got quite a bit of work to do here. So young woman in the garden, but the picture needs to be squared. We're going to change the cropping a bit. There we go, which is looking back and that is all good. Now what we're gonna do is set up the entire page system. We've got everything we need. Where are we going to do first is create a running header and this magazine. And we're going to make a text here. And we're just simply going to call this running head. Now exactly what this running head is is completely up to you. We're going to create a paragraph style called Running head. We're going to give it Gill Sans font. And I'm going to go all caps and the running head. Perfect. And then, oh dear, made a mistake. Let's try that again. A paragraph style. It's very easy to hit Escape and lose all of your work. So definitely be careful because there's I'm flying along. I don't know how many times I've done that in my life. Case normal, all caps. Good. And we also want white text, but we're not going to show that at the moment. I've got this box here running head. And I'm going to color the box red because that is a magazine. Actually, let's not do the stroke. I'm going to change my mind. I'm going to do the entire box and red. Perfect, There we go. The running head probably needs a little bit of space after the paragraph, maybe let's say alignment none. Let's see, let's, let's offset the baseline here just a bit. And I'm going to want to increase the indent just so the running head doesn't crash into this. That indent is too much. There we go. Now this is in the bleed, so the page ultimately will look like this when it's cut. But we don't want black texts that's a little bit ugly. So what we're going to do, whoops, undo. I've already edited this, seeing me this design in the header here. So instead of redefining this among Hindus, right-click and then redefine the style that way it picks up all the minor edits that I've done here. Double-click on the Paragraph Style, go to Character Color, and we're going to go with none or paper. We'll just go with paper here. Good. Now we've got our nice running head that's going to apply to our layouts. Now you can see we've got this running head. Now we need to start creating the elements of our page. Create a T for text box. And we're going to come in here. And also we need a four column layout just from what I was told by my editor. So we're going to expand this box here. And we're going to just insert some type, go-to type, fill with placeholder text. Good. And now I'm going to hit Escape. Click on my box once. 1234. This is four column texts. Obviously my text is a little bit too long. Let's not overdo it here. Alright, delete everything there. Perfect. Now I've got my basic layout headed in the direction that I want. So what we're going to do is title of my article. We're going to make that pretty big. So we're going to have article title, article. If I can spell title, we're going to use again Gill Sans because that's just what my editor told me to do. We're going to crank this bad boy way up like I am running out of clicking title of my article. Good article. Page. Alright, sad, that's not too bad. Elements of a page. We're going to shrink this down. We're going to make the woman's picture a little bit bigger. In fact, we need to make it a lot bigger because we want it to match the column here. So we're going to shrink the column just a bit. There we go. And then my article page should align with there. And shoot, I need to to colon, need to spell article correctly first, we're going to drop this down. Perfect. Okay, We've got the article of a page. And now with the headline of the article, I also need to create a credit box. And this is going to be written by text by Jane Smith. Photos, photos, American images. Let's just say I licensed this image from American images. And it looks like we're also going to go with Gill Sans style here. So instead of creating a style, we'll just go up here. That looks pretty good. I'm gonna need to capitalize all this text. And we're going to create a credit line. And it's going to absorb that style. So anytime you use a credit line in my magazine here, we're going to have exactly what we need. Now we're going to have some teaser text. Here are the intro or the kicker. This intro or kicker text is what's going to get people excited about reading this article. Now we filled it up, but often we're going to add kicker text here. Kicker text. It's going to be a lot larger and definitely bold to get people's attention. Obviously, I've exceeded the space a half. So you have to work with your editor to make sure that this is all going to work. There we go. I don't like that word rat. Bow, Cabo. Perfect. Now, we've got the title of the page. We've got an image, but we need a caption in here. So what I'm gonna do is scroll over, zoom in a bit, hit the T key, which is text here. Expand the text, and this is my image caption of this womb in a guard and for my article, perfect. Now I'm going to place this text over the woman in the article, but I can't read it. That's a little bit problematic. So what we're gonna do is we're going to create caption white line. We're going to go to Character Style. Editor seems to be liking this Gill Sans business here. In dense and spacing, we're going to go to the right and we're going to change character color to paper. Now let's see what this looks like. It's still hard to read, but I think it will be totally functional. We're going to squish this just a bit. There we go. That's a little bit better. That's not an uncommon style. Now, between this text and my little headliner here, I think this caption or the credit line is a little too big. So let's shrink that down to 10 because ideally the caption and credit should not call attention to itself. Other than saying, Hey, here we are. We want to add a graphic interest items. So we're going to create a line and all you do is get the backslash and align tool. We're going to draw this line across to this gap. And you don't see anything in here yet, but we will, we're going to increase the thickness here of the line and it's a stroke. But I don't want solid black. We're going to drop that black down to about 40% to make it gray hoops. There we go. One to hit Escape. There, there we go. And now we've got a gray line. But I also want another line as a little bit of a mini header across here. We're going to make this instead read. We're going to thicken that up quite a bit. Hit Escape, zoom in. Move this so it perfectly aligns with the center of the column. There we go. That's not too bad. Just add some visual interests. Hit Escape W and we're getting pretty close to the title of my article. Next thing we're going to want a drop cap and my very first paragraph, but I can't tell where the paragraph ends in this text. What I do is go to Type, Show Hidden Characters and Whoa, boy, this paragraph is really, really long. I'm going to just manually edit this for convenience sake. And notice that all this text is ragged. That's not that attractive. So what we're gonna do is select all my text, go to plus and we're going to just call this body paragraph. And we're going to use Minion Pro because that's a good choice for general text. Indents and spacing left justify. Spread this text out. And we're using 12 font, which is pretty big, but that's okay. Indents and spacing, we'll align everything to the lines. But now we need to make sure that our grid is set up for 12 because that's going to be my entire Magazine. So we've got 12 there. 12 here. Whoa, what's going on? Why is this all whacked out? Let's find out the headings. So can I use 12 for that? Nope, I've gotta go to 14 letting here. And then it's so easy to make a mistake. Go back to the grids. You don't want the point size of the font, you want the point size of the letting. And now all of my lines are lined up correctly. If I want to make sure I've got the beautiful optical alignment, I will go to story, optical margin alignment and now this will break up the text in here. Perfect. My editor says, Aaron, you need a drop cap in the first character around the first paragraph. So we're going to create a new style body para, first paragraph. And we'll go down to drop caps. 123. Yeah, that looks pretty good. That's a nice Drop Cap, real simple. But we're going to say color match this. How are we going to color match that? We'd better create a new character style called red. Red characters and character color. We're going to make that red perfect. And now we've got a red character style that we can use throughout our article or getting closer. Now, our article is going to have a few subheads. We're going to add sub, sub had one. We're going to create a style for subhead paragraph style one subheading body paragraph will allow it to adapt the body paragraphs styling case. We have to change headings. But on second thought, my editor just called and said No, we wanted to use good old Gill Sans again for our subheadings that pesky editors really changing their mind constantly, indents and spacing space before. There we go, Good, So we've got that alignment. What happens if I do this? Nope, we want it all aligned. I want everything all caps for the subheading. Perfect. So we've got subhead one here. To click on Subheading two. And wow, somewhere that author made a mistake and didn't add their subhead three to their article. So now I have to go do that. It looks like our article is a little bit too long, so let's just expand this here. Boy, that's gonna be a problem going to have to work with that author to tweak things out so it fits exactly in this space. Because that's how we wanted to make this thing look. So shoot, we still got to squeeze this article just a bit. This is going to become a little problematic. The authors gonna get probably irritated, but we'll work with them to make sure the text fits in the space. Because that's one of the advantage of publication. You can really make up the rules as you go. We've got our subheads here, but shoot, Let's make these subheads jump out a little bit more. Since this is a green article subheading character color. And let's do green. That green is really dark. So let's hit okay. And we're going to go into the header here, into green. And we're going to make, Let's call this. Whereas this, where did I create this? We can change it to subheading green. The subheading green is a lot darker and it will be easier to read. We'll now change our subheading style. Character color will change that. And now all of our subheadings changed all at once rather than having to go through. That's why use basic paragraph style. Now we also need a byline that is text about the person they're article, this is some info about the person who wrote this article. Perfect. And our byline is probably going to be byline biography. And again, we're going to end up in that Minion Pro or a Gill Sans Pro land. Great. But there's no room on here. So what we're gonna do is just rotate this byline here, put it against the text, and now I think we're about done, but, oh no, I completely forgot. We need to add a pull quote to this thing. Crud. Now what do we do? Well, this text size at 12 is just way, way too big. So called the editor and said editor, we need to crank this down because we need space for a pull quote to make this look even better. And are letting is going to be a problem. So we've got to go change in design preferences. Grids. And we're going to change the global grid to 12. So we've got a lot more space in here. We have to change the body paragraph as well. This is going pretty crazy just to satisfy this editor to make us happy. So now we need our pole quote. This sentence here, at least part of the sentence. We're gonna make a new sentence here and OT, and this brilliant sentence will give you an idea of what our poll quota is going to be. Now we'll simply paste the text. We're going to expand the text and we're going to call this pull quote by creating a new style pull quotes based on body paragraph because that causes some trouble. And we're going to increase the font size a lot. We're going to change the letting to auto. And we're not going to do any spacing at all. And just let it free float. Basic character in this poem quotes gonna be pretty big. And so far so good. Let's put our pole quote into the article. And whoa, what a mess. Well, obviously we need to do some text wrapping on our pole. Quote, We will turn on text wrapping. And there we go. But I tell the editor, hey, now we've got some space for all pull quote, what do we do? Well, you can't have the text colliding this close. So when you're pole quote, we'll first figure out the exact alignment to make sure it's right. There we go, Good, good, good. And we're going to want some space on the right-hand side so the text doesn't totally collide. Probably doesn't look good covering the box there. So we're going to need to expand this all the way. Shrink up that space a little bit. That's better, I think So. Now we're going to want some nice quotes, some good quote marks on here. What we're gonna do is create another text box and just use some opening quotes. But we're going to crank those bad boys up to super huge, which means it's really, really huge. Now we want to colorize these quote marks to something like red. But that quote mark just isn't big enough. Go here. 144. Yeah. The quote mark, wow, Where is it? It's getting blockaded by the text wrap. I can't even see it. It's so big. Now what we're gonna do is have to change the mode on this box so it doesn't collide with this quote. So we're going to go to Object, Text Frame Options, and ignore text wrap. So we can get our quote mark in here. But we don't want our quote mark to be in front of the text. We wanted to be behind the text. So our quote mark here is going to need to drop and click and just keep going until I can find where the heck is my text. There we go. Now the quote mark is behind the text. That works a bit better, but it's a little too dense. So we're going to drop the density to their good. Now going to clone this quote mark and we're going to space quote. This is a lot of work to get that. A quote. This is a problem. Getting the right smart quotes to activate is a real challenge. Seeking select that text, go to none, make that text disappear. Bring this quote mark, whoa, it's easy to mess up here. Once you set your textbox, what you might want to do is click and it's very easy to accidentally make a mistake is hold Command or Control down until you click and get the right box here. Okay, there we go. A little stylized quoting, maybe just a little bit lower. Okay? And I told the editor, the editor, our text actually can go a little bit bigger. Yay, good. Because our readership has some trouble reading smaller text. We will crank up the font size. Pretty close, but that is the body paragraph. We need to make sure the header paragraph is now 11 just to push the text. And now we might be able to put a graphic or something or bring in that text that the that we originally deleted, telling the writer that we need to go to type. And hey, can you write 20 more words to fill in the space? So as you can see, we've gotten pretty quick crazy. But this extra byline besides a credit line is way too thick. So we're going to go in here. Instead of regular. We're going to use light and we're going to go down to 8. That's much better. Shoot. Easy to do by line 8. Good. And then that text is hovering way too far off. What we're going to want to do is drag the byline down. We have everything set here, but we're going to customize this. Go to the right align here, and then just simply zoom in, squished the box until it's just at the right position. We're going to hit Escape, click into Nothing, hit W. And let's see what the article looks like. What do you think? It definitely needs a little bit more work. But now we've got our title or running head or a picture are open quotes or information. We could probably move our box a little bit, but then that messes stuff up. So we're not going to mess with that for now. It's kind of a nice little graphic interest. We've got some subhead here. This is our basic home and garden outline of a single page layout for this style of magazines. So hopefully that gives you an idea of just how much work it takes to go and create this style of basic article with a few subheadings, a drop cap, a kicker or intro, the title, some sort of running head, a credit line by line and everything else that goes into it. 51. Industry Magazine: In this example, I'm going to show you a layout of an industry magazine. This particular article is about women in the workplace, the challenges they face and some of the advantages they have and working. What I've done is I've gone to my stock source and I've got this one woman here that I need for this source. And then I've got another woman here that I need for this source hoops. There we go. Let's expand that out. Good. Now I've got my two women here that are going to be headlining and my article here needed to spread this out, probably make it make her a little bit smaller. That way they're not too big. We'll experiment with our design here. But first we need to add some headers and footers and what's called page furniture. So we're going to talk about this and we'll do industry information will go right-click with command. And chances are our basic body. Let's see, let's do a paragraph style. We'll call this furniture. Furniture. And everything is going to be in Helvetica. A good safe bet. Industry information, good. And then we're going to need copy this here. Drop this down to the page and we will see, Let's see, we're going to call this commercial information, alright, hold Option or Alt down click drag. Then we're going to left align and we'll want our page number type. Fill a special character marker, current page number. And we'll scale in here. And my industry magazine. Perfect. Then now that we've got that information, will copy this over to the other page. Now we're going to need to flip these because I don't want an a number inside, so we're going to put that here, put that there. And then this should be on the outboard edge. Instead away from the spine. There we go. Industry information down here, zoom in. We've got our page furniture, commercial information, industry magazine, page numbers, everything set up so we're ready for success. Good. We're going to talk about women in the work coops. Let's do it all titles in the workplace. We're going to go with our glue pull sans serif. And we'll go with Helvetica again. Good and boring, but highly, highly effective. We need to scale this up quite a bit. Win-win in the workplace. Now the title is obviously a little bit too big and my image needs some cropping here. So we're going to move over escape v. We're going to move this woman here. This title is okay, that's a little bit too big. So we're going to shrink that down until it fits. Good. We're going to style was this workplace. Women in the workplace we need larger. Then in these kind of be smaller. Nope, too small. 36, cool. The baseline is too low, so we'll move that up too high and it takes some experimenting here. Good in the workplace. Nice. All right, we'll shrink this down just a bit to generate some more space. I increase this picture size. Now that we've got that, we need the strap line or kicker if above the heading. So let's add this information and we're just going to do some type fill with placeholder text. And we're going to bold this up. Let's see bold. And then we're going to Helvetica. It droops Helvetica. Now let's use global sans serif. That's a better choice there. Good. So we've got the article, alright, we're almost ready to rock. Now we're going to fill the articles base and we're going to quickly, quickly write our article. Now that our article is written, it wasn't that powerful. We're going to make this a four column article. Good. So far so good, pretty interesting. We want to add, let's say we need some add some visual interest here. These two women are little bit contrasty, their color. So what we're gonna do, we're gonna drop her down, bringing her up. There we go. Good. Then we're going to cut the top off of this frame so it doesn't look so odd. Nice. So we've got our article, but our first paragraph probably needs a drop cap. So we're going to create a new style first para drop cap. And we will. So we'll go down to drop caps 123. Good, but we're going to make it new character style and sans serif character. Good, and we're going to use good old Helvetica. Nice. We've got our industry information here so far. Our article is going to be obviously too long for this space. We need to make a body paragraph so we can mess with that later body paragraph. This should be serif simply because you don't want to read sans serif text is very unpleasant. Now layout or Etsy show hidden characters. So you can see where a carriage returns are here. There we go. A good, obviously this text reflow does not look good. What we're going to do is the body paragraph is going to do indents and spacing, going to do left justify, good. And the first paragraph drop, I'm going to one the base that on my body paragraph. So I don't have to go crazy editing a lot of stuff. That's good. Hit Escape, and we want to align our text. Let's see story optical alignment. Good. Now I just need to select the rest of my text. Go to Paragraph Styles, go to the body paragraph. So everything levels out. We're looking good. This part here is our big quote. This is the big article takeaway. What we're gonna do is we're going to click in this no space. And we're going to pull this out. And we're going to create a style pull quote. And it's still going to be. Now let's not based on anything because we want to make this stand out so we'll use good old Helvetica. Can't go wrong with good old Helvetica there. Now this code is going to fall into the text. Well, it's not doing anything. What's going on? We need text wrap, so we're going to turn on the text wrap and force this pole quote to have the text wrap around it. Chances are we're not going to want a hyphen in our pole quote that's not going to look at it. All we're gonna do is we're going to expand this out here. Okay, good or pull quotes getting there. Nice. Now we're going to want some sort of styling on this. What we're going to do is we're going to hit Enter. And then we're going to come to here and then hit Enter. And what we're gonna do is we're going to write a line this sentence. We're going to center this sentence. Then we're going to left align a little bit longer. If I can type. Cool, Good. Now we've got a little more styling, but we need some space above this guy. That way the text doesn't collide. And we need to pull this in a bit. And now we need to add the actual quote marks on here. We'll go create a text box. And we're going to want the smart quotes. So if you hit option and bracket or Alt and bracket and get your smart quote here. And we need to crank this thing way, way up. There we go. Will this work here? Nope, it won't. So what we have to do is make this box invincible. Object Text Frame Options come to ignore text wrap. I see that the text is a little bit problematic. I don't want that solid black. I'm going to want some sort of gray. I can either make the gray color or I can make it semi translucent. So let's make it semi translucent. There we go, That's good. Then we'll copy that box with Option or Alt Copy. We'll select in there. And then we will do the shift option bracket or Shift Alt bracket. And that gives me the Closing smart quotes. Don't use square quotes. It looks really, really bad. So we'll put this in here, we'll put that in there. Nice, that's good. Our articles obviously too long, so we're going to need to work with the rider to fix that. But I'm sure the writer will be more than a minimal to the edits of her article talking about these challenges, right? So that's pretty good. This last part of the article, you can see this word dropping out here. That doesn't look too good, so we'll edit the article to fit the space. And then this last part of the article, we want to emphasize the importance of this article. And we're also going to leave room for a byline here. We're going to do is create a rectangle and draw a rectangle around my text. We're going to fill that with good old yellow. But obviously we need to be able to see the ticks. So hit escape and then V go to Layers. Layers, layers not links are there. And drop our rectangle down until the rectangles around here. But we want to make this faded out color just a little bit. There we go. That works pretty well. Good. Now we're going to end independent byline to the text. This article is written by one knee to her and her NAND. As if I can read this correctly. And we're going to go to paragraph styles and global sense serif. Shrink this down quite a bit. She resides in San Diego, California. Perfect. Okay. Let's see how we're looking here. Women in the workspace, you've got some whitespace here. It's not exactly great. So we're going to expand this out and drop this down a bit. And I want this to be more exciting. So we're going to all caps it, scale it up a little bit too long. We're going to have to talk to the editor about tweaking that text out. Good. And then we want to, we're gonna leave this ragged edge. But we don't want any hyphenation in this. So we simply go to the paragraph panel. Click on the hamburger to create the Flyout. Go to hyphenation and simply terminate all hyphenation because I don't want hyphenation in my kicker here. Just because it makes a little bit messy. Let's zoom out and hit Escape and W. And let's look at our layout. What do you think? Not too bad. This whitespace actually is useful, but this woman needs to be a little bit more aligned here. She might be here, and we could actually scale this other woman up. Lots and lots of options. But hey, check that out. See this woman here. How she's kind of cut out the background. What we can do is click on her and because she's photographed on a pure white background, we can go to object and then clipping path and check this out. Instead of going to Photoshop, go to Options and choose, detect edges. And voila. Instead of going to Photoshop and suffering and working a lot. We can scale this woman up a little bit more and have her like literally crop into the layout a bit. That's not too bad. We'll chop the top of her picture, expanded a bit because this is still readable. And maybe we need to put some text up here. The, the challenges are immense, but overcoming them is rewarding. That is another pole quote that we're going to use because we just came up with that. Then we need to copy our quote boxes again here. Copy paste. Bring them in here just a bit. That looks good. Cool. But we've done gray twice, let's do yellow. We're going to add some color to this so it doesn't look so boring. Whoops. That's going to be two light waves can build. See that shoot, yellows not going to work. So let's choose green. And now we need to make it semi translucent. Green again, select all, go to green. Rewarding already. So here's our basic article. I don't like those quotes over the text. Let's hover him just outside. Just so they're kissing their nice workplace. Women in the workplace article, industry article. This does not often had to be as attractive or sexy as say a hip hop magazine or Vogue or some other lifestyle magazine. But this layout for industry sort of magazines is perfectly acceptable and you'll have no problems with this. I can see one issue. The commercial information is not left aligned. To. Sure enough, I made a mistake there. So let's make sure to left adjust that. Hit Escape. Double-click on my page. Zoom back out. There we go, Not bad, hit Escape and W, to get rid of all the items. And now we've got an interesting article here. But maybe the end. That's not that exciting. Let's center that. Who, nope, that's not gonna work. We're gonna do the old space or a thing. Let us say the workplace. We're going to want to crank the font. We want to be a little more visually interesting. There we go and we can leave some whitespace and that's perfectly okay. Maybe we pull this back here. What do you think? Not too bad. This industry information part, it looks like it's out of alignment. Sure enough, zoom in, hit Escape, hit W. When he copy and paste from one side to the other, you got to make sure to correct all that information. So hit Escape, click out of nothing, hit W, and there you go. You've got an industry magazine layout that is totally functional. May be that picture is a little bit too close. Good, cool. So you've got options. You've got a way to extract somebody out of a background, assuming the background is clean. Instead of going into Photoshop, InDesign has an ability to chop stuff out, which is a huge, huge time-saver. This article, shoot that. Oops. Let's zoom in here. This is not looking good. That actually is a little bit too close to the box. Hit Escape W to see what's going on. We might need AS need to cut this out. Hit Escape, click here, hit paste, move that box and shrink in town. Pull it through. There we go. Let's hit W and look at the layout and now that's better. Yeah, You don't want anything to collide or look kind of awkward. So sometimes you need to edit things a bit. But as you can see here, this totally works for an industry type magazine. 52. Travel Magazine: In this lesson, I'm going to show you how to create a travel magazine spread. This is something to tease someone into going someplace or to teach someone about a location. I've already downloaded a couple of images from a ruin in the Middle East. And I've got two images plus a map that I want to add to my spread. As spread means both the left and right-hand page or the verso and recto pages. So first off, just to get this started, I'm going to get my hero image in here. This is what I call my hero image. The one that matters the most. I'm going to spread this guy out pretty darn far. It's going to eat up a lot of space just because it's super, super spectacular. And we have to cut this down a bit and crop it. Also, we want this to go all the way to the bleed edge. We're going to have to drag this to the edge here. So as you can see, it's right on the edge, not in on the paper but the bleed. And that way we can crop and adjust that way the paper cuts, cuts the cut, cuts the image. That way the image goes to the edge of the page. The next image we're going to do is the close-up image of a particular location. We're going to drag that out again. Zoom in here. I want this to make sure it cuts to the bleed here. And I want the images to a but against each other. There we go. If that's not working for you, make sure you go to View Grids and Guides and snap to guides and Smart Guides, and that will save you a lot of trouble there. Now I want an information box about this location. I'm going to create a frame. I've got the rectangle frame tool. And I'm just going to click and drag and rough it in and then I will work on it a bit. All right. He is scape. Scale up. There we go. Okay, good. I want this some sort of purple deep wine color. I don't have a wine color in here, but I will make one. So create, copy one, hit Plus new swatch, double-click Name with it. Berg, and see if I can spell it. And Bergen, D, sounds good. Alright, so a little bit darker. There we go. Nice little burgundy color. We're going to have some texts in that frame, so that's something that I need to add real quick. We're going to add this text, a type fill with placeholder text. Okay, great. But a couple of issues with this one. It's unreadable. Instead, let's make it the paper color good. Now, it's a little bit too cramped in here. Plus we need a headline or a title on this. So say the FIS of this historic coal marker is important because it's old and you should visit it. Very simple. Good. Now we're going to make this into, Let's say Gill Sans. We want this to be light. I need this to be indented quite a bit on both the left and the right-hand sides. Make sure to use the same indentation level and crank this up. I don't want any hyphens here. Never really wanted to hyphenate and something like this unless you absolutely need to. So I'm going to get into, going into paragraph, click hyphenate, and that's a little bit problematic. There we go. That's much better. Now, I will hit Enter and I guess I got to delete the rest of my information here. Select this text and crank this into 3125, just like I had before. 3125, good. This information is going to have to go away. Keep going. Good. Alright, I've got my information and description here. This text is going to be a little bit too big, so I need to drop this down to 11.2. Let it scale in. Then I'm going to maybe put C triple w dot visit my ancient site.com. Also W, W W historical sites.com. But instead of this minion that we're going to use for the general text. I'm going to change this around. So we have a Gill Sans font again. Now you don't have to go with Gill Sans font. That's just my particular choice. But one thing I noticed here is that the text is ragged, right? And I don't want that look. I need to make sure to left align it. Even though the text is technically close to the edge, it's too close to the bleed edge. I need to crank that in quite a bit to make sure that it doesn't fall off the page. Now that I've got my texts basically set up here, I want to add a little visual interest. So what I'm going to do is go into my font book and I know that Minion Pro has a nice little square here. You can do the same thing on the Mac going into the control panel, looking at all fonts and grabbing the Minion Pro font scrolling through. And I just liked the square here, so I just click on it. Command copy on the Mac, Control Copy on the PC. Go back into my layout, go to Edit, Paste in Place or Paste without formatting. Notice that my line has a problem here. See this pink box. That's because I pasted into place with a Gill Sans text. So I need to shift select this box 12, and then change the font to the one I want, Minion Pro. And now I got this nice little box that I can copy to hear. Good and maybe put a couple of spaces. Now we just add some visual interest to people to create the look. Also, in this box here, I noticed my indention where the hyphenation is not correct. I go to story, turn on optical alignment and now the text looks much more aligned with that picture. Now let's get the, we've got the hero image in there. We're probably going to need some sort of caption. Go into the type tool, grab here, and then we're going to do, we might have to do a paragraph style here, sans serif overall. It's going to be, we're going to go with Gill Sans this time. And that's where we're going to start with and then historical location. Then we're going to need some general Phil text here. Now of course, this black doesn't look very good. It's a little bit hard to read. Let's choose white paper. That's better. Good. White paper here, okay, good. But the title of this should be all caps. Interesting. Nice. That's not so bad. This probably has a period here. Good. Okay, now we've got a caption on our image there. And we should also add a credit to the image so the photographer doesn't get mad. And we respect their copyright, of course. See Francisco photographer. And we're going to make that text paper and we're going to go sans serif. And we're going to snug it in the corner. We need to change that to paper again. Here we go. And Francisco photographer, that captions usually much smaller Shift, rotate, drag it here, drag it down, and there we go. Command copy. And Francisco had his good friend. Rica, has an interesting spelling on in Ricky's name. Spin that around and Enrique photographers going to get the credit so it doesn't get chopped off in the bleed. There we go. Okay. So we've got this down, we've got our information here. And we had a title page up here are big historical site with another hero picture. And this is where we get into the article. What I'm going to do is let's, let's keep in the margins here just to be safe. And we're going to add some type fill with placeholder text. Great, but our article is much longer, so we're going to fill this with placeholder text as well. Type fill with placeholder text. Good. We're going to link these two using this box here. Click once, click twice, and now these are linked. How do I know that? I go up to View Grids and Guides no extra Show Text Threads and I can see they're connected. When I start messing with stuff as a work a lot better. The first paragraph of this should be a san serif overall. And I'm going to want to drop cap. So I'm gonna go to paragraph. And where are you drop caps right here. Drop cap nested style one too. That's pretty good. But we also want to colorize this character color that Burgundy was working pretty well for us. So we'll go here. Hit Okay, Nice. And I should probably have a little bit of a space. This text should be bigger. Nice. Okay, so that is actually pretty good, but the drop cap didn't go along for the ride. Okay, now we've got our article, but we need to multi column this, but watch what happens here. Jacks up our header text. We're going to have to undo this, cut this out, delete the text, paste it down, and let's see where are we going to drag it down. Click in here, paste, drag our box, scale this box out. Then this allows us to control the spacing. And this is going to be a three-column layout, 123123. Very good, that looks good. And now of course we need a map because this is a historical piece. So what we're gonna do is we're just going to have to tell the author. We had to cut their article right here. Tragic, but we'll live with that. And then I will get my map. Israel location ruins just because that is the first random historical location I could find. Obviously this map is not that attractive. We'll fix that in a moment. We do is go to the frame tool, the ellipse frame tool. We're going to click and drag and this is gonna take a little bit of experimenting. Hit Escape, hit V, select the picture, good. Edit, copy. Then click on the frame and then edit, paste into this pace our picture into the frame. Now, it's not perfect. We'll fix that. Double-click on the picture. Hold Option Command Shift or Alt Control Shift. Click on the corner, scale this up. Now I can move this around to where I need it to be good and probably needs to be a little bit bigger. That's just how this works. Perfect. Delete this box, move this in here, but it's still covers everything. What I'm gonna do is go to the gradient effects here, gradient feather. And I'm going to choose gradient feather, but I'm going to do radial gradient feather. The falloff is too much to where I can't really see the map. So what I'm going to do is just keep going here. I do need the map to have some solid density. There we go. That looks pretty decent. And then we will just actually let that fall off the page and it'll go into the bleed, but it's still readable, but it's covering the text. Therefore, if we go to the layers and we take this map, drag it to the bottom. Now the text is actually over the map. That's actually pretty good. How we look in here, hit escape. Move our pages away, hit W. All right, not too bad. Now we just need some page numbers and things here, so we will hit W again, go to pages. I'm going to turn master pages and create some furniture. We will go with. Paragraph styles, would just do a sans serif type. Insert, special character markers, Current Page Number, and travel, adventure magazine. We need to center that in our space because I don't want it declined with the text. Command copy or Control Copy. Come over here, paste again, place it in the same place, but select it so it's away from the spine. And then oh no, the page numbers in the wrong position. So we will cut the page number out, paste the page number in here, and a space, then go back to our magazine and see what we've got. So one of the problems is this works here, but this does not work here. So we just need a blank master page. So we're going to duplicate the spread. And we're going to call this Right-click master options. And we're going to call this blanks just because I don't want to trash my nice layout. Good. So on here you can see the a. We're going to right-click apply Master to Pages. And we're going to go with B blanks. So don't end up with an ugly overlay and ruin or beautiful layout. And zoom in just a bit, shrink everything so you can see the look, zoom in and scale hit Escape w, Not too bad. So just very quickly I've created a layout that has text header, a hero image. An inset image captions credits a little bit of caption on this, some information about the site and embedded map with a nice transition. So we have the text just to add some visual interests with something besides rectangles. We took care of our page numbers here, but we can see this two and that doesn't quite work. What you go back to A-Master will zoom in. We're going to want to add a dot, so we'll go to type, insert special character markers, symbols, just the basic bullet. There we go. We'll copy that over to here. And the bullet, and let's see how that looks. Scale out There we go, that's much better. As you can see here. We've quickly done a layout of a historical travel magazine article that goes to the full bleed edge has a beautiful hero image. Inset. I've got my page numbers. I don't have my sacrifice on my page numbers here. And we've got everything we need for the spread. We can send on. But the editor just called and said, Hey, you need to create a section here, Darn it. Editors always do that. So now we're going to create little bit of a header here. Let's say we'll select all this. And the editor said we need burgundy for this starter text. No problem. And it probably needs to be bold. And of course, the first letter needs to be capitalized. And that's still totally works. Nice. Now we've got this beautiful article that is also color coordinated with the drop cap, the subheading, and the graphic here. So this is certainly an example of what you can do very quickly to create a beautiful layout for your magazine brochure book or whatever you need to make this look good. You can even place this in a different location. I went place it in the middle because I kind of wipes it out. You've got the sun there, you don't want to block. Sometimes perhaps we could just put this down here. That way you can see the whole image without the caption interfering with the rest of the image. Something else we need to do in the layout is fixed all the paragraph layout. What we're going to do is come in here and a paragraph styles and select all of our text up to this part here. And we're going to create a basic body peristyle Minion Pro, letting track and indents and spacing first-line indent. There we go and left justify. Make just a tiny bit more indent for this particular magazine. Alright. And select the rest of this body paragraph. Good. Now we have what's called a widow and orphan here. Let's see if we can bring that together. When you get this problem with a one sort of word hanging out, come up here to tracking and manually bring it back. That will get rid of that ugly one word laying by itself. And you get the same sort of thing here, that's going to be a little bit tougher to fix. So what I would do is I actually spread out the text. That way you won't have two or three words, but rather multiple words. So you can actually manually crank the tracking over and solve that problem too. Now looking at this subsection, I don't like all the hyphenation. Let's left align and justify it. And we're going to go to paragraph, the little hamburger hyphenation. And I'm just going to shut off the hyphenation and see how it looks at. Okay, that's much, much better. That's much more attractive. Now we're going to hit Escape W. Select our story, go-to story. Make sure optical alignment is on again. And hit Escape, shrink this down. Hit W, Make sure everything else is aligned. And that is a much more attractive layout. We can also take this box, do the story optical alignment. We should probably do the left justified just to smooth things out a bit. And that makes it much more professional looking. One other thing too, we can double-click into here, go to paragraph styles, edit the style, and here's a super pro trip or pro tip. Go to justify, go to minus three and then plus ten. That will actually allow the text to shuffle around a little bit more. Let's make sure this text doesn't overtake this same thing in this paragraph. To paragraph styles here. Got a justification minus 300 plus ten. That will smooth out the text and that takes care of the weird, awkward spaces that sometimes show up in this style layout. As you can see here. It does take a little bit of effort. We can, I think this is, we need to fix this one too. Just in case we will do the, oops, I'll do the paragraph styles here. Justification minus three plus 10%. The minus 3 10% on the justification adjustment is just something over the years that I've captured with experience. And it seems to work quite well. Now all the texts looks even more spread out, but not too spread out where you've got awkward spaces between words. This is a beautiful layout that should work very well for any style of travel magazine or anything like this, you might do. 53. Fashion Magazine: In this layout, we're going to work on a fashion magazine article about a model. I'm not sure exactly who this model is that I downloaded from my service site. But she is now going to become the model that this magazine is talking about. What we're going to need to do is place her image and choose going to be a full size image here. But you can notice that, oh shoot, I need a bleed in my document as I got started, it didn't set up. So let's go to Document Setup and make sure my bleed of 0.125 replicates all the way across my document. Perfect. Ready, so we're gonna come up here. We're going to bring the image to the bleed. And then, oh wow, you can't get all the way down there. Well, we'll just have to crop the image, zoom in a bit, continue to expand up to the middle there. That way she is a full size image on that page. Now on this page is where the text and the feature article is going to be. We're going to set up a couple of paragraphs styles here. First is going to be sans serif text, and we're going to use the basis of Helvetica and 12 points, a good starting point. And also we're going to use serif text for the main body and just as a basis. And we will start with good old, reliable and see if we can find it here. Minion Pro, that will work. The size is a little bit much to start with. There we go. Now also, before we need to get going on here, Let's get the master pages setup. So we're going to create a master, Let's say double-click in here, create a master page. We'll call this the blanks just for safety. And KSI needs something there. The A-Master we're going to zoom in here. We're going to add a page number type. Insert, special character marker, current page number. That is bolds. I don't want bold, I want regular. And then my fashion magazine. Obviously it exceeded my space here. This is a bit big, so let's reduce that in just a bit. Spell magazine correctly, magazine. Then this is the tuber 2023 edition that we're working on. We'll make that text here, perhaps a light gray. And we will drop this down to a medium gray there. Perfect. Looks good. Click in here and make sure to select away from spine for the alignment. Hold Option on the Mac or Alt, oops, or Alt on the PC and copy this over. And this probably needs to be away from the texts just a little bit. Way, little bit. There we go. Now we've got something to work with. So we've got some furniture writing. We're calling this a just type this out. So elaborate tea interview. Now everything keeps coming up this bold condensed. And what's happening is my default text in here for some reason starts at bulk condensed. So we're going to start in regular there. We're going to enlarge this a bit, add some italics, and we're not gonna do much as far as the actual texts, like editing it and making a lot of styles. Right now, we've got the idea here. Now we're gonna go thinking. So let's see. Yeah, this is good. So we're going to crank this bad boy way. Then. We're going to right align everything, right, right. Align it just for kicks. And then outside. This needs to be even bigger. Then the thinking because the outside is the actual thrust of the article. There we go thinking outside. But this is too big of a gap. So I'm going to adjust the baseline. The letters come together. Good. Hoops, little bit too much, hit Escape. And v can be able to move that very much. There. There we go. That's our space. And now we need our little teaser here. This is, let's say, you know what? Let's make. Just a short amount of text here, fill with placeholder text. And we're going to have it Serif. We don't want any carriage returns. And this is going to be a little rough on the text. Perhaps we'll make this semi bold, nice little teaser material there just to give people going and get them interested in this. Then all we need are some texts to fill the gap and then we'll start working on that. What we're gonna do is we're gonna create this huge textbox because this article is multiple pages. And we're going to fill this text box knowing that it will override here. What we're going to want to do is take these two boxes and do a text wrap, turn on Text Wrap. Drag this back up. There we go. Now we're forcing our texts t