Transcripts
1. Welcome To Class: [MUSIC] Adobe InDesign
makes it easy to create beautiful documents, whether that be for an
advertisement brochure, business card, or a
multi-page document. With InDesign's
formatting tools, you can easily
upgrade your work by implementing practical
graphic design principles. Hey guys, my name is
Kyler [inaudible]. I'm a graphic designer and illustrator based in
Edmonton, Canada. During my career I've worked on many projects like award-
winning logo designs, poster designs, and
editorial illustrations. A big part of graphic design
is the ability to take information and organize it
in a visually appealing way. This can be done by using fundamental design principles
that anyone can learn. Many people have great ideas
and great content to share. However, if it is presented
in a boring or mundane way, people will just
pass it by and move on to the next thing that
catches their attention. In this class, I'll show you how to take something
that looks like this and change it into
something that looks like this. Throughout this class,
I'll walk you through some of my favorite tools that InDesign offers that when I
first learned blew my mind. We will learn how to
use master pages, paragraph and character styles, and how to create a
simple grid system, as well as fundamental topography
rules and so much more. As we go through the class, we'll understand practical
design principles like symmetry and balance, create a focal point
in your design and understand negative
space and proximity. By applying these
design principles, you can easily take your layout designs
to the next level. This class is perfect
for anyone who is just getting
started in InDesign, or has a little
experience and wants to build up their
understanding of design. After this class, you will have a solid foundation in InDesign, so you'll be able to format beautiful multi-page
layouts with ease. By completing this
class project, you'll have some
creative work to add to your design portfolio. If you're ready to learn some
practical graphic design, I will see you in class.
2. Class Project and Requirements: [MUSIC] In this class,
we'll understand practical graphic design
principles and apply them to a multi-page
layout design. I will provide text documents
that you can use for your class project or you can format a document of
your own choosing. Although there are no official
prerequisites to take this class besides having a computer with
InDesign installed. This class is part of a practical graphic
design series that have the potential
to be taken as individual courses
or can be taken together to build upon the
skills in the other classes. If you're looking for a more guided introduction to InDesign, I recommend taking the
first class in this series, Learn Adobe InDesign Through Fundamental
Design Principles. In that class, you'll learn other foundational design
principles that we may not go over in much
detail in this class. This class will be divided
into two main sections. The first section
will understand some design principles that will allow you to make
practical design choices when you're laying
out your designs. I will show you some
examples and help you understand key concepts that
will train your design eyes. The second section, we will
dive into InDesign and learn how to use the tools efficiently to develop your
polished layouts. You'll find class assets
in the project panel for you to download and use
for your class projects. Along with the
project asset files, you'll find some practice files that will be used to apply some key design principles
and learn the InDesign tools. The best way to truly learn something is to put
it into practice. So I really encourage
you to take what you learned in the
class and apply it. I would really love
to see your progress. At the end of the class, if you're comfortable
sharing your work, consider submitting a class
project here on Skillshare. Now in the following classes, we'll learn some graphic
design principles so that you'll understand some
important terminology, and this will allow you
to train your design eye to judge the appeal and
practicality of your design. I will see you in class.
3. Understanding Visual Balance: [MUSIC] Visual balance is
important in any design, and it is an essential key
to visual communication. Visual balance can be
established through both symmetrical and
asymmetrical means. These designs will achieve
the greatest harmony and allows your audience to take the information in with ease. Through this class,
we'll learn about the different forms
of balance and how they can work
in your designs. Let's first start with
the simplest form of balance, symmetrical balance. Symmetrical balance is achieved
when your composition has the same visual weight on
either side of a central axis. Think about our
reflection in a mirror. Symmetrical balance
almost always creates a pleasing composition, since many things in
nature have a sense of symmetrical balance
like the human body. The human body is
symmetrical with a central axis running down
from your head to your toes. In this way, we're used to seeing symmetry in
our daily lives. In typography, symmetrical
balance can easily be achieved by aligning
your text to the center. This has a more traditional feel and it has been used
in book covers, movie posters, and so much
more through the centuries. The next form of balance
is asymmetrical balance. Asymmetrical implies that things are in an unbalanced
state however, this is not the case. Although asymmetry
means there is an unequal visual weight on either side of a central axis, the overall feel of the
composition feels balanced. This can be achieved in a
couple of different ways. You can have one large object on one side and a few other smaller elements
on the other side. The combined mass of the
smaller objects come to balance out the total mass of the large
object, creating balance. In your layout designs, really look at the designs
and see if it feels balanced. Move parts around. Try resizing or realigning your elements in different ways. By playing around
with your layouts, you'll hone your creative eye to see balance in your designs. Let's try a simple practice
to get a feel of how we can start to use visual
balance in our designs. In the InDesign practice
file titled visual balance, we have a few different
groups of elements. Your job is to arrange them
in various ways and try to create symmetrical and
asymmetrical balance. You can resize or rearrange your elements to
create your composition. After you complete
your practice sheet, feel free to post the results in the project panel
here on Skillshare. In the next class,
we'll learn about focal point in your designs.
4. Understanding Focal Point: [MUSIC] In every design, you should have one element that will be your main focal point, or a point of interest to draw your viewer in and guide them
to where they should look. This is the hook that grabs the attention
of the audience. Without a visual focal point, your design may
fall flat and can be easily missed and
quite forgettable. Your focal point could be as simple as an eye-catching image, a large form of
simple typography, or a bold graphic that
makes a statement. Use the basic principles of
hierarchy, such as scale, color, shapes to make your focal points stand out
from the rest of your design. Although there may be
many things that are important in your designs, you must make the decision of what you want the
viewer to see first. Let's consider this, if all people are yelling and striving
for your attention, there is no way to
know where to look at. In the same way, if there are multiple points of interest in your design that are striving for your viewers' attention, they will not know
where to look. In order to make your point
of interest stand out, you may have to
reduce the impact of your other elements
in your design. This will help create an easy point for your
viewer to enter your design. After your viewer
enters your design, then you can
establish a sense of hierarchy and guide them
through the design. But remember, you need to have the initial point of
interest to draw them in and then you can establish hierarchy in order to
walk them through. In order to put this design
principle into practice, let us open up the practice
worksheet focal point. In this worksheet, you'll
find a few different designs. Your job is to manipulate each of the elements to create
a clear focal point. Makes sure that there aren't multiple focal points striving for the viewer's attention. After you have established
your focal point, you can establish hierarchy
through the other elements, so when the viewers
enter your design, they will be guided through it. In the next class, we'll learn about negative space and proximity in your design.
5. Understanding Negative Space: [MUSIC] Negative
space, sometimes referred to as white space, is super important for
your layout design. Negative space will give your
design some breathing room, and allows the
viewer to separate important elements from
the rest of the design. When we have a little white
space between elements, this helps identify our
relationship and connection, establishing a group, that we will see as a whole, this is also known as proximity. However, when we increase the space between the elements, this will create a separation
of elements and they will act as individual elements
in your overall design. Here's a simple example. When we have multiple
dots scattered on a page, we can't see any sense of order. However, when we bring
the dots close together, we can easily see that they have a relationship
as a group. When we separate
one of the dots, we can see a sense
of story going on, one One is different
from the others. We may want to think
of negative space as the space available in
a room, in a house. When you have space between
the elements and a furniture, the room tends to look
more pleasing and tidy. If you have a small room, you don't want to fill
it with big furniture because it will look cramped and make it look even smaller. In this case, you want to buy smaller furniture for
the smaller room. The goal is not to fill every
square inch of your space, this will create visual clutter, you want to separate
your contents with space to allow them to stand alone or identify as groups that are
related to each other. Related items can, and in fact
should be close together, like books on a bookshelf. These items are in close proximity because
they are related. However, a couch and
a bookshelf could be separated because they don't
have a direct relationship. This visual principal
will help you organize the elements
of your designs more easily and allow your designs to look more
clean and organized. Remember, proximity
allows individual items to be viewed as a whole due to their
spatial relationship. Negative space allows
elements to have visual separations so the viewer can easily distinguish
related subjects. By creating groups
in your design, this allows your audience to
easily digest your design. If you had everything
in its own space, this will cause some
distress to the viewer. However, when we bring
related elements together to create groups, the viewer can easily navigate
and will not have a sense of information overload
when they see your design. In order to put this
principle into practice, open the practice file, Negative Space and Proximity. Your object is to
organize the contents in these pages using the principles of negative space and proximity. Remember, group like elements together to create
visual relationship. Separate the elements
that could be separated because they don't
have a direct relationship. By increasing the
negative space, we can easily distinguish
one group from another, and by creating
groups of elements, you can easily create digestible information for
your viewer to follow. In the next class,
we'll learn quickly about repetition
in design. [MUSIC]
6. Understanding Repetition : [MUSIC] Repetition
can be used to create continuity throughout
your designs. Using like elements in multiple
areas of your designs, can direct the viewers to
identify areas that have key relationships that would otherwise appear to be separate. This will also bring a sense of visual consistency to
your overall design, which is incredibly important, when you have information
spanning multiple pages. You can apply repetition
by repeating colors, shapes, typography, or images. As a designer, we
should strive to create consistency throughout
our layouts. This not only improves the
overall appeal of a design, but it will make your work
look more professional. [MUSIC] In the next class, we'll learn about grids and how you can use them
in your designs.
7. Understanding Grids: [MUSIC] Grids inform
the positions of different elements on your page. This will provide a sense
of order to your layout. Think of a grid as an
invisible roadmap which allows your viewers to travel
throughout your design. Grids are a great way to quickly create alignment
within your designs. They also help anchor
elements to one another, creating
visual relationships. Providing this firm
foundation can help ensure content is presented in an
easy-to-understand order. But it can also be used to
highlight specific areas of content simply by breaking
them out of the grid. The viewer will
naturally identify these breakouts and be
drawn towards them, giving the designer the
opportunity to play with the hierarchy of the layout and tweak the meaning of
the piece of work. Let's understand a few
variations of grids and how we can use them to
inform our designs. In your designs, vertical
lines create columns. You can set up a
default column grid when you create your document. You can set a distance
that gives space between your columns and this
is called the gutter. If your columns are
too close together, your information
may not be visually separated and can cause
confusion when reading. Make sure you give
a big enough gutter to allow your texts to
be visually separate. When you create your grid, you can set the
amount of columns. You want to give yourself
a lot of room to play and organize your document. Sometimes you may want to
keep it simple, like 2,3, or 4 columns or you can increase the amount of columns and give
yourself a 12-column grid. This can provide many
possibilities because it allows you to divide up
your page in various ways, in halves, thirds,
quarters, six, etc. With all these options, you have the ability to
create documents that have both symmetrical or
asymmetrical balance. Applying horizontal lines
to your grids creates flow lines which allow you to align elements along
the horizontal axis. The space within
the flow lines and vertical lines is
called the modules, which can contain elements
of your designs such as blocks of text,
images, or graphics. However, it is not
necessary to fill up all the modules
in your grids. In fact, in most cases, it's better to leave
areas blank and allow the important
elements to stand out. As we saw when we learned
about negative space. One type of grid is
called a modular grid. A modular grid is
made up of rows and columns with equal spacing, creating a block-style layout, usually with square modules. This will give you
versatility to organize your documents in various
ways, keeping clean alignment. Another form of grid is
the hierarchical grid. In this layout, you give predetermined areas
of interests, creating large modules, media modules, and
small modules. When applying your
elements into this grid, a sense of hierarchy
is instantly created. Another type of grid is
the rule of thirds grid. Creating a grid dividing
sections into thirds can give you a pleasing composition based on fundamental design theory. The rule of thirds has been
used for centuries to create pleasing compositions
in artwork, architecture, and photography. In this form of grid, you can easily create both symmetrical and
asymmetrical balance. To expand on this a little bit, using any odd number
of columns like 3,5,7 can give you a
dynamic versatility. Applying grids to your
[inaudible] designs will give you a great starting point to begin bringing in your elements. It will also give you a consistent structure
throughout multiple pages. This will make your work look more polished and professional. Don't forget that the grid
is just one tool alongside many design tools you can
use to enhance your layouts. Don't get caught up by
using the grid too rigidly. Some of the best designs
break all the rules of grid layout and are all the
more successful for doing so. In order to truly
think outside the box, we first must know what the
boundaries of the box are. We should understand the
reason why designers make certain decisions and how those decisions impact
the overall design. In the following classes, we'll jump into InDesign and learn how to set
up our documents, as well as learn
how to efficiently use the tools in InDesign
to format our designs. There are InDesign
practice files for you to download
to follow along with. Once you have those prepared, I will see you in class.
8. Exploring Setup: [MUSIC] In this class, we'll learn how to
set up our document to work with multiple pages, as well as how to create simple
grid systems in InDesign. Let's jump right in here.
When we jump into InDesign, we go to the home menu, click the "New File"
option and we're going to create a document that's
eight-and-a-half by 11. Now we're going to create
a multiple page documents, so we're going to have
four pages and we're going to turn Facing Pages on. When we're creating a document that's specifically for print, we have to remember
the end result and how it's going
to be produced. This is why when we're producing something for print
and in InDesign, when we decide how
many pages we have, we have to consider that. When creating something
for print it needs to be in multiples of four, the reason why is because
when they print a page out, they're going to use
something called spreads. It means that they're
going to print a double wide sheet
of paper that is basically double
the dimensions of a single sheet
and fold it in half. In doing so, you're
going to actually have four pages within
one sheet of paper. So when we have multiple pages, they're going to stack
those large sheets of paper over top of each other and
fold them in on themselves. This is what I mean
by facing pages. To illustrate this, I've
made a simple booklet here. Now, this booklet is an
eight-and-a-half by 5.5 document and it has a front cover and it has an inside spread
and it has a back cover. This is a very basic
document and this is basically a four-page spread. We got one page, 2, 3, and 4. Now, if we were to
make eight pages, you would have your front cover, you'd have your
insights spreads, as well as your back cover. Now in order to get eight, you need basically
two full sheets of paper and one stuck
inside the other. When they bind it, they will saddle stitch it, meaning they will staple the edges like that and
it'll make the booklet. Keeping that in mind, we have to remember how many
pages our document needs, where do we create a
multi-page document. If it's for print, go
by multiples of four. Jumping back into InDesign, we can see here we
got pages of four. Facing Pages on, this will create spreads
in our document. This is where the
second and third pages, this is one full spread, a double wide sheet. Then we're going to create a primary text frame and we're going to
have a column of one. What is a primary text frame? A primary text frame
is a text frame that will run throughout
your entire document. When you set up your document, you'll have a preset
text frame with an all your pages
threaded together. If you're creating
a long format book, you might want to use
a primary text frame so that you can easily place all you're texting
at once and then it'll thread through
your entire document. However, I only use
this if I'm making a document that is
a large format, like a book that is a single column, and
I'll show you why. Jumping in here, I'm going to create my primary text frame. I'm going to make
one column and then I'm going to make my margin 0.5 and create a bleed of 0.125 and I'm going
to hit "Create". Now when I open up my document, you can see that when
I click into it, I have a text frame
already activated. Now, this text frame is threaded throughout my entire
document so if I go to View, Extras, Show Text Threads, you can see that the text
jumps from one box to another. If I double-click into it, go to Type and I go to Fill
with Placeholder Text, you'll see that all my
text is filled from the first text frame all
the way to the last. Now a cool part of a primary text frame
is that if you have more texts than could fit
in your original document, it'll force new textboxes in
more pages to be added to your document so it will always have enough room to
fit all your text. To illustrate this, I will copy some of the
texts from my first one, click back into it and paste. Now you can see what happened is another page was added and it forced the text over
to the new textbox. Now this is really cool
and it makes working in InDesign really
efficient when you're doing large format documents. However, when you're
working with a document that has a more creative
layout that uses multiple textbox sizes and multiple different
custom frames, a primary texts rocks can be a hindrance and
I'll show you why. If we go to File, New Document and we create it with a primary text frame
with three columns, we're going to hit "Okay". Now you can see I have columns already created and what's going to happen is if I have
my placeholder text, you can see that it fills
it up with those columns. However, if I wanted to
adjust an individual column, I really couldn't do that. It forces all my text frame to group together
as one text box. It is actually one text box, but within that text box
there is multiple columns, but they don't work
as an individual, they work as a whole. You could format a document
this way and you could do it. However, in most cases, if you're doing a
more creative layout, this might be a hindrance to you and it might be
better to just simply create new text boxes by linking them to
other text boxes. Now let's quickly learn how
we can add columns and grids in our layout design.
Let's jump into InDesign. Now what I want to show you is how you can actually
simply create your custom grids
in Adobe InDesign. In order to do that,
we can go to Layout. You can go to Margins and Grids, and you can easily create
your columns right here. Now another way you
can do that is if you go to Layout, Create Guides, and now you have the
option to create both columns and rows
in your layout design. Now I can increase the rows, I can increase the gutter, and I can also create column guides and decrease the gutter or increase
the gutter there. Now, for our grids, we can also fit it inside our margins or we can
fit it to our page. For the most part, you almost always want to fit your guides within your margins. Pretty much there
is no time that you want to fit it to your page, and then you can hit "Okay". Now you can see that
you have a custom grid. Now, within that grid, now there are
guidelines and you can actually adjust them
to wherever you want. If you want it to make a
more asymmetrical grid with one large part at
the top and a few small blocks at the
bottom, you can do that. You can create a modular grid. You can create any
grid you want. Now, if you don't want to have the ability to manipulate those, you can go to View, Guides and Grids
and lock guides. [MUSIC] Now I can't
actually touch them anymore and they are
permanently there. In the next class, we'll learn some practical topography rules. See you in the next class.
9. Exploring Typography: [MUSIC] In this
class we'll learn about practical typography rules that will allow you
to make decisions about typography
in your designs. Let's jump into the document. I've opened up the practical typography rules
InDesign document. We can see there
is a number 1-8, and we're going to go
through them one by one. Now the first rule is typography exists to
honor the content. What that means is that
you may have a theme, you may have an overall
feel of your design, and it is the choice
of the designer to choose typography that is
fitting for that theme. When you're deciding
your typography, you have to consider
the overall feel of your design and what
it will be used for and who your audience is. You may want to pick
a traditional font, a more modern font, the royal font, make
it more elegant, medieval, futuristic,
rugged or friendly. You as a designer, needs to fit your typography to the overall
message of your design. The second rule
refers to point size, which is the size
of your letters. For the majority of
your body texts, you want to choose a
size of 10-12 points. No larger, no smaller, or else you'll impact the
readability of the text. However, titles or
headings you can create them really
any size you want. Just one rule of thumb is have at least two point difference between your titles
and your body text. If it's just a one
point difference, the difference might be so unnoticeable that it may
look like a mistake. Make sure you develop a
little more contrast between your titles and your body text to actually differentiate them. Third rule is about letting, which is line spacing from
baseline to baseline. The lettings should be
about 120-140 percent of the points size. As example, a 12 point letter should have a letting of 14.4, which is 120 percent
of the point size. If you see here in
our Character panel, you can see I have 10 point font and it is set to 12 point, which is 120 percent. If I were to set it to auto, it would automatically
calculate 120 percent. If I were to adjust all of these to 12 points and set it to auto, it would be 14.4
percent, which is 120. You can push your letting to be a little more like 140 percent. However, once you go over that, you're starting to create
too much space between your letters and they
may feel a bit separate. The fourth rule is about
tracking or character spacing, which is the average space
between the characters. A tracking of plus 20 or minus 20 is the best range
for readability. If it's more than
20 or less than 20, it may be hard to read. Let me explain about that. If I have this and I click
the average spacing, you can see that my lettering
is actually at zero. I can push it out to over 20 and I can push it
below to minus 20. However, once I push it closer, it starts to get a little too cramped and a little
uncomfortable to read. For a rule of thumb, plus 20 and minus
20 is your go to, to increase or decrease the average spacing
between your letters. The fifth rule is kerning, which is the space between
individual letters. The kerning between
your individual characters can be simply adjusted by placing your
cursor in between two letters, holding Alt or Option
and using the left and right arrow key to adjust
the overall kerning. Now as a rule of thumb, you can set your character
spacing to optical, setting your kerning
to optical will space texts for
best readability. Manual adjustments should
only be required for titles as a stylistic choice. If you find that a type or a
font has really bad kerning, you may want to choose
a different font. One thing to avoid is clashing. Clashing is when one character overlaps another
character and they combine into one new
fancy character. As you can see here, this almost looks
like it says dashing. However, if I use Alt and click, you can see that
actually this is an individual letter
and not a d. We want to make sure to avoid
clashing in our designs. The next rule is about
paragraph alignment. In English, we read
from left to right, so body text is best read
when it is left align. Center align text
can be applied to titles or small groups of text. And right align can be
used for footers or notes. An example here is a
central align title, with a left align text
and right align footer. Now what tends to happen
when you have align text is your text is spaced out
according to your tracking. That means that if you have a longer word at the end
and then a shorter word, you may have something
called ragged texts. Let's see in the document here, we can see that left align
text has a ragged edge. Typography like this
is also known as flush left and ragged right. This is not really a big deal when you have left align text. It all depends on the aesthetic
that you're going for. However, if you are pushing
your text up against something that is really
straight on the right-hand side, you may want to consider justifying your text
instead of aligning it. I'll show you about that now. The seventh rule is
on justification. Justification is another way to align your text in
the paragraph panel. You can see here there are three or four different
types of justification. The first one shows us that the last line is left then
its center then right, and then justify all lines. However, in almost all cases, you never want to
use justify all. Always, last line left,
center, or right. Justify all may cause
something called rivers. This is white-space seeming
to run through your copy and it starts to break the paragraph and makes
things uneasy to read. Here's an example
off to the side. Justified text makes a flush
left and a flush right. However, when you
justify your text, it actually voids the
tracking that you placed on your text
and it'll push or pull the text away from
each other as it sees fit to create that
flush left and right. This is why when we justify all, it may create something
called rivers, which are vertical
separations between your text that creates an
uneasy feel to your typography, so you don't want
to have rivers. The last practical typography
rule is about line length. Now, line length for a body
text should be an average of 45-85 characters in
width, including the spaces. Another way to think
of the line length is keeping it between 9-13 words. Line lengths either are
that are too short or too long may disrupt
the process of reading. When we consider
our line length, we have to consider how much
space we want to take up. We don't want to take
up too much space if our text is really small, we want to break it up into
multiple columns if needed, or something like that. This length of the
line is 41 characters, which is an okay span. Now to check how many
characters you haven't aligned, you can highlight your
text, highlight your line, and you could go to "Window", go to "Info" and
when that pops up, you can see they
have 75 characters, 14 words, and one
line is selected. It's between the suggested
45-85 characters and it has 14 words, which is a little more, but there are a
few shorter words and numbers there,
which is fine. The second one, you have 76 characters and you have
13 words, which is perfect. It's right in our prime zone. Again, this one's a little
bigger with the words, but 74 characters is fine. For our last line is perfectly normal to
have a shorter last line. But in general,
this rule applies. If you're seeing
that you're spanning your texts a little too much and it's being
uncomfortable to read, check how many characters and how many words you
have in that line. If it's 100 or 200 words, I would probably reduce that into multiple columns and break up that text a little bit. To select your text, I just want to show you this. If you double-click,
you can select a word, if you triple-click, you can select a line, and if you quadruple click you select the entire paragraph. If you had multiple paragraphs, click five times to
select everything. [MUSIC] The next thing
that we're going to learn is how to control our typography by using paragraph and character
styles in Adobe InDesign. I'll see you in the next class.
10. Exploring Paragraph Styles: Hi guys. In this class we're
going to talk about how you can customize your typography to create a certain feel and
how to efficiently change the typography using paragraph and character
styles in Adobe InDesign. Let's jump right
into it. I've opened up the paragraph
styles practice sheet, and you can see that
it has the cover page, and then we can move down to the paragraph styles worksheet. In the worksheet, you
can see a variety of different paragraph
styles with headers, subheaders, and body texts, and formatted a little
bit differently. We'll go through a
few of them to see how we can customize
our typography. Now, within here, you
can see that there are a few different notes under
each of the blocks of texts. You can read them and they might give you some
direction on how to make decisions about your
typography and what to do. What is a paragraph style? A paragraph style is
essentially the formatting of the typography from
return to return. In order to see that, let's just hit "W"
on our keyboard and I've turned on show
hidden characters, so type, "Hide Hidden Characters", "Show
Hidden Characters". Now, what you can see here, there is a return key, meaning I enter key from the header to the
sub-header into the body. Now, wherever there is a return, whatever text is within
those returns will be affected by the
paragraph style. I have a few styles
over here already. If I were to click into this paragraph that has a return before
and nothing after, and click sub-header,
you can see that all the texts
is affected by that sub header paragraph
style, and I'll undo that. I don't want that. How do we
create a paragraph style? To create a paragraph style, all you need to do is click into your paragraph anywhere that your text is there
between the returns and click "New Paragraph Style." Now, you can see Paragraph
Style 1 appears and we can double-click and see
exactly what that is. Actually, all the formatting
options that you have in your character and
paragraph panels, you have in your
paragraph styles menu. You can see the general, you can add a name for it, we can name it body. It is not based on any
current paragraph styles. Now, you can see the
basic character formats. It's roboto, regular, 10 point, 12 point
leading, metrics kerning, tracking of zero and so forth, and advanced character, stuff
like the vertical scale, nothing that we have
to worry about. Now, the indents and spacing, we can see that
it's aligned left and it's not left indented
or anything like that, and there's no space
before or after. There's no tabs,
paragraph rules, etc. But you can jump in and
look at all these things. It has a character
color of black. You can set it to whatever
you want and hit "Okay." Now that I have a
paragraph style, how do I apply it
to a body of text? Well, it's really simple. All you have to do is
click into a body of text that is between
two returns, and you click on your
paragraph style. It will automatically
format the head texts to your paragraph style. If you have a long document, and you need to
format all your text, paragraph styles are going
to be your best friend. They're going to speed
up your entire workflow, and make things super easy, and keep a consistent feel
to all your document. We can apply paragraph styles
for headers, subheaders, body, and you can make multiple versions of
your paragraph styles. Let's jump in here and
see our sub-header, our sub-header and our header
is a little bit different. We have something that the paragraph style
before doesn't, and that is space after. From here down to here, is just one return. However, there's space here, and from here to here
is just one return. However, there's a
lot of space there. We can adjust that
space by going to our paragraph panel
and you can add space before with this
one, or space after. You want to use this, rather than clicking "Enter" twice because that might
mess up your formatting. In order to have
consistent formatting, use space before and space after to create the feeling you
want rather than return, return and having two returns rather than one, and so forth. Moving forward, let
us see a couple of different ways that
we can customize our paragraph styles to get
a feeling that we want. One way that you
can do that simply is by changing the
color of your text, or you can submerge it under your text by going into
your character panel, and you can see down here
at the baseline shift. Either you can push
it down or up. If I click in and
select everything, you can see that I can
move it up or down. That might give you a cool feel. Again, to create that
into a paragraph style, you can click and name it,
sub-header or submerge. That's pretty cool. This
other one here is underline. You can underline your
text simply by going to your character panel and
clicking "Underline". Let's double-click all of it, go into our paragraph
panel, and underline. However, you don't have many formatting options
for your underline, so I'm going to get rid of that. I'm just going to undo. How did I make this
other underline? I did that using the
paragraph panel. In the paragraph panel, you can open up the
side panel there, and you could go to
paragraph rules. Now, you can see
that you can make a rule that's above or below. My rule that's above for
some reason I offset it, so it's actually below, and one that's below is on top. You can really customize
it however you want. You can change the width
to match the column, or you can match the text and then from the width of
your column or your texts, you can indent it, bring it in, or you can bring it
out into a negative. You can push it all the way
to the edge of your page, might look pretty cool. You can offset it
going up or down. You can also increase the
thickness of your line to make a whole block
covering your entire text, and you can change it
from the text color to something else like that. That's pretty cool. Already really made this in
totally different field. I'm going to undo that. I did that same thing with
the blocking text here, added a texture font, made it look a
little more grungy, a little more cool, and now down here, another thing you can do, instead of just leaving
plain old lines, you can actually make a box. How did I do this one? You can go to your
paragraph panel, and go to paragraph
borders and shading. Paragraph border and
shading menu comes up, and you can adjust
it the same way. You can increase the
size of your border. You can change the style of it. You can change the cap,
the round corners. You can change the corner
type just to make it a box. Inverse, inset, fancy,
something like that, and you can offset it in
different ways from your text. Again, you can set the width to the text
or to the column, whatever you feel like doing. There's a bunch of
different ways that you can customize your paragraph styles. Paragraph styles are
used for anything from subheaders to the
body of your texts, to call-outs, to really
anything that you need, a consistent form of typography. Use a paragraph
style and you can apply that very easily to it. Make sure that you create
the spacing between your paragraph styles using space before and space after, rather than always consistently using the enter key
twice because that might mess up your spacing
because you might have a font size that
is a little lower, and it may make
incorrect spacing. One other thing that
you can apply to your paragraph style is
something called a drop cap. A drop cap usually goes at the beginning of
your first paragraph. If you go into your
paragraph panel, you can see this here, and it has a drop cap, and you can decide
how many lines you want that drop cap to go. One really doesn't do anything, but if you have 2, 3, 4, 5, you can make a big emphasis, and you can decide
how many letters your drop cap could be. You can have a whole sentence
or just the single letter, and you can change
the color of that. Now, to change the color of an individual letter
without changing the paragraph style uses something called
character styles, which we'll talk about next.
11. Exploring Character Styles: [MUSIC]. Continuing
on in our journey to explore the
styles in InDesign, let's understand
character styles. One thing that's really cool
about character styles is that you can apply
characteristics to individual sections of your paragraph without
affecting the paragraph style. This is actually really
cool and really efficient. One thing that you can do, is you can go into a paragraph and you can highlight
a certain part of text and you can go into your character panel and
you can find your bold, and you can bold that
part of the text. That's pretty cool. However, if I were to make this
into a paragraph style, you can see that in my
Paragraph Styles options here, when I click that
bolded section here, it actually says
Paragraph Style 1 plus. It means there's something
different about this text that isn't in our
paragraph style. In small quantities, this might be effective
and it might work. However, if something happened
that maybe we formatted things a little differently and we have all these things
that we want to correct, maybe this one, change it to
green, something like that, and we wanted to actually
just revert it back, we just want to
revert it back to the regular paragraph
style, we can do that. If we were to click into here, we can see that there
is an override plus, but maybe we wanted it to be bold but we don't want
this to be green. I can go here, right-click and I can go Apply Paragraph Style 1,
Clear Overrides. It means anything
that shouldn't be in Paragraph Style 1
will be eliminated, and it will revert back
to its original form. However, that took away
our bold part of it, which we wanted to key. In order to prevent
that from going away, we're going to use something
called a character style. A character style is a
little bit different. It allows us to apply
individual characteristics to just small sections
of our paragraphs and it'll be like the paragraph is complete already and no
overrides are necessary. How do we apply a paragraph
or character style? The Number 1 thing I want to explain to you is that
character styles are best used just to simply add emphasis to a section
of your paragraph. By limiting the attributes
of your character styles, they can easily be applied over any paragraph style.
What do I mean there? If I go into my
Character Styles panel, you can see here, I have
a few made-up already. If I double-click
into this option, you can see that it is titled bold and it has a
simple characteristic, and that is the
font style is bold. It has no font family. It means it's not going to convert the text to
any font family, except for the font
family that's there. Whether your font family is
Times New Roman, Roboto, Futura, Montserrat, or any other font family, it'll remain the same. However, if that font
family contains bold, it will change the
selected text to bold. Let's see how that works. I can double-click select
into there and click "Bold". Now you can see even
though it's Futura, there is the bolded section. Now if I go to a
different paragraph style or a different font and I click "Bold" it'll
do the same thing, but bolded in its
own font family. It won't change it to a
different font family at all. That's really, really cool. I could do with this
one as well, bold that. Now I can change the attributes
in many different ways. I can change it from
bold to italic. I can use it to add emphasis
by changing the color. If we can go into the
red character style, go into character color
and change that to red. Now, I can apply it to
anywhere, simply add red. However, there's
something off about this red. Unclick that. Let's go into the red and see what's happening,
basic character. The font size is 10, so it actually kept
the font size as 10. We can just go in and
delete that attribute because the only attribute we
want to change is the red. Basic character, we don't want font size to change,
so we'll do that. Now if we go in and click "Red", it'll just apply the
red over top of it. That's really, really cool. Now we can use it to highlight. Now the highlight, let's see how that works here. Perfect. I just simply select the text and
highlights the texts. How does that work?
Let's just go in, highlight, what do we have? Nothing, underline options. The underline options of
the texts, pretty simple. It has a font size of 12, but I can increase
that or decrease that since most of my
font is around 12, I can go to 13. I can offset it up or down, and I can also
change the color of my stroke or my
underline option. That's how you can adjust your paragraph and
character styles. You can also change the
formatting to all caps so you can double-click and check that
out under basic characters. The case is all caps. Now what I want you to do
is I want you to simply format the last page. This is the practice sheet. The practice sheet is just
a bunch of filler text. Now what I want you to do is
I want you to take some of these paragraph styles
that were already created. I'm going to ask you to add them in as a
new paragraph style. You can name them as
underline header and I'll create a new Submerge Sub Head, and click into this one
and create a new body. Then take those paragraph styles that you've just created, go down to your
bottom text and find sections where you want to
apply the underline header, and then the underline submerge, and then the body text, and the underline submerge
and the body text. All this can be body, maybe this one is
the new header, and this one's
maybe a sub-header. Maybe not. Maybe I'll break this
up and make an enter there and make this the
subhead and this is the body. Make that more body and make this a title body. Just delete that section. Cool. Quickly I was able to format this document. Obviously, it's not the best. I can move this down
if I wanted to. I can rearrange some
of the elements, but essentially all I want
you to do is play around with the paragraph styles as well
as the character styles. Let's highlight this
section over here, make this section red, bolden a few sections over here. However, you want
maybe all caps there, play around with it and see what you guys can create out of this and try it out for yourself. You can pick and choose and make multiple paragraph styles and
apply different versions, and if you want to
export this page, send it in the project panel, I'll love to see what
you guys create. All right guys, I'll see
you in the next class.
12. Exploring Master Page : [MUSIC] In this class,
we'll learn about master pages and how
you can use them to efficiently create
templates and lay all your documents in
InDesign. Let's jump right in. I've opened up Master Pages
practice InDesign file. You can see that
it starts off with the title page and we have a
few different spreads here. Now these spreads are actually
made up of master pages. When we try to click on some
of the elements or hit W, you can see that some
of the elements have a solid outline and some of
them have a dotted line. The dotted line elements are actually part of
the master page, which means they aren't directly editable in this
section at the moment. However, they are clearly
part of the page, but they are something
called a master page. Where do we find master pages? If we open up our pages panel, I'll just dock it
on the right side here and we can look
into them a little bit. Now, the master pages are at the top of
your Pages panel. You can see that I have
a few set up right now and we'll go through
them a little bit. Now how it works is if you
have pages in your document, you can apply
master pages to it. if I were to right-click on these two pages and
apply parent pages, master pages or parent
pages, and I hit None. You can see what my page
actually it looks like, it's just clear
with nothing on it. Now, if I double-click into
my inner page B, inner page. This is my master page where I can actually adjust everything. I've created a header that
I want on most pages, and I've also created
a footer with explore master pages and I created a simple page
numbering system. How did I do that? Is
I just typed in page, but I have the letter B here. Why is the letter B here? Is because this is
a variable text. It actually allows me to
do some page numbering. I'm just going to delete that
and I'm going reenter that. I want a page
number on every one of these pages, whatever it is. I'm going to go to Type
and I'm going to go to Insert Special
Character and Markers. I'm going to Insert
Current Page Number. Now you can see that B
is applied here because I am in B page. However, if I was on Page 1, it would say Page 1, Page 2, it would say Page 2. That's something really cool and really useful in InDesign. If I pull over over here, I have another one over there and it would give me the
current page number. This is how you can simply lay
out something in InDesign. You can put a header, a footer or something that you want to remain constant in multiple
pages of your document. Then what do we do? We can go into our
document here, make sure you're not
in your master page. You double-click into your
pages in the bottom section, these are the working pages. I'm going to click in the Pages menu and highlight
both of these.I'm going to right-click and I'm going to
Apply Parent to Pages and I'm going to select inner page B and I'm
going to hit "Okay." It applied that master
page to this spread. Now what I can do with
my master pages is I can actually create
custom master pages based on previous ones. One thing that I did is if I go into this second master page, this is inner page
with watermark. I have a watermark here, watermark section that I
wanted to be displayed. However, the rest of it
is not actually editable. It is because this master
page is a master page based on the first master page. If I right-click on
this one and I go to parent options Format Page B. You can see the options
that I have here. The first one is
the prefix is B. This is the name, and now it says based on parent. I want it to be based
on the inner page. if I make adjustments
to that inner page, all of those adjustments
will also be reflected in this page as well. The only thing that I changed about this was I
added the watermark. If I go to my document and I wanted to put a watermark
in all of my pages, I would just change it
over to this master page. But let's say I wanted to export it without the watermark, I would go back
and change all of them to the original
master page. That's one way you
can easily watermark or unwatermark your documents. I'm going to hit "Okay." You
can see how it's applied. Here is the master page based on inner page with watermark.
That's really cool. Now if we go down here, we can see that we
can actually create a template based on
that using grid system. I have master pages here. I have two that are labeled
C. These are the ones that I've made to organize
the material on that page. Let's jump into this
master page here. In this master page, again, if I right-click Parent options, it is based on inner
page B and I hit "Okay." All I did was I created a simple modular grid system to layout on this master page. Now, I can go into
any of my documents, any of my pages, and I can apply
this master page. If I just had inner page B, that's applied parent
pages, inner page B, I would just have this simple
grid system, which is okay. But what if I wanted to have that modular grid system to
format all my documents? I will go to Apply Parent Pages and go to
Modular Grid and apply that. Now I have the modular
grid that I can utilize for my formatting.
That's really awesome. I could do the same thing with a different type
of modular grid, the rule of thirds grid. Now the cool thing about having these all based
upon the original. Now you can see all of it is very consistent from
the first to last. Now if I jump into
inner page B and let's say I wanted to change this one to have practical graphic design both on the left and the right page, I'm going to just drag it over, duplicate it, drag it over. Maybe I wanted master page, explore master pages with
a yellow line on this side as well and over here. I made a few adjustments
to inner page B. Now, what's really
cool is that has applied and over
all my other ones. The one with the watermark, the one with the modular grid, and the one with the
rule of thirds grid. When we build our master pages, you can efficiently customize
your document with ease. Setup a simple template
with things that you want to remain on every single
page or current pages, and apply those master
pages to your document. Setup rule of thirds grids, different grids for different
purposes in your layout, and have fun with it
because you might need a certain template for one thing and a certain template
for another thing. Now, the last thing that I'm going to show you
is how you can use master pages to set up a template page for
your documents. Let's go down here to this one. This is master page
template override. What I mean by that is I went in and design a page
that I think would be useful for displaying some image with a title and a description. I want to keep this consistent throughout all of my designs. maybe every few pages I'll have a spread like
this to apply to. I went in and is D
on my master pages. I set a text box
here, textbox here, and I set a frame here
because my intention is that in this frame I'm going
to have some image there. Now when I jump into my document where that
master page has applied, now I want to use this more as a template rather than
as a master page. I want to be able to
adjust these things. How do I do that? I'm going to click into my pages and
I'm going to right-click. All I'm going to do
is I'm going to do Override all Parent Page Items. Now what that gives me
the ability to do is I then have access to edit
them within this page, but it will not affect
the overall master page. I`ll override All
Master Page Items. Now you can see that
those dotted lines went into solid lines. Now this is editable text, editable title, and
also an editable image. Now what I can do is I
can click into my frame. I can jump over to a file and I can drag and
drop an image into that one. I can drag and drop an
image into that one. Now I can change this
title to space x, space explorer, and then I could change the description and
I can change that title. Quick and easily I have
a document set up, a template setup for
this specific purpose. You can create master pages
for many different purposes. You can create it
simply as having permanent fixtures
on your document like a header or a footer. You can create grid systems as templates to
organize your document, texts and typography, and assets within your document. Or you can break out of the master pages and
utilize what you've put in, like a template and have a consistent theme throughout
your entire document. For this class, there's
no official practice. Just run through the
master page document. Try it out yourself if you want to play around with
the master pages, format them a little differently,
however you want it. I'll see you in the next class.
13. Exploring Text Wrap 1: [MUSIC] In this class
we'll learn about an awesome feature
in Adobe InDesign, which is the Text Wrap.
Let's jump right in. Jumping into the Text
Wrap practice sheet, we can see that we
have our title page, and we can jump down
to our spreads. The first page we can see
is galled adding Carlos. Carlos add variety and break texts into
manageable sections. When somebody is given
a large block of text, actually sometimes
they feel overwhelmed. To solve this problem we can break it up
by using callouts, and give them more manageable, bite-sized sections of text. How do we use callouts? Well, you can pick and
choose different texts from your document and you can
bring it into its own textbox. Now, what we're going
to use in this class is the Text Wrap options. If you don't see
that, go to Window, go to Text Wrap.
Have it over here. I'm going to bring it out, and in the texture map you have
a few different options. You can say no texture. Now you can see what
happened there is my text does not
affect anything, so it just goes over
the other texts. One thing that you
wanna do is when you using the Text Wrap option, you do not want to
apply your Text Wrap, to your bulk or your
main group of texts. You want to apply
it to the object or texts that you want to
interact with that text. There's a few different
options here, then we'll play around
with the first one is wraparound that bounding box. This allows the
text to actually go over and around the sides
of your bounding box. However, if you wanted
to just go above and below your block of text, and not wrap around
it like this, you can select this
option jump object. It'll actually force
the text to jump to the next side or the lower
side of your object, rather than going off
to the side of it, which might look a little better for your
typography in your texts, and there might add
to the readability. Another thing that
you can do here, is you can jump the text. This will force the text, even though there's a remaining
space in this text box, it'll force it to
the next column. You can decide where you want that text to jump
so there's nothing going to be remaining underneath
it. That's pretty cool. You can wrap around
the bounding box so you can go within the objects, or within the text, and you can see how
that's affecting that. That's really cool. The last one here is wrapped
around the object and sheep, and we'll get into
that with our images. Let's move over to
our basic images. The first one here, we can see that I have wrapped
around the bounding box, because the bounding
box is square, and the images are rectangle and the images rectangles so we don't need to go
around the shape, this shape is the exact same as the bounding box so we don't need to worry
too much about that. But the circle here, you can see that the circle, it has a bounding box like that. It has a square bounding box, but we don't want it to be
affected by the bounding box. We wanted to actually work around the
circular form of it. We're going to
select this option here wrap-around object shape. Now you can see we only have
one option for the offset, is to increase or decrease the overall distance
from the shape itself. Same with this triangle, we did the same thing
when you have an image with a white background or
near the white background, Adobe InDesign will be able
to actually determine or detect the edges of the shape and use that the shape outline. Then you can offset from there. Let's see how that works. I select this, now the Contour Options, I'm going to go detect edges. Now you can see it's
forcing according to the contours of the ice cream, which is really cool. Now there's a few
different options of how you want to wrap it around. One thing that you
can do is you can do both left and right edges and you can have it span
around the entire object. Or you can decide whether
it's on the right side, or the left side
of the object you want it to be forced to. Or depending on your layout, you might want to force
it towards the spine, or away from the
spine, left or right. Or you might want
the largest area. In this case, I want
the largest area. So if the largest
area is on the right, it'll be forced to the right, if it's on the left, it'll
be forced to the left. I think that's better than having it on both sides
and breaking it up. I don't think that
it looks very good. We can do largest area, it'll force it to
the largest area, whatever side that is
and looks most pleasing. [MUSIC] [MUSIC]
That's how we knew basic colloids and basic images. In the next class, we'll go over a little more complicated
shapes. See you there.
14. Exploring Text Wrap 2: [MUSIC] In this class,
we'll go over how to address complicated
shapes when using the texts
or app feature in Adobe InDesign. Let's
jump right into it. In the second spread of your
text wrap practice sheet, we can see we have
these two images here and there a text
wrap pretty nicely. I used a couple of different
methods for both of them. Let's see how that works. One thing that I want you
to note before we move on, is that if you are using
objects like this image here, you want to make sure
that they are below your texts because funny things will happen when they
are above your texts. If I go to the Layers panel, you can see my image is
close to the bottom. But if I were to
send it to the top, you can see now it's affecting
the text underneath. However, we don't see that text. You want to make sure that
any images that you're overlaying on your
texts that are wrapping around the
image are below. Make sure it's below
in your Layers panel. The next thing that
you can do here is I wanted to outline
this car here. Now, there's a few different
ways I can do that. The first thing that I'm
going to do is I'm going to just move my object here. Now I have my current image
with the text on top. I'm going to create the shape, and I'm going to use this
option called detect edges. But the edges really didn't
work because it's all black. I can use the bounding box. I can use a graphic frame, or it can use the
same as clipping. Or I can select subject. InDesign, the program will
try to select the object of your image and you can use the bounding box to
offset that as you want. However, when it's
something like this, this is a little more detail. There's not too much contrast, it may not be perfect and some
edges might be too close. You may not want
this dip down here. Yeah, you can go in
if you wanted to. If I hit the Pen tool, I can take away points in here. However, after I take away
points in my text wrap, it has no longer any offset
so I can't adjust it anymore. I don't really like that. For this object in particular, I didn't want to use the text
wrap object on this image. I'm going to just
say no text wrap. However, what I did do, is I took my Pen tool
and I drew a line around my object and I made a custom
shape to go around my car. I'm just going to
delete that and I'm going to move over
the one I did. With this custom shape, I applied the text
wrap option and I applied a little
bit of an offset to where I wanted it to go. Now using a custom shape, I can decide exactly
where those points go to. I can keep it flat
at the bottom, I can round it at the top
around the edges I want. Just like that. That's how you can
make a custom shape in Adobe InDesign to text
wrap your images. Now, the other way is I just showed you and it works better with more contrasty images like this against
the white scar. In this case, I had the
text wrap option offer now. I go to text wrap and
I select subject. Now, select subject will decide where the subject is and create a
bounding box around it. It's not always perfect. Making the custom shape might
be a better option for you, but this is a quick way to utilize this tool
in Adobe InDesign. It looks really cool like that. In this case, I didn't want
it to go below the water, so I moved the text
boxes up a bit. I thought that looked
pretty good as a spread. Now you can apply this to our practice sheet
at the bottom here, the text wrap practice. I have a bunch of
filler text here. What I want you to do is you
can highlight a bit of it. You can copy it. You could create a text frame. You can create this into
some header or column. I can text wrap the bounding box and I can
move it around inside. I can spread it out over
two columns if I wanted to. I can make sure it's jumping, something like that,
and then I can add an image in here. Let's bring this
guy back in here. Put an image in there,
something like that. Anything you guys want. You can play around with the text wrap feature
in Adobe InDesign and play around with it and
have some fun with it. If you want it to
really format it, you can play around with
some character styles, paragraph styles, and do
add the whole thing there. This was a fun class and
I really hope you learned something from the
text wrap tutorial. In the next class,
I want to go over a potential class
project for you to do and show you my thoughts
and processes in doing so, so that you can have
further understanding on how to work in Adobe
InDesign. I'll see you there.
15. Example Class Project: [MUSIC] In this class,
I want to show you a sample class project. I prepared many assets
that you can use as a text file as
well as many images. You can use them at
your discretions to make your class project. However, if you have your own information, your own images, and you want to put
something together, feel free to do that. I really look forward to
seeing what everybody creates. How this class is going to go, I'm going to show
you a time-lapse of my design process and
then we're going to go back to real-time and I'm
going to explain some of the decisions that I've
made through the process, as well as the techniques and practices that I
implemented in my designs. Through this, you may come
to understand more of the practicality of some of the tools that we
went over in class. Let's jump right into InDesign [MUSIC]. Now that I've completed
my class project, I want to go through it
one by one with you. I want to go with you one by one through some of the
decisions that I made through my design so that
you can understand it and it'll help you develop
your creative eye. Jumping right into the
class project here, if you want to open up
this class project, I've provided it in
the project panel so you can feel free
to look around it. You can actually
play around with it. You can edit it,
however you want and you might find a better way to organize
the information. I did it relatively quick. Anyways, it's not too bad. Let's jump right into it. We see that we have
a four-page document starting with the title page or a cover page and
then ending with the back page here.
Jumping right in. We see that in my first page, I had the focal point being
the big picture of this ship. It's in a cool, neat frame and you
can see that I use the practice of repetition
throughout my design. I have these rounded, inverted corners as part of the motif that I made in
many of my images here. It carries throughout
the entire design that makes it a little bit of unity throughout the
entire composition from the cover page
to the back page. Now, I decided to make
that the focal point. I was initially wanting to make a title and then
a subtitle here, however, I ended up just
going with the big title, big bold pirates and starting
off the next paragraph. In the paragraph you can
see that I decided to have a more traditional texts
which was a Serif font. Let's see what font
that is, Baskerville. It's a pretty clean, traditional Serif font and you can see that I
did a drop cap for the initial paragraphs and I
made that a character style. That character style is
labeled pirate letter. Basically whenever I highlight a subject and I give
that letter to it, it gives us the character style. I can easily give something
that font of the pirate font. Now over here you
can see that I have added a call out that just breaks up the text a little bit, makes it a little more fun
and interesting to look at rather than the
solid block of text. I also broke it up
with a couple of images and a color bar here. The color bar signals that you
were pulling everything to this side and that initially
forces the person to think, oh, it continues off the edge of the page and that's where
they would flip the page. That's my thought
process in that. You can see there's a very
clear line of action here, starting from the image
and then you can see that big bold p. That's
the starting point. It carries through to the gold and off the edge
and turn the page. That's how I imagine people
would view this cover page. Now that we understand
the cover page, let's move on to the
second page spread. Jumping into the
second page spread, you can see that I carried that brown bar off to
the edge of this side. In this section,
I decided to put a big bold focal point as this map image
in the background. It really makes a
statement of what's going on here as
well as continuing the motif of the inverted
rounded corners with the images and then since it
was on a darker background, I decided to increase the
point size of the white font. Because if you have
white against dark, you want to increase
the size a little bit, because if it is printed and then the letters are too thin, they may not come out
properly in print. Just keep that in mind, thicken up the letters
when you're doing a white on black or
something like that. In this design, you can see a certain order of how I
picture people viewing it. Obviously you're going to
read from left to right. I'm starting here off the
left-hand page, big W here. That's the initial starting
point and it drops down, this leading line all the
way down to the edge, to this compass in the middle. There is rays coming out from
the compass and you can see directing your eyes off
to the right-hand side. This line is leading
up all the way to our second paragraph. Our second paragraph again
has the big letter C, that's indicating the initial
start of the paragraph and it's a good way to add some
hierarchy in your design. Again, I broke it up with
a little bit of a call out and I use that
text wrap feature with another pirate
medallion here that pushes the text over and it directs your eyes
over to the history. Again, in this full layout, you can see that
there's actually a lot of technically negative space. Since this was very busy
over here on this side, I kept this side a little bit
cleaner to give the viewer a little bit of a break
from all that texture. That gives a little bit
of asymmetry in there. Moving on to the last page, you can see here that
I have a big bowl of the image and it's
directing our eyes. It's moving towards the
big block of text here. Initially, I had it blank
without this image in here, and it felt a little empty and I didn't really
know where to look. I added this image in to really draw the attention
into this section here because there's a huge contrast between the very
vibrant yellows and warm colors here compared to the overall neutral
tones of the image. It draws me to the
top and brings me down to the body of texts. The body of texts flows
into the ship and the ship is moving back up
towards the picture. It's a more circular design. If I have the ship
facing the other way, lets just try that, like this, actually it draws
your attention off the page. You don't really
want to do that. In most cases it feels a little uncomfortable because it's
going really into nowhere. That's why I decided to
make sure it was directed into the letters because it circles back
inside the image. You never want to push it
outside the image or outside the paper unless the direction
is to turn the page, like my initial page design. This one ends in a circular
cycle and it's really good. Let's see a little
bit of the breakup of these pages overall. You can see that I created
repetition through the thematic paragraph styles, as well as the imagery
is consistent and the overall layout looks
pretty clean and organized. There are many ways to
display information, but your job is to find a
way that works for you. Obviously everybody has their
own style and a part of design is putting your style
out there into the world. However, there are some
rules and principles that we can follow to better
create our designs. When we understand those rules, it'll allow us to
understand why we make those decisions and
how we can push those decisions further or learn how to properly break
the rules of design. If we don't know where the
boundary of the box is, we'll never know whether or not we're thinking outside the box. Remember, put into
practice some of the practical graphic design principles taught in this class. I really want to
see what you guys create in your class projects, lay out some information and display it however you see fit and try to put some of the practical graph
design principles into your layouts. If you want to break away from
some of those principles, think about the reason why
you're making those decisions. Don't just do
something randomly, but have a reason and a
purpose for those decisions. Whether that is to
add more emphasis, you're breaking out of
these rules or practices. Or maybe you're trying to
make the design a little more creative in some way or a little edgy,
something like that. This has been an awesome
class to teach and I really look forward to seeing all your projects
in the next class. I just want to say thank you.
16. Thank You!: [MUSIC] Hey guys. I
want to thank you so much for taking this class. It really has been a
pleasure to teach this class and I really look forward to seeing everything
you guys create. I'm glad I can help you learn to navigate the wonderful
world of InDesign. InDesign is a powerhouse tool and it opens up so
many possibilities. It has definitely increased my ability to create designs in an organized fashion and it has opened up many opportunities
in my design career, and I hope it does
the same for you. In the project panel
here on Skillshare, I have provided many
assets such as text files as well as many images that you can use for your class project. If you're comfortable
with sharing your work, I would definitely
want to see it. Make sure you post your
work in the project panel and share with all the
students here on Skillshare. I'd really love to see
what you guys create. I really hope you were able to learn something
through this class. However, I know
that I'm lacking, and then may not have explained something as best
as I could have. If you have any
questions at all, feel free to leave them
in the discussions panel. I'll get back to those
questions as soon as I can and hopefully together
we can find the answer. If you've enjoyed the class
or learn something from it, I would really love to hear
what you thought about it. After the class, please consider
leaving a short review. Let the other students know
what you liked most about the class so they can be
encouraged to learn as well. I'm always looking
forward to creating new classes for you
here on Skillshare. If you'd like to be notified
when a new class launches, make sure you follow
me here on Skillshare. If you want to learn more
about graphic design, definitely check out some
of my other classes. I have the initial practical
graphic design classes, as well as I will have future practical graphic
design classes going forward, as well as other subjects like
Adobe Illustrator and how you can take
advantage of some of the tools taught in that class. Again, I just want to say, thank you for taking this class. I really look
forward to traveling with you along your
creative journey, so See you next time.
Kyle Aaron Parson, Graphic Designer and Illustrator
