Practical Graphic Design: Craft Beautiful Documents with Adobe InDesign | Kyle Aaron Parson | Skillshare
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Practical Graphic Design: Craft Beautiful Documents with Adobe InDesign

teacher avatar Kyle Aaron Parson, Graphic Designer and Illustrator

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

    • 1.

      Welcome To Class

      2:10

    • 2.

      Class Project and Requirements

      2:14

    • 3.

      Understanding Visual Balance

      2:47

    • 4.

      Understanding Focal Point

      2:14

    • 5.

      Understanding Negative Space

      3:30

    • 6.

      Understanding Repetition

      1:00

    • 7.

      Understanding Grids

      4:50

    • 8.

      Exploring Setup

      7:50

    • 9.

      Exploring Typography

      9:40

    • 10.

      Exploring Paragraph Styles

      9:38

    • 11.

      Exploring Character Styles

      8:56

    • 12.

      Exploring Master Page

      10:53

    • 13.

      Exploring Text Wrap 1

      5:15

    • 14.

      Exploring Text Wrap 2

      6:00

    • 15.

      Example Class Project

      11:23

    • 16.

      Thank You!

      2:19

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About This Class

Having an understanding of Adobe InDesign is a huge asset for anyone to have. InDesign enables you to format dynamic documents with ease and can totally transform your presentations, whether that be an advertisement, brochure, business card or a multi-page document. With InDesign’s formatting tools you can upgrade your work by implementing time tested Practical Graphic Design principles and level up your designs.

Join Graphic Designer Kyle Aaron Parson in learning how to effectively use the industry standard for desktop publishing, Adobe InDesign. Many people have great ideas and great content to share, however if it presented in a boring or mundane way people will just pass it by and move onto to the next thing that catches their attention. In this class you’ll be shown how to take general information and make it eye-catching, so it will engage your audience.

You’ll learn Graphic Design Principles such as:

  • Symmetry and Asymmetry
  • Balance in Graphic Design
  • Creating a Focal Point
  • Negative Space and Proximity
  • Practical Typography “Rules”

Unlock InDesign’s Tools by Learning:

  • Multi Page Document Set Up
  • Paragraph and Character Styles
  • Creating Structural Grids
  • Master Pages
  • Text Wrapping Images
  • And More

After the class you'll have a solid foundation in InDesign so you will be able to format beautiful multi page layouts with ease. By completing the class project you’ll have some creative work to add to your design portfolio.

This class is a perfect for those just getting started in InDesign as well as anyone who wants to build up their understanding of design. In order to develop your graphic design skills, this class is part of a Practical Graphic Design series. Each class will introduce you to different skills in graphic design and build upon what you’ve learned in other classes.

Check out the other classes here: https://skl.sh/3PLa3GX

I can’t wait to see you in class!

Meet Your Teacher

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Kyle Aaron Parson

Graphic Designer and Illustrator

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Level: Intermediate

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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.