Understanding InDesign with Practical Projects, Implementing Design Principles | Elias Sarantopoulos | Skillshare
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Understanding InDesign with Practical Projects, Implementing Design Principles

teacher avatar Elias Sarantopoulos, Helping You Develop

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.

      Introduction

      1:57

    • 2.

      Creating Real Fractions

      3:57

    • 3.

      Adding Custom Bullets

      4:08

    • 4.

      More Custom Bullets

      1:06

    • 5.

      Adding a Numeric List

      2:36

    • 6.

      Custom Glyphs - Setting Up Artboards

      3:38

    • 7.

      Custom Glyphs - Copying & Pasting Icons

      1:57

    • 8.

      Custom Glyphs Icons - Compound Paths

      3:45

    • 9.

      Custom Glyphs Icons - Exporting Icons

      1:17

    • 10.

      Fontello Icon Font Generator

      1:15

    • 11.

      Creating the Glyph Set

      1:40

    • 12.

      Inserting Icons onto Layout

      2:17

    • 13.

      Photo Grid - Placing Photos

      3:54

    • 14.

      Photo Grid - Numbering

      2:59

    • 15.

      Photo Grid - Duplicating Numbers

      1:34

    • 16.

      Photo Grid - Changing Order

      1:59

    • 17.

      Sidebar - Headings

      3:04

    • 18.

      Sidebar - Paragraph Text

      2:04

    • 19.

      Shaping Text Frames

      3:29

    • 20.

      Text Wrap Through Letter Paths

      2:55

    • 21.

      Text Wrap Though Transparency (A)

      3:00

    • 22.

      Text Wrap Though Transparency (B)

      2:31

    • 23.

      Pull Quote

      4:50

    • 24.

      Pull Quote with Anchored Character

      4:13

    • 25.

      Caption Over Image

      6:39

    • 26.

      Bottom Caption

      4:35

    • 27.

      Caption with Custom Bullet

      6:23

    • 28.

      Highlighted Text

      4:21

    • 29.

      Sidebar

      9:27

    • 30.

      Dropcap

      5:09

    • 31.

      Thank you!

      0:23

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About This Class

Class Overview: Understanding InDesign with Practical Projects | Design Tips

What you will learn:

  • GREP Style to convert fake fractions into real fractions.
  • Print Magazine custom bullets.
  • Print Magazine Numeric list.
  • Creating your Font based on vector icons.
  • Creating bullet list based on custom glyphs icons.
  • Adding grid of photos and numbering in sequence.
  • Shaping frames using the Direct Selection tool.
  • Shaping frames through letter paths.
  • Text wrap through a transparent PNG image manipulated in Adobe Photoshop.
  • Text wrap through Adobe Photoshop image based on a custom path.
  • Paragraph Pull quotes.
  • Multiple image captions.
  • Creating a sidebar as a stand-alone element (GREP Style for targeting headings).
  • Paragraph Drop Cap.
  • Adobe InDesign tips
  • InDesign magazine layout techniques
  • Implementing design principles

Why You Should Take the Practical Magazine Projects in Adobe InDesign Class:

  • This class is perfect for anyone that is getting started in InDesign or has a little experience and wants to build up their understanding in InDesign.
  • To get creative using Paragraph and Character styles.
  • To expand your knowledge of Paragraph and Character styles.
  • The class builds up on techniques and ways from the Create a Magazine Layout in Adobe InDesign class.
  • To improve the quality of design magazine layouts.
  • For graphic design portfolio ideas
  • For magazine design inspiration
  • For building portfolio projects
  • To go beyond the basics and make a difference in your work
  • To learn the ins and outs of Adobe InDesign

Meet Your Teacher

Teacher Profile Image

Elias Sarantopoulos

Helping You Develop

Teacher

Born in Athens, Greece, Elias migrated to the US where he received his BA and MA degrees. He started his professional career in the mid-90s working for tech startups focusing on web technologies and being a part time faculty in various educational institutions. An educator over the past 28 years teaching in universities and social platforms, covering page layout, animation, vector and interaction design.

In 2016 he became a book author, writing the Church of Chora. The book is the most comprehensive interactive guide describing some of the oldest and finest surviving Byzantine mosaics and frescoes in the Church of the Holy Saviour in Chora, Istanbul, Turkey. A unique reader experience with the use of interactive maps, voice narrations, videos, references to the Bible describing e... See full profile

Level: Intermediate

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Transcripts

1. Introduction: Okay. Hi, everyone, and welcome to this engaging course Understanding and design with practical projects to amplify your portfolio and workflow. Now, by the end of this course, you have the knowledge that you need to use part of styles with a combination of character styles and implement design principles to create page layouts that stand out and gain a deeper understanding of design functionality. My name is Elia Sin Tables, and I've been an educator over the past 30 years teaching page layout, vector design, and animation. In this course, I'll cover topics such as converting fake fractions into real fractions using a grip style, paragraph bullets and numbering based on character styles, creating a custom fund based on SVG icons and bringing those as glyphs into design. Adding a grid of photos with sequence of numbers, shaping vector frames to disrupt the grid flow. Paragraph pull quotes to break the monotony of large sections, image wraps based on transparency and working inside Adobe Photoshop, image captions to draw viewers attention to articles, a sidebar as a standalone element and the very popular drop cap. I thank you in advance and look forward to seeing you in class. 2. Creating Real Fractions: All right, so inside do been designing with the document open, I'll start this off by adding custom bullets. Now, in recipe layouts as the one that I'm working on, one will find fractions in the ingredients. That's what I have here is this first column. Fake fractions which need to turn into real fractions. Quick note here. The font of my choice, which is Andra P does contain built in fractions. So it is highly recommended to find a phone family supporting that. Double click to get into the paragraph. Then select this fake fraction and inside the character panel, I will click on this flat menu, choose open type and then fractions. All right, that's great. But what happens when throughout your document, you have multiple of these fractions. As I do here in this paragraph text. Well, that's where a grip style comes in handy. So I'm going to build one into this paragraph. So under the edit menu, I will do that. And the first I'm going to do is create a fraction character style. With nothing selected, I will click on the character styles panel. I'll click to create one. I'll double click to get into the character size options. I'll give it a name of fractions and under the open type features, I will enable fractions, which is the same as clicking on the character panel, fled menu and choosing open type. I'll click, and I need to create the grip code for finding a fraction. Grab stands for global regular expression print, which finds patterns of texts, and let's you manipulate that text automatically. We double click to get into the paragraph and look inside the Paragraph Styles panel, this paragraph is based on my body texts, which I have already defined. So I'll click on the plus second to create one. I'll double click on that. I'll give you a name of bullets, and I need to create a new grip style to create a new rule. So we'll click on new grip style. In this case, we're looking for a fraction which will apply the character style that I created earlier. Apply style. Click on that, click on the Doc menu. And select the fraction cared style. Now, I need to create the grip code for finding that fraction. So I will click two texts to highlight it and type. Actually, this has been typed from me, the backslas d plus follow by forward slas then again, Backslas d plus. So all these grip code means is find one or more digits. Followed by four slash, followed by one or more digits. I'll click. I will double click to get into the paragraph. I will select all the paragraph and then apply the bullets paragraph style. As you can see now, every fraction, this paragraph text turn into two real fraction. 3. Adding Custom Bullets: With the fractions all in place, I'll go ahead and add a custom bullets for this paragraph. Inside the paragraph So panel, I'll double click on the bullets paragraph sts options, and under the bullets and numbering, for the list type, I'll choose bullets. Now, here I can choose one of these characters or add one from another font, and that's why I have all of these empty boxes for my own custom bullets. I click the add button and inside the add bullets option for the font family, instead of Data pro, I'll search four windings, and then press the tap key on the keyboard. The Wingdings fun family renders letters as a variety of symbols. It's a great fun to use. I'm just going to score down till I find this little star here. I'll click to add this to the lists, click, and here it is. In order for me to just apply the custom bullet character to the paragraph, or I have to just just click ones and then click. All right. Now, this paragraph has more than one line, which is not indenting properly. For example, the word peppercorns, diced, is not indenting properly. What I need to do is to create a hanging indent with a positive left intent and a negative first line indent. I'll double click on the bullets spark of style. Back on the bullets numbering. First, I will address the space between the bullet and the text. This is right here with a text after. This here is the default which the tab. I would delete that. From the flat menu, I'll add a thin space, another thin space and another thin space. Now, for the left indent, I'll set this one to 33 points. I will offset the first line indent with a negative value of -33 points. Again, with a space that I'm using, I like what I say so I'm just going to click. Okay. What else can I do? Well, a couple of things I would like to change, and that is, I would like to change the color of the custom bullets and also change the font weight. With nothing selected, I'll click on the character styles panel. Click on the plus second to create a new character style. I'll double click on it. I'll give it a name of color. I'll make sure this is based on none since we are creating a brand new character style. For the character color here, I'll score down and actually, I'm missing the color from the swatches. I'm going to click Okay, and then inside my libraries. All of these the colors that are of my choice. I'm going to add this one. Relick add color to swatches. Back on the color character style. And all the way at the bottom, here's the color of my choice. I'll click. In order for me to apply the character color to the custom bullets. I'll click on it back on the paragraph styles, the bullets. For the bullets and numbering and the character style from the drop down menu, I'll choose color. That looks great and also inside the basic character formats. For the phone style, I'll choose the semi bolts and then click. 4. More Custom Bullets: For the third column, the Tips column. I'm also going to add a custom bullets. In this case, I'll click on the plus c to create a new part of style. I'll double click on it to get into the part of styles options. I'll give it a name of tips and under the bullets and numbering in the list type, I'll choose bullets. I'll click on the Add button, and for the phone family, I'll search for the wing dings and then press the tab key. For the character, my choice, this is the one I'm going to add. I'll click to add that and then click and to apply this custom bullets to the paragraph I have to just click ones, and that gets applied to match the document layouts, I'll set the character style from the drop down menu to color and then click. 5. Adding a Numeric List: For the second column paragraph, I'll go ahead and add a numbered lists. So click on the Plask to create a new paragraph style, clients. I'll give it a name of numbers and under the bullets numbering, I'll set the list type two numbers. That lex couple of changes here. I can change, for example, the behavior between what comes before or after the number. For example, right now, this one read inserts a current number, followed by periods, follow by the tab, tab being the space between the number and the texts. If I click on the drop down menu, I can change this behavior. For example, I'll choose this one right here which reads inserts the current number. Followed by a parenthesis, followed by the tab space. So go ahead and remove the tab space and insert my own custom space. I click on the arrow to insert a special character, that would be a thin space, and I will do this twice, and then click Okay. All right. Now, in order to be able to differentiate between the numbers and the texts, I'll add an extra bolt font weight just to the numbers. With nothing selected, I'll click on the character styles panel. I'll make sure that I click, and then click on the plus second to create a new character style. I'll give it a name of Extra Bold. And then under the basic character formats, for the font style, I'll set this one two extra bolt which means this character style, we'll work with any type phase that has an extra bold font attached to it. So we'll click. In order for this take effect inside this paragraph here. Back on the paragraph styles, I'll double click to get into the numbers parg styles options. Inside the bullets and number, I'll set the character style from the topmin menu to extra bold then click Okay. 6. Custom Glyphs - Setting Up Artboards: Another idea is to create a custom fund based on vector icons and use them as glyphs to enrich the recipe page layouts even further. So inside a DB streer have already opened the fond icons documents that I'm sharing with you inside the exercise folder. To do the ground work, first, I need to create a new document with five separate boards, each with a specific name. When I export the icons as SPT file format, it will have the appropriate naming. Under the file menu, I'll create a new document. Now, the document for the units of measurements will be set to pixel since the phone icons also will be measured in pixels, and then click Okay. Also inside the layers panel and under the panels options. I'm going to increase the thumbnail view to 50 pixels just for better visibility and then click. So the first artboards, go ahead and create that. We already have one by default. So I will double click on the Artboard two, and rename this two gluten free. And set the width and height to 300 by 300 pixels, and then click. This is the first art board. I'm also going to double click. Also rename this to gluten free to keep things organized. To create a new art boards. All I'm going to do is use the keyboard shortcut, shift option shifts. The second art board will be the gu click on that. Rename, click Okay, create a new layer, Rename Tan as well. Create another artboard, again, using the keyboard shortcuts, I'll shift option shift. The next one is the servings. I'll double click on that. R two servings. I'll copy this, create a new layer, double click and rename this two servings as well. Another artboard, I believe that is the stopwatch. I'll copy this. Create new layer, double click and also rename stopwatch. I've got one more to go. And that will be the baking. All right. And also, create a new layer, and that will be the baking. Again, just to keep things organized. So with the Artboard two, I'll click Shift click Shift click, select all of them, and inside the align panel, just going to distribute them horizontally into the center. Again, just to keep things organized. All right. So I've got the artboards. Now I'm ready to go to the next step and start importing, copying and pasting the vector icons. Let's not forget to save this as, that will be phone icons. Let's call this expanded. Then click to save. 7. Custom Glyphs - Copying & Pasting Icons: The first icon is going to be the gluten free icon. B on the font icons document. I'll make sure nothing's locked in sms panel. With a selection tool, I will mark you select everything and under the edit menu. I'll cap this into the clipboard, head back to the font icons expanded. I will target the gluten free layer, and then under the edit menu. I'll paste that in and just move it into the arp the very first one. Here it is the gluten free. The second icon is the vegan. I'll mark select that. I'll copy this into the clipboards, target the vegan layer, and then past into the second artboards, this one right here. All right. The third is the servings. Mark select that, copy this into the clipboard. Target the servings layer, and then pasta. I'll continue this with the stopwatch, copy this. Target the stopwatch layer and paste that in, and I believe we have one more to go. And that will be the baking. So marks like that. Target the baking layer, and then paste that in. All right. All right. So we've got all of the artboards with the icons inside. So the next step is to convert the fills and strokes of these paths into compound paths to be treated as one path and be able to create the custom fonts. 8. Custom Glyphs Icons - Compound Paths: To convert the paths into compound paths. Some of these layers like the gluten free layer consists both of field paths and stroke paths like this one. So in this case, I'll target the stroke path Shift click and Shift click to target all of these stroke paths. Under the Object menu, I'll expand the stroke and then click. Then I'm going to use the very powerful shape builder tool and create a cut off removing those two shapes from the circle. Back on the layers panel, I'll target this group. Shift click and Shift click. I grab the shape builder tool, and I'm going to enter the race mode by pressing the alky of the option key. And all I have to do is just click and drag to remove this region from the selected shape and do the same here. Great. Then with the selection tool, I'll mark you select the entire layer, and under the object menu, I'll create a compound path. Here it is, I looks great. I'm also going to make sure that I sent to this horizontally and cly into the boards. Another thing is, I'll size this up, and I'm going to use the keyboard shortcuts, I'll shift option shifts. Let's say around here. I'll release that. To make sure that the rest of the shapes also have the same heights. Under the view menu, I'll bring up the rulers. Then I will click and drag a couple of guides here, like so. All right. Here are the guides. I'm also going to lock them, so don't accent and move them. And then Mark select the vegan layer under the object menu. I convert this ste compound path. I'll center it into the artboards, and then use the keyboard shortcut to scale this up. I like so, and always double check my work. There you go, here's the compound path. Mark select the servings icon here. Also convert compound path, center it, then I'll scale this up. I'll shift option shifts. Like. For this one here. I'm also going to use again the Shaul tool. Basically, all I'm going to do is create this as one shape. All I'm going to do is grab the shape ul tool click and drag to add all of these regions and make sure this is just one shape. Then under the object menu. I'm also going to convert this two compound path. I'll center it, and then I'll shift option shifts to scale this up. Again, I'm double checking my work inside the layers panel, I believe the last one is already a compound path. So I'll mark selects. I'll make sure it's centered into the outboards and then scale this up like Let's not forget to unlock the guides, and then shift select to remove them, and I'm ready to go to the next step and export all of these icons as an SVG file format. 9. Custom Glyphs Icons - Exporting Icons: To exports all the compound paths, The Window menu, I will bring up the asset export panel. At the very bottom. I'll click on the icon where it says, The launch the Export for Screens dialogue. I'll click on that. I'll make sure inside the rpart stab. All of the art ports have been selected. Back on the asset stab. Right here, I'm going to define the folder where export files would be placed. I'll click on that and inside my folder in progress. Here it is. I'm going to target the icons folder. I'll click to select the folder. Back on the arch port step. For the ffmattargets, the SPC Palfmat Now SPC stands for scalable vector graphics. I'll click to ports all the artboards. And look inside the SPC folder. Here they are all the SPC icons, and I'm ready to go to the next step and create the custom funds. 10. Fontello Icon Font Generator: Now, for the fund parts, I'm going to create the custom funds based on the SVGs. For that, I'm going to use the free service named Fonte, which is an icon funds generator. It's quite easy. All we have to do is just click select all the SVGs, and then click and drag them inside the customs icons field. Here they are. Now, the event that you're going to clear one of these icons, you can just click on the edit mode and you can delete the glyph. All right. So in this case, I will mark you select all of these icons, the glyphs, and it is very important to give the font a relevant name since this font will be installed in your local system, thus will be easier to search for it. In this case, I'm going to name this health, all I have to do is just download the web font. Pues has been downloaded to my Daniel's folder. Okay. 11. Creating the Glyph Set: So returning back to the Ad being design. The first thing I'm going to do under the Tapanu I will bring up the very powerful glyphs panel. Right now, it shows the entire fonts. But in this case, I want to target this to the health font. I'm going to press the tap you on the keyboards, and these are the glyphs and the custom fonts that I created earlier. So I always get into the habit to click and creates a new glyph set. I'll give it a name of health, and that will come handy for any of my projects. I'll click. Click to Targets right click and add this slip to the new glyph set, and I'll do this for the remaining of this glyphs. Okay. Click and add them to the health glyph sets. All right. Let's say we are back on another font. I'm going to close the spanel I want to show you the event that you want to find your custom fonts inside the glyph spanel Back on the top menu, I'll bring up the glyph spanel then here on the drop down menu, I'll click to show that will be above the separate line. Here it is my health glyph sets. Now, all I have to do is insert glyphs inside the layout in progress. 12. Inserting Icons onto Layout: Now looking inside the layout I'll switch between the prev modes and the modes. I grab the type tool, and then click and to create a text frame. I'll release that. I've already got some notes here, so I'm going to copy this. Paste that in, select everything, and then inside the paragraph styles panel. I'll make sure that I have the body texts. Now, I do get this placer which means I need to re click and clear overwrites. All right. The x skits can zoom in a bit. I'll make sure that I have the health glyph set. I'll double click to get into the paragraph, and the first glyph will be right here, this one, the stopwatch. I'll double click on that. Then in between here, I'm going to add some white space. Under the type menu, I will insert a hair space. I'll click right here. For the vegan, that will be this clip click on that, B of the tap menu, insert another hair space, and for the gluten, that will be the icon right here. And then adds another hair space. Now what else can I do? I can actually go to this paragraph right here. I'll double click to get into the paragraph, and I'll press the space bar a couple of times. I have already some notes. Now, this recipe serves four people. So right here, I'm going to use this icon. Insert a white space, hair space. Then right here, it will take 40 minutes to be baked and that will be the icon. Once again, I'll add hair space. All right. Okay. So there you have it. Here's an idea how to create a custom fund and make your page layouts more interesting for the end user. Okay. 13. Photo Grid - Placing Photos: A photo grid can be quite useful when images are in a numeric sequence as the page layout. So let's see how that works. With the grite photos started file open and look inside the photos layer, I have four empty rectangles in which I will place corresponding photos. With a selection tool, I will mark you select to be able to see those empty four frames. Under the file menu, I use the place command. I will double click inside the photos folder, and I will click to select each photo by order. This is the first photo, I'm going to press the control key of the command key to select the second, the third and the fourth, and then click to open. And all I have to do now is just click one to place each photo inside the empty rectangle shape. Great. Now, to be efficient and do things automated, will create an object style to fill any photo inside the frame, proportionally. With nothing selected and inside the object styles panel at the very bottom, I'll click on the Plasc to create a new object style. I double click on it. I'll give it a name of Phil photos, and I'll click on the frame fitting options. I'll check on the fit option. And for the content fitting, I'm going to use the fill frame proportionally. In addition, inside the text wrap and other, I'm going to use the wrap around bounding box. What is important here is to use the right offset value, which is actually going to be equal to the letting value of the body text. So whatever letting value you have on your end, that's the one you're going to use here. So mining value for the body text is set to 36 points, and then click. Now, in order to apply this object style to each of this photo with the selection rule, I'll click just once, and then click to apply the object style. I'll click away to diselect, click again, apply the object style. Click away, diselect click once, and do the same for the remaining of the photos. I'm also going to markeselect all of these photos and notice that the wraparound body box, and with the right offset value, the photos fit exactly to the grid. I can also see that when I switch from the previous modes to the mate modes with all the reds and guides visible. All right. Now, nothing I would like to do is actually reposition some of these photos within the frame. So with the selection tool, I will have it over the photo until I get the hand icon. I'll click ones, that activates the content grabber. I'm going to use the keyboard cut the shift de arrow to reposition this photo. I'll do the same for this photo. I will have it over until I see the hand icon. I'll click one to activate the content grabber, and then use the shift dn arrow to repos the photo within the frame. 14. Photo Grid - Numbering: To identify the photos inside the grids, I will add a number to each with a corresponding text on the side bar. I'm just going to zoom in a bit here. Grab the type tool, and then click and drag and as I am, I'm going to press the ST on the keyboard to constraint, and then release. I'll grab the selection tool and inside the properties and transformation, I'll set the swam to 50 points. For the fill color, I'm going to apply this color of my choice. I'm going to place this right here at the bottom right corner. Now, this text frame should ignore the text wrap coming from the object style of the image. Under the object menu, I'll bring up the text frames options. I will align this to the center the ignore the text wrap, then click Okay. Now I'm going to create a paragraph style. I will double click to get into the text frame. I'll click on the paragraph styles panel at the very bottom, I'll click on the plus scon to create a new paragraph style. I'll double click on it. I'll give it a name of photo numbers. For the basic character formats, I'll set this one to aerial phone style to black, and I'll set mine 2206 points. As for the bullets and numbering, for the list type, I would like to have a number. And for the number here, you see this is the number followed by periods, followed by tab space. So I will remove both the tab space and the period coming after the number, and then click Okay. Now, the number one will not show up until I populate a character within this frame. Under the type menu, insert special character, other, and I'm going to choose the end esta style here. That means this character ends at that point, regardless of the sta style definition. Now, I need to center this back on the paragraph styles options. Under the interest in spacing, I will align this to the center and then click. Go ahead and assume a bit. I can actually sent this even more. So back on the paragraph style. Bullets and numbering. I'm going to set the left intent to perhaps six or seven points and then click. 15. Photo Grid - Duplicating Numbers: The next step is to duplicate this text frame for the remaining photos. But what is important is that I duplicate those in sequence since this is a numeric sequence. So with the selection tool, I'll click to select the text frame. I'm going to use the alt option on the keyboards to dubricate this across and position it to the boom rights. I'll continue with Alt option, position this to the boom rights, and position this text frame to the boom rights as well. So back on the photo numbers paragraph style, and then under the bullets and numbering. When we create a paragraph style for numbering, as we have here for the photo numbers, we can assign that style to a defined list. And so the paragraphs will be numbered in that style according to where they appear. In this case, for the lists, I will create a new list. You can give it any name you like. But what is important here is for the options to have the continued numbers across stories checked. Click and click Okay, we can see that the numbers update automatically. Okay. 16. Photo Grid - Changing Order: There is one important point here that I would like to mention, and that is, in the event that you want to rearrange those photos, you need to cut and paste the text frames one by one in the order in which you would like them to be listed. Now looking inside the layers panel and inside the photos layer, the first I'm going to do is with the selection tool, select both the photo and the text frame. I'll do that, Mark select two under the object menu, I group those. Here's the first group. Stier with the selection tool selected. I'll mark you select the photo and the text frame, and then group that do the same for that, group that as well, and group that as well. Look inside the photos layer, I have four groups grades. Let's go ahead and test that with the selection to. I'll click one and under the edit menu. I'll cut this. Now that goes into the clipboard. I'm going to position this to the other side. I'll del, I'll click away to delect under the edit menu, I'll paste that, here it is. Now, this became first, and this is the fourth. Let's strike with this with the selection tool. I'll click one. I'll cut this using the keyboard shortcuts. I position this to the other side. I'll click to the select, and then paste that right here. See the numbers change and the orders changed. All you have to do is just cut paste text frames one by one in the order you want them to be listed. 17. Sidebar - Headings: We've got the text frames in a numeric order that looks great. Now I'm going to go ahead and work on the side bar, creating a couple of paragraph styles and style this. So I'll go ahead and zoom in quite a bit here. I'll bring this to the side here, and double click to get into the paragraph. I will select this text here, that will be the description heading inside my par of styles panel. I will click on the plus cc to create a new paragraph style. Double click on it. I'll give it a name of description heading. This is not going to be based on any paragraph style. I'm also going to reset two base to make sure that I start from scratch. Under the basic character formats, I'll set the phone family to aerial, font style to black, I'll up the phone size to 22 points and have all caps. For the bullets and number inces we need to have some numbers that correspond to the photo grades. I'll set this two numbers. I like what I see. I just want to remove the period, which is this one right here. I'm going to press the back space or the delete key on the keyboard. For the paragraph border, I'll activate this. First, I will zero out all the borders and then disable the chain icon. I'll set the left border two 30 points and change the color to yellow, the same color I used for the text frames. Now for the offsets, I will disable the chain icon I'll set the left offset two -15, and I'm looking at the preview here since the previous checked on for the top offset, I'll set this one to five or six points. Back on the bullets and numbering. I'm going to have a bit of left intent. I'll set mind to seven points. What is important here is to go to the ins and spacing and I'll align this two, the first line only on the grids, and then click. That looks great. When I bring up the grids with an mode, we can see that. I'll do the same for this Ipply the description heading. This one, two, and this one. All right. That looks great. So now I'm ready to go to the next step and create a narrow paragraph style for the paragraph text. Okay. 18. Sidebar - Paragraph Text: The last step for the grid photos page layout is to create another paragraph style for the remaining of the text, double click to get into the paragraph. I will highlight this text. And then inside the paragraph Spano, and all the way at the bottom, I'll click to create a new paragraph style Dublic I'll give it a name of description text. This is not going to be based on any paragraph style. I'll reset this to base, so I'll start from scratch. Under the basic character formats, I'll set the phone family into aerial, phone style regular, I'll up the size 22 points and set the letting value two 30 points. What is important here is inside the incense spacing to align this to the first language, and then click. I'll apply the same paragraph style to the remaining of the text. I'll click on the description text paragraph style, and I see this plus gon which means I might have some overrides, I will click and clear overts I'll do the same one here. Right click, clear verts, and this one, two, apply description text part of style, and then clear any overrides. That looks great. I do see some hanging words with hyphens, in this case, just stop a click on that. I'll select the words. And inside the character panel, one idea here is to apply break. Okay. There you go. You can do the same for the remaining. There you go, here's an idea for your design page layout, how to create grid photos with corresponding numbers and text. Okay. 19. Shaping Text Frames: Another way to present the body text in your page layout is by changing rectangle text frames to another shape. Let's not forget text frames are vector shapes after all. So with the shaping frames document open, I'll switch between the preview mode and then modes, I grab the type click drag to create the first text frame. I'll release that and click drag to creates one more text frame and release that as well. With the selection tool, I will mark you select those two text frames to double check my work, and I can also see that inside the layers panel. I grab the direct selection tool. And once I click on one of these text frames, I can see the qui point all around, which I can click on and change the shape. So in this case, I'll click on this ci point right there, click drag and position it right here and click this text frame and position this ci point right there. Okay. How about this text frame? I'll do the same. I'll click and drag, bring the same right there. And then this one right here. All right. So I'll grab the selection tool and Mark select this to to double check my work. Things look great. I've got some notes here. I'm going to copy this text, which I'm going to place inside those two text frames. Double click to get into the paragraph, and under the edit menu. I'll paste that in. Then I grab the selection tool. As you can see at the very bottom here, I've got this red plus sign indicating that there is more text in the story to be placed. This is what we call threading text. I'll click on this red plus icon, and I'll position the loaded text icon to this text frame, and I'll click one for more text. This is one example. How about this text frame? Well, in this one, I'm going to use the pentel and select the text frame. I'll click and hold the control key of the command key and click once. Then I will have her over this right side here, nice slow. And as I do, you can see, now the tool has changed to the add anchor point, which means I can click once and add an additional anchor points. I'll have her over here. Till I get the 0.2 and click once again to add another k points. Then I will have it over at the very bottom here anchor points. As I do, you can see now I get the delete C 0.2, which means I can delete this achy points and I do this one right here too. I can click to delete this Cpoint as well. There you have it, text frames with different shapes. 20. Text Wrap Through Letter Paths: Now, let's explore the very popular text wrap function in sat in design. When you apply a text wrap to an object in design creates a boundary around the object that repels the texts. For example, here, I've got the letter G and the letter r. I will target the letter G. Under the type menu, I'm going to use the create outlines command, and that results in the creation of a path or compound path. I will target the letter r B on the type menu and also create outlines for this text layer, and I've got a compound path. I'll take it this path here. I'll scale this up by pressing the shift on the keyboards. I'll release that bring this to the center here and do the same for this compound path, pressing the shift on the keyboards, I'll scale this up. And I el center this as well to the page. Now, with nothing locked inside the layers panel and with the selection tool, I will mark it selects all of these layers here. Under the window menu, I will bring up the text wrap panel. I've got some choices here, so I'm going to use the wrap around object shape, I'll click, and then click to inverts. Actually this works, but because we have the fill color, we cannot see the text. Back on the layers panel, I target the path And I'll make sure there's no fill to that. I'll click on the paragraph and just bring us close to the path here, Alexo I'll do the same for this compound path. No feel to this. I'll targets the paragraph texts There we go. There you go. Now, another thing I can do for this compound path. I'll target it and under the object menu paths then release compound path. I've got two of these paths. I will target, let's say, this one, and the stroke size to ten points. I'll do the same for this path here, the stroke size, let's say to 20 points. As for this one, I can also go back and change the color of the stroke. 21. Text Wrap Though Transparency (A): Another example of a text wrap is to place transparent photos into the page spreads. So let's see how that works. Inside the photoshop, I have already opened an image. The plan here is to create a selecture around this part, and the rest to be transparent. So inside the toolbar. I grab the elliptical my key tool. Let's see around here, I'm going to start dragging and press shift option shift on the keyboard. As I do that, I'm also going to press the space bar on the keyboards. Reposition this. Release the space bar, still holding all shift option shifts. Scale this up. Till I get a nice and circular selection and release. And at the very bottom of the lar s panel, I'll add a lay mask. The under the image menu. I'll trim this based on the transparent pixels, and then click, under the fun menu, I'll save this as. Here we've got some choices. PNG is a great choice. I'm just going to. Save this as as a foreshore document, and then click. So back inside n design. From the toolbar, I grab the ellipse frame tool, and then click dragon asm going to proceed on the keyboards. To constrain this, and then under the font menu, I place the photos document, and then click to open. I can also scale this up by pressing the shift key on the keyboard. Just a t. Click till I see the content grabber. I can reposition this, let's say here, it that let's see, I'm going to make sure this is a line to the page, center this, and then mark select both of these with a selection tool. Back on the text wrap panel. Again, I'm going to use the wrap around object shape. That looks great. I'm just going to target the frame here. Then I've got some conorptions. For type, I'm going to use the alpha channel, and that's where the transparency comes from. In design, we'll read everything that is transparent and the rest is going to be opaque. Great. Nothing I can do actually adjust the distance between the text. And the objects, and I can do this inside the offsets. So I'm going to up this, let's say to ten points like. 22. Text Wrap Though Transparency (B): Now, here's another example of a photoshop document but this time around with a path saved and named accordingly. I'll click on the path inside the path spanel. As you can see, I use the pen tool to trace the statue quite close and carefully, since I want the background to be transparent. To create a transparency, Right here, right on top of the path Anil. I will control click or command click to load the path as a selection. And at the very bottom of the layer spanel I click to create a layer mask. I will save that. I will head back to design. I grab the rectangular frame and just click and to create a octangar shape. And under the fun menu, I will place the photoshop document xo. I can also size this up, pressing the shift key, and then under the frame fitting options, I'll choose fill frame proportionally. I can also double click to get to the content grabber and adjust the photo within the frame. Lexo. So with the selection two, I will mark you select both the paragraph and the frame. And inside the text wrap, once again, I'm going to use the wrap around object shape. I'll click on that and then just click on the frame since we need the transparency. So for the contro options and from the drop down menu this time around, I'm going to choose the foreshore path. Here it is, here's the name Hermes, and that's why I named it so I can see it inside in design. All right. So we've got that, I'll go ahead and add a bit of a offset that will be ten point. I'll zoom in a bit. Since I use a custom path here, what I can do is I can grab the direct selection tool and adjust the path that is coming from for shop and affect how close or how far the tax wraps around. 23. Pull Quote: Pull quotes add visual interest to text heavy pages to hook readers attention. A pull quote is a key phrase, a quotation or an excerpt that has been pulled from an article usually by a different typeface. Inside being designed and with a pull document open, I'll start this off by toggling between the privy modes and the non modes, and on a separate text frame. I do have the quotation. I will be inserting inside the body text. With the selection tool, I'm just going to click and drag this and place it inside the body text, and I make sure that lines up to the grids. Now inside the paragraph style panel, and all the way at the bottom, I'll click on the plus secon to create a new paragraph style, I'll double click on it. I'll give it a name of pull quote. This is not going to be based on anything, no paragraph style. I'm also going to reset this two base to start from the beginning. Under the basic character formats, I'll set the form family to aerial. P style will be set to black. I will up the size to 24 points, and I'll set the letting to 36 points, which is the letting for the entire body text. And then under the incent spacing, I will align this to the baseline grades, and then click Okay. All right. That looks good. I just we need to move the body text out of the way. Under the window menu, I'll bring up the text wrap panel. And for the rap shape, I'm going to use this one, the second choice, the wrap around boding box. I'll make sure that the chain icon is not pressed because I want to have different offset values. So for the top offset, I'll set this one to ten points and the bottom also to ten points as well. I'm just going to bring this close. Like so. Back on the paragraph Spanel. I'll double click to edit the pull quote for the paragraph rules, I will turn on the rule below and the rule above. I'll set the fun weight to ten points. And for the offset, I'll set this one to 36 points. And since I have the preview checked on, I can see the changes taking place. For the rule below, I'll set the weight also to ten points. And for the offset, 20 points works for me. And then click. That looks pretty good. Now another thing I would like to do is to have the quote to hang to the left of the paragraph here. I'm just going to double click to get into the paragraph between the quotation and the first letter, and then under the type menu. I will insert a special character, other than intent here. As you can see, the quote hangs to the left of the paragraph. Now, to be efficient with my work in the event, I'll use the same pull quote on another page. I'll catch this text frames properties as an object style. Next time I apply this to any texts, it will take on the paragraph style. So with the pull quote selected under the menu, I'll bring up the bc style panel. I create a new object style Dabo cliont I'll give it a name of BG. I'll check on the paragraph styles, and for paragraph style. I'll make sure that the pull quotes would be applied to the content of any frame. I apply this two. I'll click to test my work, I'll switch between the preview modes and the no my modes. Here's another text frame. I'm just going to place this to the grids. All I have to do is just click one on the pull Object style. 24. Pull Quote with Anchored Character: For this next example, I'll anchor text characters next to a pull quote. I'll do that by creating outlines of text which will convert its character to in line anchored object. Here's the quotation. I'm just going to create a duplicate. Just in case I need to refer back to the regional, so that will be option, and then under the type menu, I'll create outlines. I'm just going to position this right here because I'm going to scale this up, occupies six lines of text. I will be shift and drag. L. I'll move this out of the way, and I'm going to anchor this right next to the paragraph by dragging on this blue box. Click and drag this. As you can see, I get this y symbol, and that indicates the positioning of the hidden object. I can see that because under the type menu, I have show hidden characters. In addition, I can go to the view menu extras and then show text reds. That indicates what the graphic is actually anchors. So we've got some options here when it comes to positioning. So when I hover over here, it's going to give me a message of At click to open dialogue. So I'm going to click. Here's the anchored object options. And for the position, I'll choose in line and then click Okay. So I got the quotation. Now, here's the pull quotes. I'm just going to position it right next to it. This is going to span two columns and six lines of text. I create a new paragraph style. I click on the plus C and to do so, double click on it, give it a name of pull quotes. Anchors. This is not going to be based on anything, so no part of style. I'm also going three set to base to start from scratch for the basic character formats. I set the phone family to aerial, phone style to block. I lab the size to 37 points, and letting will be set to 44 points. And that's because inside its spacing, I'm only going to align the first line to the baseline grid, and I'm also going to have all caps and then click. I actually want to have a specific color for the text. So with nothing selected inside my CC libraries. This is the color of my choice. I'll click to add this to the color swatches. Back on the park of style, double click on it, and inside the character color and all the way at the bottom, here's the color that I just added to the swatches, and then click Okay. All right. Now, I need to get the body texts away from the pull quotes. I'll click on that. Inside the tetra panel. I'll click on the wrap around boding box. I'll make sure that I zero out all the offsets. Like so. That goods, but another thing I can do is I can click on the quotation here, and then shifts and skills down, a tad it lines up to the top of the pull Unlike. Here's an idea of anchored characters. Next to pull. 25. Caption Over Image: Captions are short sentences or phrases describing a photos contents, or they can provide contrast. Inside open design with the captions document open. The first example will be caption over image. So we toggle between the previous modes, then my modes. I've got some notes here, so I'm just going to double click to get into the paragraph. I will select everything. Cap this to the clipboards, and then click to creates a text frame. I like so, and then past. With the text frame selected, I'll bring up the paragraph styles panel. I'll click on the Plascon to create a new paragraph style, I'll double click on it to get inside the paragraph styles options. I'll give it a name of caption Over image. And for the basic character formats, I'll set mine on my end to aerial, PontyleRgular. I'll up the size to 24 points. I'll set the letting to 30 points, and for the interes in spacing, I'll set the alignment to the right. And let's see, I'm looking here the preview since the previous checked on. I do see some hyponation. No need for that. I'm just going to remove this altogether. Click Okay. I'm also going to add a field color to this text frame. Like so. All right. Now, I can also add some breathing space for the entire program, so it doesn't include two of the sites. So with the TextM selected, and under the object menu, text options for the instant spacing, and for all the sites the top bottom left and right, I'll set mine to 20 points and then click. Just going to bring this in just a tad. Like so. All right. What else can we do? Well, I can actually add a stroke to this text frame, and I can do this inside the stroke panel. Now, design comes with a variety of predefined strokes that you can apply to or you can be creative and create your own custom stroke style. I can do this, the flight menu, select strokes styles. I create a new stroke style. I'll give it a name of my stroke. And here I have three choices for the type, dotted or stripe. I'll go for the stripe, and then here we have the measurement marker. For example, with these blue triangles, I can set the top line to be thin, and I can see the pure right here at the bottom line ther or I can just click ones to create an additional line in between, or I can just click and drag this to the left and remove it. I'll set the top line to let's say have this kind of a thickness and the bottom one to this. Again, I'm looking inside the preview here. I'll click and then click. All right. So to apply this custom stroke, first, for the type, I'll set this to my stroke. I need to have a color here, and I'm also going to up the stroke weight to ten points. That looks good. Just going to move this out of the way, just a tad. And since I get this plus icon here, that means there is more text to come. There we go. Now, in addition, I would like to have a gap color, but this color right now doesn't exist in the swatches panel. With nothing selected inside my CC libraries, this is the color of my choice. All I click to add this color to the swatches. Back on the stroke panel, I select the text frame and set the gap color to this color of my choice like so. To be efficient with my work in the event of using the same type of caption over image is to create an object style. First, I would like to have a bit of transparency over the contents of the text frame rather than using a solid white background. For that, first, I'll click to select the text frame and under the window menu, I'll bring up the effects panel. Here, I would not reduce the opacity of the entire object, since that would reduce the opacity of the type as well. Instead, I reduce the opacity just for the fill. I'll click on that and set the opacity on my end to something like 70 something percent. Now I can see some of the image beneath and at the same time, the caption is readable. So I'm ready to create an object style. So with the text frame selected, I'll bring up the object style spanel. I'll click the plus con to create a new object style. I'll double click on it to get into the option spanel. I'll give it a name of caption transparency. Under the basic attributes, it picks up all the settings for the selected caption frame. But in addition, I'll check to include the part of styles and make sure it's using the caption Over image style, which it does, and then click. All I have to do is just test my work. Here's the text frame. Just go to move this into place. Spa bit all I have to do is to supply the caption transparency object style. 26. Bottom Caption: I. Another example of a caption is the one to line, the last line of a paragraph to the last line of the base line grades. Let's see how that works. I'm going to tugle off between the privy modes and the um modes. I do have some notes here. I'm just going to double click to get into the paragraph. I'll select everything, this to the clipboards then click to create a new text frame and then p. With the text frame selected, create a new part of style by clicking on the plus icon. I double click to get into the options. I'll give it a name of bottom caption. For the basic character formats, I'll set this one on my end, aerial, regular. I up the size to 22 points. Set the leading to 26 points, and for the intenten spacing, I'm also going to check balance cord lines and in design basically Automatically balances the lines within the frame. In addition, I do have some hyphenation. No need for that. I'm just going to disable that and then click Okay. Now, in order to align the last line of the paragraph, which is this one right here, to the best line ad, which is this one right here, I select the text frame, and then under the object menu, I bring up the text frames options. Now, you're going to see a change very soon. For the auto sizing, I'll turn this on for the height only. Here we go. But in this case, I want to do it height only from the bottom. There you go. That's the alignment. That way, the text for the caption will grow from the bottom as I type into it. I'll go ahead and do a test drive here. Go to select that. I'll copy this, press space bar, and then paste that in. As you can see, as I type into it, the text grows from the bottom. Okay. All right, styles good, but I can get this even further. For example, I can create a nested style and apply a character style to the first words of the paragraph, which is the word right. So let's see how that works. With nothing selected. I'll click on the character style spanel. Click on the pla second to create one, double click to get into the options. I'll give it a name of Black. Under the basic character formats, I'll set the phone style so to black and then click Okay. I'll click to select the text frame back on the para su panel, I double click to into the options here. And then under the drop caps and esta styles, I'll create a new est style. Here it is. Is going to click once. And that esta style will go through one word, which is the word right, and we'll apply the black character style, and then click Okay. Here it is, that looks great. Now, to be efficient with my work, the event of using the same type of bottom caption is to create an object style. With the text frame selected, I'll click on the object style panel. Click on the plus sc to create one, double click. I'll give it a name, let's say of bottom. Okay. And under the basic attributes, it picks up all the settings for the selected caption frame. But in addition, I'm also going to include the park of styles and make sure that it's using the bottom caption and then click Okay. I'll test that out. Here's the text frame. Just going to bring this into the document here, and all I have to do is just apply the bottom object style. 27. Caption with Custom Bullet: Another example of a caption can be using a custom fond icon, a character style and a side border. Inside the layouts in progress. Here is the caption text for the for Bola I'm also going to tuggle between the previous modes and the normal modes. I creates a new part of style. I'll click on the Blasc to create one. I'll double click to gets into the options. I'll give it a name of arrow caption for the basic character formats, on my end, I'll set the phone family to aerial, phone style bolt. I'll opt the size to 22 points with letting of 26 points. No need to have any hyponation just in case. For the incident spacing, I will align only the first line to the baseline grid. Then click. All right. Now, continuing adding to the paragraph style. Next to the caption, I'll add a dan ROK indicating that this caption belongs to the photo below. Now, I created the icon using Fontelo the icon font generator, which is the same process as covered on a previous lecture. So back on the arrow caption paragraph style, inside bullets and numbering for the list type, I'll choose bullets. And I click to add the custom bullets. I am the custom bullet arrows. So for the font family, our search for arrows. I press the Tapi on the keyboards, and the icons populate and I'll choose the first one. Click Okay. Click to select. Here's the icon and click Okay. All right. Now, things that I need to change and improve. First, the bullet since it's coming from another font, does not align with the text and can also be smaller in size. Okay. In addition, I would like for this danara bullet to have separation to the left axis of the text and hang outside of it. And lastly, apply a custom color. Okay. All right. So first, I'll start coloring the custom bullet. And since I want to have a specific color inside my S libraries. Here's the color of my choice. I'll re click to add the color to the swatches, and I need to create a new character style. So I'll click on the character style panel, and all the way at the bottom, I'll click on the plus second to create one. I'll double click and give it a name of blue. And I'll set the character color all the way at the bottom of the list to the color of my choice, and then click Okay. So in order to apply this color to the custom bullet, back on the paragraph styles, I'll double click to bring up the arrow caption paragraph style, and inside the bullets numbering, I'll set the character style to the blue character style. Here it is the blue color. All right. So this is one thing. Another thing that I mentioned earlier is to separate the dinar bullet to the left axis of the text and hang it outside. This is going to require indenting the bullet the same amount as the body text of the magazine layout, which is set to 26 points. For the bullet positioning, I'll set the left indent to 26 points, and the first line indent two -26 points. Now, for the text after which is set by default to the tab space, I'll remove that, by the way, the text after this is the space between the text and the custom bullets. From the flared menu, I'll add a hair space and another hair space and then click. In addition, I'm going to size down the custom bullet just a tad. Back on the character styles, back on the blue character style, and inside the advanced character formats, I'll set the horizontal scale to 85%. The vertical scale to also 85%. I will adjust the bullet to the cap height of the caption. I'll set mine to two points and then click. The last adjustment for this caption is to add a left border. Back on the arrow caption paragraph style, and inside the paragraph border, I'll turn on the border, and first, zero out or the stroke values. I will disable the chain icon and set the left border to two points. Cut of black is okay. I'm just going to reduce the tint to 50%. I have this kind of gray color. For the cap, instead of a butt cap, I have a round cap, so I can see here that I have round corners. For the offset, I will disable the chain icon and set the left offset to eight points and then click. All I have to do is just resize that and position it into place. Lx good. Here's another idea of a caption inside a magazine layout. 28. Highlighted Text: Highlighting text can add emphasis and draw attention to specific parts of your magazine layout. So inside the highlighted text document. Here's the paragraph I will be adding the effect. So inside the paragraph als panel. I'll click on the plus second to create a new paragraph style and double click on to get into the options. I'll give you a name of highlighted text for the basic character formats, and on my end, I'll set the phone family to aerial, regular. Font size, I will up this to 26 points and set the letting to 36 points, which is actually the same values for the body text and the letting of the magazine layout. For case, I use all caps and it is in spacing, I will align the whole paragraph two the base language, and then click. All right. So for this effect to work, I need to have part of breaks every line of text gets highlighted. Under the type menu, first, our turn on show hidden characters, and I'm also going to toggle between the privy modes and then modes. I'll zoom a bit here. And then double click to get into the paragraph, and then press enter return on the keyboard to create the first part of break, indicated by the Pilcro symbol. Now, right here, I do have some space, so I will remove that by pressing the backspace on the keyboards. After the word kingdom, backspace, press enter return. After the word greatest backspace to remove the space, and then press enter return. And the same thing here, B space, and then press enter return. Here I got four breaks indicated again by the Pilcro symbol. Now, since I want to have specific colors for the highlights and the underline with nothing selected. Inside my CC libraries, this is going to be the color of choice for the highlight. Right click to add the color to the swatches, and this is going to be the color for the underline. Right click and add that to the color swatches. Then back on the paragraph style panel right here and the highlighted text, And for the paragraph rules, I'll turn the rule above on. I'll set the weight to 26 points and the color to this color my choice. I actually want this to stretch not to the entire column rather than to the text, Alex I'm also going to have a bit of an offset here. I'll set mine to minus four, for the underlying options, I'll turn that on. I'll set a way to two points and the offset to five points and also change the highlight color to this color of my choice. Then click Okay. All right. Now go ahead and zoom in a bit here to double check my work. I do see that I have a bit of an offset here. So back on the highlighted texts inside the paragraph rules. For the left dent, this is the left dent. I'll set this 12.5 points. I'll click. Then on the other end here, which is going to be the right dent. Back on the paragraph rules, I'll set the right dent to a negative 0.5 points and then click. So here is a design idea, highlighting text inside a Don't be design for your magazine layouts. Okay. 29. Sidebar: A side bar is a block of supplement and text separated from the main text flow, but also related to the main idea, often with different number of columns to the body text. Working inside the side bar document. I toggle between the privy mode and the L mode. Here is the text for the side bar. I'm just going to bring the sin this is going to occupy ten lines of texts and it's going to stretch to the width of the type area. I'm also going too just to make sure this lines up perfectly fine. Okay. To the ten slides of text and it does. Now, the first I'm going to do is remove the body texts from the side bar. So inside the text wrap panel for the wrap I'll use the wrap around banding box I'm just going to set only the top offset 2306 points, which is the same as the ga space of the body text. Now, under the object menu, I'll bring up the text frames options. The side bar will span two three columns, and the gotta space, since the side bar will have limited space and condensed type phase, the gutta space will be smaller in comparison to the gutta space of the body text. So I'll set this one to 30 points for inset spacing which is the space within the frame. First, I'll set all the values to 36 points. I will disable the chain icon and zero out the top inset. For the base line options, I use the custom baseline grid. Again, since things are limited in space, and we will have condensed typeface. So I'll set this one Increment every 30 points, which is the same as the go space, and then click. Now I'll go ahead and create a new par g of style inside the pargftyles panel. I'll click on the plus second to create one. I'll double click on it. I'll give it a name of side bar. For the basic character formats, the phone family will stay on minium P. For the phone style I use condensed, I'll up the size to 24 points. Set the letting value to 30 points, which is the same as the one I set inside the text frames options. For the inters spacing, I will align everything to the custom baseline grid. And since we have, again, limited space and condensed typeface, no need to have any high fination I'm just going to disable that and then click Okay. The next paragraph style to create is about the side bar heading. I will double click to get into the paragraph. I will select this line of texts and inside the paragraph style panel. I'll click on the plus sac to create a new paragraph style. I'll double click on it. I'll give you a name of sidebar heading. For the basic character formats, and on my end, I'll set the phone family to aerial. Phone style will be set to black. I'll up the phone size two three points. The letting value will remain the same. Case will be all caps, I would like to have this heading here to span to three columns. Under the span columns for the paragraph layout, span columns and set this three. Let's not forget that we do need some space between the heading and the body text of the side bar. I'll set the space after span two 30 points, which is the same as the baseline. I'm going to click. And since I would like to have some custom colors for the side bar inside my SC libraries, I re click to add this color to the swatches, this one, two, and this one two. With the side bar selected for the fill color, I will assign this color of my choice. Then back on the paragraph styles panel, back on the side bar heading. First, for the paragraph rules, I will have a role below and a rule above. For the rule above, I'll set the stroke weight two ten points, this column my choice, and to make sure that the rule does not go outside the frame. I'll check the keep in frame. Then I'll adjust the offset, which is this one here to move the rule up relative to the text. I'll click to get into the field and then use the shifting aaroky to go with increments of ten points and set mine two 50 points. Now, the left and right indent values are relative to the inset spacing. As we set up earlier insight, the tech spum options all set the left indent here two -36 points, and the right indent also two -36 points. For the rob below for the weight, I'll set this one to five points. Tex color black. But since I want to have something lighter, I'll change the tint to 50 points. Now, I need to move this all the way at the bottom right here. For the offsets, shift and then up arrow, till I read this 290 something. I'll release that and just use the paro key to go to 296 points. Let's not forget to set the left dent to negative 36 and negative 36 as well. As for the character color, I'll assign this color my choice for the heading. Now then click. The last step of the side bar is to create a grab style to be applied to specific words or phrases within the body text and apply character style automatically and not do it manually. So inside the character style spanel I'll click on the plc and to create a new character style. I'll double click on it. I'll give it a name of color bolt For the basic character formats, I'll set the phone style to bold. And for the character color, this is the color of my choice, and then click Okay. So back on the paragraph styles and inside the side bar options. Since I will be targeting specific phrases, I'll go ahead and create a new grab style by clicking on the new grabs style button. Now, the two text field bifult select any digits, one or more times, which is not going to be useful for me here, so I'm just going to remove that. And the text, I will apply the character style to. First is going to be this one, the toms and Agamemnon, which is this one right here. I'm just going to paste that in. And to expand the definition of this grab style. I'll go ahead and add the meta character. Follow that. I'll target the Artemis and heracles and add another meta character, and that will be the Artemis and action. All the way at the end, I'll paste that in the style to apply is going to be the color bolt the moment I click, you're going to see the changes taking place here, click. All right. Here it is with one grab style, I apply the character style on multiple words using the meta character. 30. Dropcap: Drop caps at Floris and enhance the visual pal of text inside your magazine layout. So working with the drop cap documents and for the drop cap, I will assign a variable funds. Now, design supports variable fonts, which is an open type font format that supports custom attributes such as weight width or slant, depending on what is supported by the font developer. Click to select the body text and looking at the character panel, I'll click to expand the font family, which is the data pro serif type font, and indeed a variable font, highlighted by the VR icon. But in this case, for the drop cap, I'll use Sans font. The Acumin variable concept, which is a great choice for me. Now, the drop cap will affect only the first character letter of the paragraph, which means first it creates a character style. So inside the character style s panel, and all the way at the bottom, I'll click on the plus second to create a new character style. I'll double clicon I'll give it a name of drop cap. The basic character formats, and for the font family and on my ends. I'm going to use the Acumin variable concepts. For the font style, since this is a variable font, I can click on the convenient slider controls, and here I can set the weight, the width or the slants. For no, I'm just going to keep this as is, but I am going to circle back on that. For the car color, this is the color of my choice, and then click. I'll go ahead and zoom in a bit here. Double click to get into the paragraph. Just highlight the very first character inside the part of style panel. I'll click on the pac to create a new part of style, double click on it. I'll give you a name of first letter. Now this is going to be based on the body text, so the rest of the paragraph is not affected by a different fonts. Under the drop caps and styles, I need to specify how many lines of text the drop cap would take up. We'll take up one, two, three lines of text. One character and the character style will be the drop cap, and then click. All right. So let's see what we can do to improve on that. So I would double click back on the character style panel on the drop cap for the basic character formats and back on the font style and the slider controls of the variable font. Here I can adjust the weight. I'll set mine to 800. For the width, I'll up mine two and four, here's a slin slan basically skews the character. No need for that. Now, under the underlying options, I'll turn it on. For the weight, I'll start with 100 points. I'll change the color to a color of my choice. As you can see, this is way below the baseline of the text. So what I need to do is I need to offset this to a negative value. So I'm going to start with negative 40. I'm going to up the weight. And for the offset, -45 or 46 on my end. That looks okay and then click. All right. Now, I need to align the drop cap to the left edge of the paragraph. Back on the paragraph S panel, back on the first letter. First, inside the intercen spacing, I need to zero out the first line index. Now, this comes from the body text, since the first letter is based on that, I will zero this out, and then under the drop caps styles, I would disable the align left edge, and then click. The last thing to do is to give some brilling space between the drop cap and the paragraph. B on the character styles panel and back on the drop cap, Okay. And under the basic character formats, I'll up the tracking 2705 and then click all. Okay. 31. Thank you!: Thank you very much for spending time with me, understanding and design with a range of techniques and instructional guides. Reach out if you have any questions or feedback about the course, and I welcome your input for additional recommendations of tips and tricks.