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WEEK 1

Hello all and welcome to STC102! TOPICS COVERED IN CLASS TODAY:


This is FALL 2019 SEMESTER Lesson 1
We took the image of the green car in Lesson one and applied IMAGE>ADJUSTMENTS>LEVELS to the image. In Levels dialog box, we

8/21-22 ADOBE CREATIVE CLOUD FOR ALL. The link to get it is: it.miami.edu/adobecc
It’s kinda tricky but try your best. If you can’t get it on week 1 we’ll try again week 2 or I’ll try to help.
You might need to contact the Comm School IT Dept if you have technical issues attempting to install the Creative Cloud.
clicked on the CHANNEL>RGB button to apply a color and contrast change to the image on each individual channels.
Remember: RGB= Red Green Blue the color of all pixels on all screens (resolution 72dpi in general)
The opposite of RGB is CMY= Cyan Magenta Yellow, the color of ink on paper. (K is Black)(resolution is generally 300 dpi for print)
The right-side white triangle/sliders under the graph/histogram are R G and B, the left black triangles are C M and Y.
UM students have free access to LYNDA.COM a site full of tutorials for design, software, etc. Utilize this site, it costs a lot for regular folks. You move in the sliders to meet the points on the graph where there’s more activity.
To get there type MIAMI.EDU/LYNDA and sign in. You’ll be sent to Lynda.com already signed in. With the green car image, You’ll find a gap on the right side of each of the RGB channels, the biggest on the B. Then go back to the full
RGB channel and lighten a little and actually darken the darks a bit too by moving the white and black sliders in towards each other.
This PDF might be lengthy, but please make sure you read it thoroughly because I will be discussing critical information. Especially if you To add some saturation, we then used IMAGE>ADJUSTMENTS>VIBRANCE. The Vibrance box has Vibrance and Saturation sliders. I

SEMESTER were absent to class! Please keep handy the link to the STC102 Dropbox as we will be using it for class files throughout the semester:

TINYURL.COM/STC102FALL2019
generally just use Vibrance to intensify muted colors.
THE SAME ADJUSTMENTS CAN BE DONE NON-DESTRUCTIVELY BY USING ADJUSTMENT LAYERS AND DOING THE SAME
PROCEDURE AS EXPLAINED ABOVE.
The Adjustment Layer button is a circle with Black on top in the center bottom of the Layers palette. When you click on it, the SAME MENU
- Also for NEXT week, please download the files found in the folder PS CC CIB 2019 Lesson Files in the class Dropbox folder, specifically as IMAGE>ADJUSTMENTS appears. Choose Levels and 2 things happen:

INTRO Lessons 3 and 4, as we will be using them for exercises in class. I know you can download it in class but the WORLD WIDE WEB can’t be
depended upon!
Please make sure to purchase your books and not fall behind on the Lessons assigned.
1. A new layer appears called Levels 1. It has the icon to reopen the adjustments palette and a layer mask to vary the intensity of the
adjustment.
2. The Properties palette opens looking exactly the same as the Levels dialog box.
THE CURRENT VERSION OF THE BOOK IS FOR THE 2019 RELEASE OF PHOTOSHOP. However, you can find previous versions of the You do the same changes here as you did before. But it’s happening on Layer masks so it’s completely non-destructive.

COURSE REQUIREMENTS
book for a fraction of the cost of it new and it’s still relevant and can be used for homework. You can even find a free PDF version of the When you save this image, and all subsequent images for the semester, in the FILE>Save As menu item, under Format option it should be
book. PHOTOSHOP, which gives you a .PSD file, the native photoshop format.
As I explained in class, these will count as 15 % of your Midterm grade. So for each chapter assigned you will need to complete an exercise
- you WILL need to be on a computer with Photoshop to do this. You may purchase the book at the bookstore, or Amazon, or rent from Lesson 2
Chegg.com, share with a roommate, buy it off someone who took the class before.... I really don’t care as long as you get the book by The image of the girl on the tire is what we fixed in class.

OVERVIEW OF PROJECTS Week 2 of class. We used the Crop Tool to straighten and crop out the white around the image. First, click OUTSIDE the box and drag straight up or down
to straighten the image. Then click and drag a top corner of the Crop box into the image to crop out the white. Then do the same to the
opposite corner. Double click in the image OR click the Check at the top OR press Return or Enter to set the crop.
You should also purchase AT THE VERY LEAST a USB drive that’s 12-16 GB as you will need to copy files at some point. I recommend
buying an external hard drive, if you can afford it - you will be using it for other classes as well. I can certainly recommend some if you are REMEMBER to ALWAYS uncheck the DELETE CROPPED PIXELS box in the Crop tool Options at the top.

INTENTION OF COURSE unsure.


I really like this one: With this image the fix was completely NON-DESTRUCTIVE.
In the Layers Palette, click the little circle with black/white at the center bottom. Hover the mouse and it says Add Color or Adjustment
Layer. Click it and the same menu found under IMAGE>ADJUSTMENTS pops open. Choose Levels and 2 things happen.
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1. A new layer appears over the Layer 0 called Levels 1. It’s a layer mask with the icon of the Levels box to the right.

INTRO TO PS
14&sr=1-4&keywords=external+hard+drive 2. The Properties Palette opens. It’s exactly the Levels box. Proceed to do the same fixes as before. This image was very red so most of the
fix will be in the red channel.
But at the very least get some of these: After that, go back to the Adjustment Layers button and click Vibrance. A Vibrance adjustment layer appears. Increase the Vibrance to bring
out muted colors.
http://www.amazon.com/s/ref=nb_sb_noss_1?url=search-alias%3Delectronics&field-keywords=jump+drive We used the Clone Stamp Tool to repair the crack in the wall.
LESSON STRUCTURE Don’t ever spend more than $20 on one. 16GB should be ok for this class.
At the top middle of the options fo rthe Clone Stamp there’s a menu that says Current Layer by default. Change it to ALL LAYERS.
The Clone Stamp is a brush. Keyboard Shortcut for making the brush circle bigger or smaller is the 2 bracket keys next to letter P on the
keyboard. Bracket left makes bigger, bracket right makes smaller.
Create a New Blank Layer at the top of the Layer stack. Then Option Click the bricks to the right of the crack at top middle of image. Let go

BRIDGE REMIND ME TO TELL YOU HOW TO DOWNLOAD FONTS RIGHT ON THE FIRST DAY!!
OMG DOWLOADABLE COLOR FONTS!!!
https://www.colorfonts.wtf
mouse and option, then move the cursor over the crack. A piece of the wall comes with in the circle. Click methodically to remove the crack
and replace with brick. The brick is a horizontal pattern so to make it look real you must follow the lines of the bricks.

https://www.typewithpride.com Important shortcuts: Basically you should know these.


New Document: Cmd N
LESSON 1 & 2 OR just interesting regular fonts:
https://www.fontsquirrel.com
Selection tool: V (You basically press this whenever you are trying to switch from one layer to the other)
Zooming: Cmd + or Cmd -
https://www.dafont.com Hand: Spacebar, click and drag around
Marquee tool: M

Additional notes–

HOMEWORK FOR WEEK 2 Should you have to miss class for some reason, This class is generally (except Summer) taught by me or someone else all week long.
Check syllabus for included schedule of STC102 times that semester.
My Office hours are in Room 3020,in the offices across from the elevator, down the hall to the right
Read Lessons 3 & 4 to be prepared for next week’s lecture YOU DO NOT HAVE TO CALL OR EMAIL FOR AN APPOINTMENT JUST SHOW UP.

OFFICE HOURS FALL SEMESTER: WEDNESDAY 2-5 THURSDAY 2-330


OFFICE HOURS FALL SEMESTER: WEDNESDAY 2-5 THURSDAY 2-330
Phew! I think that’s it. Please email me with questions....
WEEK 2
Week 2 is a busy week. This is how all the lesson files look in the PS Classroom in a Book. Lesson 4 Then there’s the extra file with the photograph of the family. This is not part of the homework. It used to be in this lesson in previous versions MIDTERM: 2 PLACES, IMAGES IN GOOGLE
First off, let’s be clear on the homework situation. All the lessons up to lesson 9 will be done WEEKLY. We’ve done lessons 1 and 2 There’s a Start file and an End file. Your task is to create an End Basic layers Lesson 4 is a mini version of your Midterm. Clicking on of the text. Here’s how it works: Choose 1 place (city, country, continent) and type name in the Google search, then click IMAGES.
(FREEBIES I gave you credit automatically), and now Lessons 3 and 4. file that looks DIFFERENT while still following the step-by-step Stacking order: image in front is at the top of layer stack. the End version of the file reveals all the layers and effects First select both layer (hold shift to select). Go to EDIT>AUTO-ALIGN LAYERS. When the box opens accept that it’s on auto and click OK. Once there look for TOOLS. Click that and new options appear directly below. Choose SIZE, then LARGER THAN...

8/28-29 Lesson 3
instructions in the book. Blend Modes: Change the way the selected layer’s pixels interact with layers below, always creating a kind of transparency better than
lowering the Opacity of layer. Select a layer, locate the button that says NORMAL at top of Layers palette. First group (Darken, Multiply etc.)
needed to create this final version. Your version of this
lesson will be completely different than the cheesy Wish
You Were Here postcard the people at Adobe think is a nice
Layer become better aligned.
Click on the top layer (Layer 2). At the bottom of the layers palette there’s a little circular button, black on top white on bottom. This is
In that menu scroll to 6MP(2816x2112) and click it. The pictures change to reflect that new bigger size search parameter. Then choose
MORE TOOLS and click SHOW SIZES. The numbers under the images are W and H in pixels. Choose the biggest images!! These images
Selecting tools: Marquees, Lassos, Quick Select, Magic Wand. darkens, next group (Lighten, Screen etc.) lightens (disappears against white), next group (Overlay, Hard Light etc) increase contrast, next Create Layer Mask button. When clicked you’ll see a layer mask (a little white box) appears on layer 2 next to the image thumbnail. will be going on a VERTICAL 18x24in 300DPI poster so choose with your basic composition in mind. Don’t know what that means, you
The Rectangular Marquee makes rectangular selections. We chose the sand dollar in the red square to select. Start at the upper left, click group (Difference etc) flips colors to their opposite on darker pixels, last group (Hue, Saturation etc.) changes color. learning composition! THIS IS A LAYER MASK. say?
and drag to the lower right. Try to stay slightly within the red so you don’t pick up the white around the box. USE THESE TO CREATE SURPRISES IN YOUR COMPOSITIONS!! You start on the Start file which has 4 layers... LAYER MASKS> where painting with Brush in Black hides pixels and White shows them on a layer. Make sure when you paint in B/W you GO TO THE MIDTERM EXAMPLES FOLDER IN DROPBOX WHERE THERE ARE MANY MANY POSTER PROJECTS.
To turn the selection into a layer, hold down COMMAND + J. This is Layer Via Copy. The red box and sand dollar are now on their own new Select the Pineapple layer and hold down COMMAND + J to copy it on top of itself. Locate the NORMAL button at the top of the layer box. have the layer mask icon selected, otherwise you’re just painting color onto the layer.
Select the red square/sand dollar inside the
layer. It’s called Layer 1. It’s a good idea to name layer. Double Click on the word Layer 1 and type instead what the object is, in this case Change the Blend Mode from NORMAL to Overlay. This is a quick way to increase the contrast of a layer or object. With the mask icon selected, choose the BRUSH tool (B on keyboard). Click the letter D by itself ( to get DEFAULT colors in Foreground/ And last part of the homework, COLLECT AT LEAST 10-15 IMAGES OF TWO PLACES YOU ARE DOING FOR THE MIDTERM AND BRING
red area.

OVERVIEW OF LESSONS 1&2 AGAIN


Sand Dollar. Then, do the same to the Flower layer. Change it’s Blend Mode to Difference then copy and repeat the pattern to fill in the image window. Background chips). Letter X is how you switch those colors. In the Brush options, make the HARDNESS of the brush 0%, the Opacity TO CLASS ON A USB DRIVE OR HARDDRIVE. DO NOT SEND THEM TO YOURSELF VIA EMAIL OR MAKE SOME COMPLICATED WAY
Hit COMMAND + J to copy the selection onto
Now click on the Background Layer, because that’s where all the pixels are. If PS gives you a warning saying “No pixels were selected Then, like with the Coral in Lesson 3, select the first Flower layer then Shift click on the last Flower layer and hold down 100% and the Flow <10%. Locate Grandpa’s face on the image. Paint in black on his face. What happens is a hole gets punched thru layer OF GETTING THE IMAGES along with completed DIFFERENTLY THAN IN THE BOOK Lessons 3 and 4.
it’s own new layer. Double click the name to
because layer is empty, it’s because you have the wrong layer selected. COMMAND + G to group them. Now move the group under the pineapple layer. The Flower Group becomes and interesting background. 2 making his face from Layer 1 visible. Now do the same to the girls on the hammock. Same thing happens. Now, technically, we’ve made
rename the layer.
Next the Elliptical Marquee for circular selections. The file has now changed significantly from the boring straight forward postcard it was supposed to be, the point of all this. the image more “perfect”
Go to the orange plate/creature thing. With the Elliptical Marquee, click and drag from upper left to the lower right BUT DON’T LET GO OF THIS TECHNIQUE WILL BE REPEATED OVER AND OVER IN YOUR MIDTERM. POSSIBLY THE MOST USED TECHNIQUE.
LESSON 3: SELECTIONS THE MOUSE! Now with left hand hold down the spacebar to reposition the selection. Adjust it so the selection lines up with the upper left of
the circle. Still holding the mouse, let go the spacebar and drag to encircle the object. It may take a couple hold downs on the spacebar to
Select the orange thingy with the
Elliptical marquee. Follow instructions
Next, locate the open file Flower 2.psd in the tabs. Change to the Move tool. We’ll copy this flower onto our collage file (start 03.psd).
REMEMBER, FILES WITH JUST A BACKGROUND AND NOTHING ELSE ARE REFERRED TO AS “THE ORIGINAL” WHILE MULTI-
Lesson 4 is a mini version of the MIDTERM. Make sure you read and do the steps in the book to learn more than I went over in class.
Make sure you go thru all the steps but create a different result to present in class as homework.
get it to be perfect. Once done, again click COMMAND + J to put this on its own layer. Rename the layer Orange or Creature. Whatever. in Lesson 3 writing (to your left), Click LAYERED FILES MADE OF MANY ORIGINALS ARE REFERRED TO AS “THE COLLAGE or THE PHOTO-MONTAGE.”
Next is the Shrink Wrap trick. COMMAND + J. Using the Move tool, click and drag Flower 2 up into the tabs. Still holding the mouse, locate the Start04.psd file and drag the cursor

LESSON 4: LAYERS Click on the Background layer to select it. Make a circular selection around the Coral. Then switch tools and choose the MAGIC WAND, in
the same box as Quick Selection (4th tool down). Hold down the OPTION key and click in the white within the circle selection and Voila the
If you’re not on the Background layer
you get this error message.
down onto the picture plane - then let go of the mouse. The second flower appears in the collage. It will appear ON TOP OF the previously
selected layer. Therefore in this case you will probably have to move it by clicking and dragging it in the layer stack up over the Pineapple
Coral gets a shrink wrapped selection. COMMAND + J to pop it onto it’s own layer and rename to CORAL. Click the Background Layer where all layers.
Using the Quick ?Selection tool, click the Sand Dollar layer. Use the Quick Selection to select just the the Sand Dollar. Then hit COMMAND the actual pixels are, then COMMAND This flower is rather large because the file it came from had many more pixels, making it a larger file, than the collage file. With this layer

COLLECT IMAGES: GOOGLE/TOOLS/6MP + J to separate it from the red background and pop it onto it’s own layer. Delete the previous layer by hitting Delete (Backspace on PC).
Now reposition each of the objects so they’re on top of their respective locations in the box: the sand dollar upper left (A) the creature in Select the area around the Coral
J. Rename the layer. selected, click COMMAND + T to free transform it smaller so it fits the collage rather than dominating it.
Here I introduced the use of repeating reflected objects to add a degree of abstraction to the image. Here’s images of how to work with Blend Modes. The
middle bottom (B) and the coral in upper right (C). with the Elliptical marquee. Then Place the flower in the bottom left corner. Option drag it to copy it to the bottom left corner, then free transform it. Right click in the free pineapple first, to make it more contrasty. Then the Flower,
Now we have fun with the Free Transform Tool. switch to the Magic Wand and transform box and choose Flip Horizontal to reflect the flower. Now option drag it to the third corner at the top left. Free transform it and switched to Difference blend mode and repeated to create

10-15 IMAGES MINIMUM OF 2 PLACES Select the Coral layer. Click COMMAND + T. This is the shortcut for Free Transform.
A bounding box appears around the coral. To scale and object, hold down the SHIFT key and drag a corner. (In the newer version of PS
2019, the Maintain Aspect Ratio button is checked by default, so just drag only the corners). Holding shift scales the object proportionately.
Option Click in the white to Subtract
out the white and shrink wrap the
choose Flip Vertical to place it in that corner. Option drag one more time over to the top right and free transform, right clicking and choosing
Flip Horizontal again. You now have flowers in the four corners as reflected objects. Cool right?
If all the objects are made the correct size, you should have a nice full but visible series of layers creating the beginnings of a cool montage.
an abstract pattern and change the composition entirely.

coral as a selection. Command J


Holding the cursor close but outside the bounding box allows you to rotate the object. Right Clicking in the box gives you a menu with other etc. *We did this with the first flower as well. Images to the right.
options. Hitting the check at the top or return or enter sets the transformation. Escape lets you cancel it.
Cancel and hold down shift. Now drag the coral. This is another way to copy a layer or object. Free Transform the coral by rotating it. We’ll Now we add type to the image. Do not use that heinous HAWAII layer that comes with Start 04.psd
create a Coral flower by copying the coral a few times and rotating it so it creates a kind of flower. It took me 5 copies. Once you’ve done Choose the Type tool. Click the top most image in the layers so the type appears above all the image layers.
that, we’ll group the layers so the flower can be treated as one object. Click in the image window once. This brings up the words IPSUM LOREN. It’s just fake latin placeholder type. Simply type the word HAWAII
Select the first Coral layer, then shift click the last coral copy. This selects all those layer. Now hold down COMMAND + G, the shortcut to in all caps and it replaces it. The book tells you to click and drag creating a box -DON’T. I find it way easier to deal with type in PS and in
group the layers. Rename the group Coral. Now grouped, you can move or free transform the whole group. Illustrator by simply clicking. Then click the check at the top to set the type. Now we’ll change the properties.
When you’ve finished making whatever DIFFERENT composition using the items you’ve made into layer, use the CROP tool to cut out just At the top in the Options starting on the left, change the typeface/font where you see the word MYRIAD PRO (the default font). Click in that
the composition. MAKE SURE TO DESELECT THE DELETE CROPPED PIXELS CHECK BOX. VERY IMPORTANT WHEN CROPPING. menu; when you run the cursor down the list, it changes live the type you made. Working with type on the image.
Next to that option is the style: regular, bold, italic, bold italic Words to the left.
COMMAND + T is Free Transform. A bounding box appears around
IMPORTANT POINT ABOUT THIS LESSON: Next to that is the size button. Either click the pop down menu, or type in a size OR place the cursor on the double T icon and just click
the object. If the Background layer is still on, you’ll see the copy you’re
I want you to follow the steps in the book but I want the finished piece to look DIFFERENT than the finished piece in the End file. This is to drag to the left or right to resize type.
working on and the original. Turn off visibility of Background to see the
promote creativity and using the tools and techniques learned in a different way. The same applies to all the lessons. Do the steps but then Continue over and there’s a little color chip/box. Click in that and the color picker opens. You can choose a color in that box OR sample a
transparency checker board. Cursor outside the box lets you rotate
tweak the results so it looks different than the actual End file. color directly from the image using the little eyedropper that appears. You can never go wrong with White type, FYI.
object. Click and drag any corner to resize proportionately. Hit Enter or
Layer styles box: where Drop Shadows, Gradient Overlays, etc live. Double click in the blank right side of the layer to open.
Return to commit transformation. Option drag to copy the object.
I think we put a little Drop Shadow on the type.
IMAGE TO THE RIGHT SHOWS SETTINGS TO MAKE A NICE SIMPLE TIGHT DROP SHADOW ON TYPE. MAYBE USE THIS AT FIRST.

HOMEWORK FOR WEEK 3 Also in the image at right is a slight change to the KERNING of the letter pairs in HAWAII. To do this, click with text tool in between 2 letters,
hold down Option and use the arrow keys to bring the letters closer together, evening out the spaces. There’s a before and after to help
clarify what I mean.
Complete Lessons 3 & 4 DIFFERENT than how the finished
Adding extra color to the Flower 2 layers.
version looks. Lock: click the first button next to the word Lock under the Blend Modes. This is Lock Transparency, to paint only onto pixels that exist
Working with extra color.
Words to the left.
Using Option Drag and Command T, you can create silly multiple in the layer, not in the transparent part… Click the Foreground Color chip in tool box to choose a color, then choose Brush (B). In Brush
Collect minimum 10 images for both places used in the midterm objects. When you end up with multiple layers, select the bottom one options, make the Hardness 0%, the Opacity <25% and the Flow <10%. You can also change the Blend mode of the PAINT (the NORMAL
Sorta semi-finished composition.

then shift click to select the top one, selects them all. To group them button in the paint options next to Opacity) to change how the paint interacts with the layer pixels. I made the petals of my flowers become
and bring to class on a USB or harddrive use shortcut COMMAND + G. Rename the group. This treats all those more colorful by adding a blue color to them. Using the same color, I switched the Brush Blend Mode to Difference and painted in the
layers as 1 object. middle making that yellow color become way more saturated. It’s all about experimenting!
OFFICE HOURS FALL SEMESTER: WEDNESDAY 2-5 THURSDAY 2-330 When finished with composition use crop tool to clean up presentation. That’s it for the Start04 file we did in class. There’s much more going on in the steps in the book.
Remember the Delete Cropped Pixels button IT MUST BE OFF!
FROM INTERWEBS IMAGES TO PHOTOSHOP COMPOSITION

WEEK 3
REPEAT OF TAKE AWAYS FROM LESSON 4
REFINE EDGE
Start this process by deciding on a place you will use for your first poster. Fact is you should decide Now drag a second “background” image on top of the first one. Expand that image (or not). Make Continue to add elements to your composition. Or not. I like ultra-complex collages, it’s just what I

9/4-5
DRAGGING NEW FILES INTO COMPOSITE–
Your open images are arranged as windows with tabs along the top. To get one image into another, follow these steps:
Click the tab of the file you want to drag in to another. Use the MOVE tool to click and drag the image/layer straight up to the tabs. Keep
Should you discover that Select and Mask totally sucks monkey brains, you can use the old school method of Refine Mask. Preselect the
object/subject first using the Quick Select brush, tho the other tools will work as well. With a basic selection on the screen, hold down the
SHIFT key, select SELECT menu item (Actually click on it first) and then click SELECT AND MASK. (If it doesn’t work just try it again)
both places so there is continuity, a requisite for this project. Having decided, type that place into a
Google search and choose IMAGES. In the image window, look for the TOOLS button. Clicking it
reveals a second row of options.
01 sure the top image significantly overlaps the bottom image or the mask will reveal only white and not
look right. Image 09 09 do. That’s not necessary for you. You need only 6 separate image layers. (copied images in groups
count as 1 image)
The next step is to make sure your TOP MOST LAYER is selected. Then choose the Type tool (letter
17
It has a different box interface than Select and Mask because its the old school version of it. In many cases it works better with difficult Choose SIZE>Larger Than...>6MP. Then choose More Tools>Show Sizes, so pixels dimensions
holding the mouse down, locate the tab you want to drop into. When that image comes forward, keeping holding mouse until you drop the Add a layer mask to it - the bottom at the bottom of the layers panel (white square with black dot. T shortcut) Type out the name of the place. Highlight/select the type and change the Font, Style,
selections. This guy with the Mohawk is easy with either. show up under thumbnails.
now invisible image into the image plane. The dragged image will magically appear as a new layer in the target composition. A new blank white layer mask appears on that layer.Notice that the laye rmask has a sort of white Color and Size in the options on the top right of the window. Make it big enough to be read and to
With the Refine Edge box now open, your cursor is automatically the Refine Edge tool. Use the bracket keys to increase decrease the brush These images are THUMBNAILS. DO NOT USE THEM AS IS. REQUIRES 3 STEP PROCESS.
box around it - this signifies it’s selected. To mask a layer YOU MUST HAVE THE MASK ICON be considered a visual element in the composition. Image 17
size. With this tool it is preferable A) to use a slightly smaller brush B) use lots of brush strokes based on the background color you’re trying SEE PICS AT RIGHT.
COPYING AND TRANSFORMING LAYERS– SELECTED, NOT THE PICTURE ICON TO THE LEFT. Now, the mandatory second piece of type is THE CLIENT’S NAME! If you don’t include the client’s
Your composition/photo montage/collage, whatever you want to call it, is created from multiple images forming a composition. So once you
to get rid of. This tool cannot make a good selection if in the same stroke you pass over 2 separate colors, like where its white/gray on the
top of the guy’s mohawk but then turns blue on back of his head. Use separate brush strokes for different colors.
Step 1: the small thumbnail / Step 2: The medium Thumbnail / Step 3: Image in its own window
THAT’S the download image. (Images 01-02-03)
02 IF THE PICTURE ICON IS SELECTED, WHEN YOU PAINT, YOU PAINT ON THE IMAGE NOT THE
10 name, you don’t get paid! The easy way to do this is OPTION drag the text layer, reduce it’s size to
18
CHECK HOMEWORK:
have multiple images dragged in, you can also copy those in the composition by hitting COMMAND+J or OPTION+DRAGGING to copy Drop them all in a folder with the PLACE name. Stay organized. DO NOT DROP THEM ALL OVER MASK. about 1/4 the size of the place name. Move it somewhere near a corner or centered at the bottom.
When you’ve separated the hair from the background, you can change the background view color at top of box to six different views.
them, as we did with the flowers in Lesson 4 in class. This is the basic method for arranging the images into an interesting composition. THE PLACE ON ANY COMPUTER YOU HAPPEN TO BE. ALSO, DROP THE FOLDER INTO A Next choose the Paintbrush (B), and set the Hardness to 0%, the blend mode to NORMAL and the Sort of “usual” placement.
When you’re totally done, change Output to: New Layer with Layer Mask and hit ok.
USB OR EXTERNAL HARDDRIVE AND BRING IT TO CLASS. I WOULD ALSO BACK UP THAT OPACITY AND FLOW to UNDER 50% Now for Colorization of the composition.
In the Layers you’ll find the cut out guy on his own layer with a little black and white icon to the right of the image icon. This is a Layer Mask FOLDER ON BOX OR DROPBOX JUST IN CASE. IF YOU SHOW UP FOR CLASS WITHOUT YOUR
BLEND MODES– This will make the brush soft. Select the IMAGE LAYER BELOW THE TEXT LAYERS.
PICTURES YOU WILL SIT WITH NOTHING TO DO. NOTICE ALL CAPS. Click D for Default B/W Then click the Add Adjustment Layer button at the bottom of the Layers Panel. Image 18
Blend Modes: Change the way select layer’s pixels interact with layers below, always create a kind of transparency better than lowering
LESSON 3 & LESSON 4 the Opacity of layer. Select a layer, locate the button that says NORMAL at top of Layer palette. First group (Darken, Multiply etc.) darkens, Click X to switch the Foreground and Bakground colors. Choose Hue/Saturation. And Adj layer will appear in the Layers and the Properties panel will open
next group (Lighten, Screen etc.) lightens (disappears against white), next group (Overlay, Hard Light etc) increase contrast, next group
(Difference etc) flips colors to their opposite on darker pixels, last group (Hue, Saturation etc.) changes color.
USE THESE TO CREATE SURPRISES IN YOUR COMPOSITIONS!!
You have 2 choices of how to get these images into Photoshop to begin your process: The neat
03 Make sure Black is in the foreground. Paint away the edges of the top picture to reveal the one
below. This is your first composite. Image 10 11 with the Hue/Saturation options present. Choose COLORIZE button in the panel. The image will go
grayscale with a single Hue over it. You can right then change the Hue to something else, as well as
the Saturation. Or wait till after the next step. Image 19
19
LESSONS 6 & 7 IN CLASS
way or the messy way.
The messy way is to open all the images in PS as separate windows.
LESSON 6 USING SELECT AND MASK VS REFINE EDGE Then choose WINDOW>ARRANGE>FLOAT ALL IN WINDOWS.
Then create the blank poster file. What I did next is just how I build these kind of compositions - a little on the complicated side...
SELECT AND MASK button at top of screen or in SELECT>SELECT AND MASK. You must have the correct layer selected. I didn’t even make a screen shot of that mess. I held down OPTION and COPIED the masked image. Then I clicked COMMAND+T to FLIP

WORK ON COLLECTED IMAGES/ SELECT AND MASK is a separate box with it’s own tools and dialog boxes. The NEAT way is pictured at right. Images 04, 05 and 06. HORIZONTAL the image. Again, overlap is important so the seam between the 2 images can be
On the left is the tool box, with Quick Select tool first, Refine Edge tool second. They are both brushes. Keyboard shortcut to change brush
size is Bracket Left and Right on the keyboard.
Before you begin, look on the right. There is a slider called TRANSPARENCY. Move it left and right from 0% to 100%.
Open Adobe Bridge, a separate piece of software that works as a hub for all things Adobe. Click
either Desktop or Computer in the Favorites tab on the left. Locate your USB or your folder if it’s
already on the desktop as we did in class. Select all the images (COMMAND+A)
04 blurred by painting in black on the mask icon. Image 11
Now hold down SHIFT and select BOTH LAYERS in the layers panel. Click the little FOLDER ICON
at bottom of layers panel. This GROUPS the layers and treats them as one object. It also allows
12 Now locate the button in layers that says NORMAL. Click it and choose OVERLAY from the many
options. The color over your image will go transparent and very contrasty. Now if you wish you can
change the Hue and Saturation. Or not. Image 20
20
START MIDTERM POSTER 1
At the top in the Menu items choose TOOLS>PHOTOSHOP>Load Files as Photoshop Layers...
Move the slider down to 25%. The picture will be slightly transparent showing the layer below(make sure you’ve turned on visibility of the a LAYER MASK ON THE WHOLE GROUP. Create just as you would for individual layers. Paint on
Bridge launches PS and loads all the separate files into on single file with a bunch of layers. Makes it
orange pixel image below). As you use the Quick Select tool over the object/area you want selected (middle of hair near ear is best), it will MASK ICON just as you would with individual layers.
very easy to drag and drop all the files into the blank we create next.
look like it solidifies, removing the gray haze over it. You can go to the Transparency slider to check if you’ve gotten everything you want Images 12 and 13
selected or not by moving the amount up and down from 25% to 100%. Do not, however, try selecting at 100%, there’s some kind of bug
that makes the selection weird. If you got an area you didn’t want, hold down Option which makes the brush the DESELECTING tool. I chose to change it. I changed to a yellow hue with a more intense saturation value.
Next step: Refine Edge BRUSH to clean up the selection. Remember the little brush can be changed in size to accommodate for small
spaces, like in the pieces of the coral. Remember the different view modes for seeing your object on light of dark backgrounds, and to look
at the Black and White view mode to see how well the edge has been selected (the Quick Select creates a very fuzzy edge you only see in
You can paint on your layer mask with your Brush tool. Set the HARDNESS to 100% if you want a sharp edge, 0% if you want to blend with
soft edge. Set the OPACITY 100% and FLOW to 1% if you want a soft edge, both at 100% if you want a sharp edge.
Now choose FILE>NEW.
05 13 Image 21
21
the B&W view mode.) Always sharpen the edge of selection using the slider in the middle called Contrast, also the Shift Edge (towards left The new dialog box opens. Here are the parameters for the file:
Make sure THE MASK ICON ON THE LAYER IS SELECTED, NOT THE PICTURE THUMBNAIL. 18in WIDTH
usually to reduce artifacts from background.) Now find another image to drag in.
PAINTING IN BLACK HIDES PIXELS. 24in HEIGHT
ONCE YOU’VE MADE YOUR SELECTION, LOOK AT THE RIGHT SIDE DIALOG AREA AGAIN. Locate the inverted V next to the word New images always appear above previously selected images. So if you don’t PRE-SELECT the top
PAINTING IN WHITE SHOWS PIXELS. VERTICAL orientation
Output. Make the choice in the drop down menu be Output To New Layer with Layer Mask. This will copy the layer and make the selection image, your new image may appear anywhere. You can always drag it to the top of the layer stack,
Once the selection of a single object is perfect, you can CONTROL CLICK on the mask and choose Apply Layer Mask to cut the object out 300 pixels per inch
into a layer mask, which we will use extensively throughout the semester. which means it’s in front...or down if youw ant it BEHIND something...as I did in Images 14 and 15
and remove the other pixels. (This same instruction will be repeated over and over so fear not if it sounds like a foreign language) RGB

06 14 22
This new image I manipulated as I did the image below it:
Free Transform to rotate or scale object. Right/Control click to get that context menu allowing you to Distort or Warp your selected object. WHITE background
Click CREATE. I dragged it in. OPTION dragged it to copy it, Free Transform to FLIP HORIZONTAL, SHIFT select
Double click names to rename your layers. Double click layer for Layer Styles box to add drop shadows, whatever.
Drag the tabs out from the top and arrange them next to each other. both layers and GROUP them, then mask the group into the background.
Crop at the end to get rid of extra space left behind. REMEMBER TO TURN OFF THE DELETE CROPPED PIXELS BUTTON!!!
(you can also go to WINDOW>ARRANGE>FLOAT ALL IN WINDOWS)
The lesson will take you step by step through all the topics we covered in class
This is image 06 And VOILA!
A semi-finished sketch of the poster I want for my first place.
Image 22
OK on to the poster project:
FILE>NEW: 18”x24” at 300dpi in RGB. You must open a new blank file that size first.
Now turn to the images collected in Bridge. Check all your images and make sure they are over 1 MB. No KB images are allowed.
Everyone has access to the folder with examples of posters from previous classes. Give a second look at the Dropbox folder when trying to
07 15
HOMEWORK FOR WEEK 4 imagine how to compose in an abstract way. I’m calling the folder MIDTERM EXAMPLES. And again, here’s the address to the Dropbox:

IDEA FOR YOUR POSTER: OK now the work begins.


Complete Lessons 6 & 7 to look like a magazine cover This YouTube video by Washed Out: Find a layer with an image you think will work well in the background, sort of the foundation of
the composition. Select it in the layers and drag it onto the blank file. Select COMMAND+T (Free
Continue the process making sure your priority is FILLING UP ALL THE WHITE SPACE IN THE
IMAGE BACKGROUND FIRST. Otherwise you’ll be contending with weird white blocks and spots as
https://youtu.be/xTjQHfP1KOo
Work on first poster, attempt to complete
Read Lesson 8 the Pen Tool to prepare for next week’s lecture
Transform) and expand the image so it fills the blank space at least on the sides. For now perhaps
use a horizontal image rather than a vertical one so we can do what I picture at right in images 07
and 08.
08 you build the composition the whole time.
As you finish filling the background, middle and foreground elements can begin to be introduced
and blended in to create a seamless experience of the whole.
16
Image 16
WEEK 4
THE PEN TOOL THE PEN TOOL -REAL WORLD FIXING POSTERS AFTER INITIAL SKETCH NEXT STEP: SELECTING HARD EDGE NEXT STEP: ABOUT TEXT NEXT STEP: THE SECOND POSTER
OBJECTS There’s 2 pieces of type on your poster. Pe- The second place poster must feel and

9/11-12
Going thru the lesson in the book will give you more detailed explanations of how to work with this tool One of the 2 images I made a path for my poster of Rome is this Coliseum photo. When you have an ob- All the instructions you need for what is technically and creatively supposed to be on the midterm is in A quick way to make nice hard edge selec- riod. The name of the place and the name of seem like the first. I started my second post-
and complete the selection of the cup, among other things. However I felt some sticking points in this ject to make a path selection of, start on an easy corner. I started at the top left. Try your best to include the Midterm Rubric PDF. Make sure to go over it thoroughly, it is your basic checklist. The only thing you tions is with the selecting tools learned in the client. The place name should be large, er by analyzing the beginning layers of the
lesson can be better explained by me with screenshots. as many details as possible. Remember when changing directions from a don’t need on that list is your digital sketch (which is the state of your posters at this point anyway). Lesson 3. The example given is this tem- mostly white with perhaps a drop shadow, first and trying to rebuild in the same way, so
The lesson begins with the Start08 file. There’s a layer over the image of the up with a series of letters, curve, OPTION-CLICK the point you just made. This removes the for- At this point you will need to go over the poster and it’s layers just as I will when I grade them. ple image. At first it was simply masked in. and in a typeface/font that makes sense to speak. The decorative church ceiling in
which you will use the pen tool to create a path. The point of this is as precise a line around the cup as ward handle. Also, remember HOLDING THE SPACEBAR AFTER MAK- To refine it, I deleted the original first mask with the feel of your place. ALL PLACE ROMA seemed to go with the gothic renais-
possible. The pen let you create the initial path, save it, then go in and edit it, better than any of the other ING THE POINT BUT NOT LIFTING FINGER FROM MOUSE LETS YOU and made a selection of the object with the NAMES MUST BE KERNED SO SPACING sance ceiling I added to the Firenze poster.
selection tools. In the image below, I’ve drawn the initial path. Remember, as I will go over in class, the REPOSITION THE POINT. That’s a time saver for later. Polygonal Lasso tool. With a selection on IS EVEN BETWEEN ALL LETTERS. Notice Next I added layers and blended them
PEN TOOL WITH REAL WORLD USAGE letters with dashed lines and a red dot after mean you
click with the pen tool, then without letting your finger
Next in this image a reach a big curve part. The less points you make the
better generally. So this big section requires only one curved point. See
FIRST STEP: CHECK FOR SIZE
ACCURACY
the layer, clicking the Add Layer Mask but-
ton turns that into a layer mask. Using yet
in the example the word ROMA before and
after kerning. To kern, place cursor between
into the Firenze poster same as I did with
the Roma poster, adding another deco-
up, drag to the red dot, then release. This creates a image. Go to IMAGE>IMAGE SIZE another selecting tool, Quick Selection, I letter pairs, hold down OPTION and use the rative ceiling to further match them. And
WORKING ON SECOND POSTER curved line segment, which allows the path to follow
the contours of your object. After you draw and close
Make sure your poster is 18x24 @300dpi.
Another way to check this is that there’s a
clicked on all the empty spaces. Then, going
to EDIT>FILL I filled those spaces on the
left and right arrows to move letters closer or
further from each other.
remember the goal at first when building
backgrounds is that there’s no white space
the path, make sure to double -click the “work path” in blank white vertical layer at the bottom of mask icon with black. Columns now cut out. Copy the place name, reduce it’s size and showing as quickly in the composition as
paths palette, which allows you to Save the path. If you the layers called BACKGROUND. Also make I then went back in and added some of the change the typeface -then type the name possible.
FINISHING THEM BOTH FOR WEEK 5 don’t save the path, it might not be there next time you
open the file.
sure you NAME ALL YOUR LAYERS! original glowy pixels of the sky to soften it
up.
of your client. You can invent the name as
I did, or you can use some airline or travel
In Roma there’s a few horizontal doubled/
mirrored layers bisecting the image plane. I
Next is the important part: editing the path to make NEXT STEP: CHECK FOR RATCHETRY company that preexists. The company name added that into Firenze as well. There’s also
TO MAKE TRANSIT SHELTERS AND it perfect. Select the White Arrow (it might be hidden
below the black arrow). When you do, the points on the
Then there was more curves and straight areas. The far left
side of the building has straight lines then curves. To navigate
IN YOUR MASKS
As this first attempt at the poster was made,
should be way smaller, I’d say no larger than
36 pts. (that’s a preset in the size menu). It
strong elements in the midground and fore-
ground on the bottom half of both posters.
path are all filled with blue. Click away from the path to that, after each curve, option-click the point to allow for curves it’s assumed you do it fast and loose, like a generally goes towards the bottom of the Then to fill the top section, I added the tem-
deselct it, then click back on the path with the white ar- and straight lines. This is what makes using the pen so hard NEXT STEP: ADDING ADJUSTMENT image. ple into Roma so I added the 2 statues at
BILLBOARDS row to select it. Now the points are all hollow (blue with but so great. At the top is one big last curve to close the path.
sketch. Your masks will be simple, sloppy
and well, RATCHET. LAYERS
Each poster must have 2 adjustment layers.
Hold shift and select both type layers and the top and a strong central double element
white centers). When you click on an individual point, When you get to the point of origin, the pen gets a little circle Turn off all your layer then starting from the group them (Command+G). Call the group in Firenze. I almost feel like the second post-
you can alter both its position and the curve extending indicating the closure. But I can still drag to make the curve fit bottom turn on the background and the first One should be a Hue/Saturation layer. It can TYPE and that group MUST be at the top of er is in a way cooler than the first - a natural
behind and in front of it. The sticky messy parts of the cup are AND move the point with the spacebar even tho it was made layer used as a background image. Next, make the colors unify in the poster, where in the layer stack. Period. consequence of improving your graphic
usually letters N & A, G $ H, and the cup handle, I, J & K. previous. turn on the next layer that was blended into its current state it’s just a bunch of disparate I added a drop shadow to both type layers “seeing” as you work in this style.
With the White Arrow, you can adjust those points so they better the first. Hold down OPTION and click on pictures making a collage. by adding it instead to the actual group. Next on top of all the images come the ad-
conform to the cups edges. Once the path is close, make sure to save the path by double the mask itself. It will probably look very First way to enhance or change the colors justment layers. Originally the Roma poster
The tricky one is G & H. clicking the work path. You can name it if you wish. sloppy and quickly made. That’s fine. Now it is simply to move the Hue slider. This shifts was a gold explosion. But as I played with
Here’s what I did: gets fixed. all the colors in the image, giving it a bit of a the blend mode of the Firenze poster I real-
Select the Pen tool and option click on the G point. This loses the Now to use the path! Flipping back and forth between the mask psychedelic look. ized a much more subtle intense feel could
forward curve handle. Then option click on H. Move the handles Path is selected. Hold down Command and the image, repair or redo the mask so Another way is to click the Colorize button be developed using different than normal
independently so you get a slight curve from G and a straighter and click the path icon in the paths palette. that the image has A) no digital image edges at the bottom of the Properties. This gray- go-to blend modes. Both use a gold/orange
line headed up to I. Look at the screenshots for a The path converts to a selection. Move and B) makes that layer’s image look as best scales the image and gives it one solid color Hue but the actual blend mode on the layer
better idea. over to the Layers palette and locate the selected as possible. If an image needed to cast. Moving the Hue slider allows for color is Hue. It produces an interesting selective
Add Layer Mask button. Simply click it and have nice sharp edges, that will be attended choice, while Saturation can intensify the color effect.
The whole point of this exercise is to figure out your selection cuts out your object and to in the next class when we cover the Pen color. Next move back over to the Layers Now the type. An easy way to create graph-
how to use this tool to make a “real world” selec- creates a layer mask. Now you can simply Tool. panel and locate the NORMAL button to ic consistency is to use the same type on
tion. Next page I walk thru selecting the Coliseum. have that or use it in your poster, with the Go in wiht your brush at the proper settings change the Blend Mode of the layer. Stan- both posters. I dragged the whole TYPE
mask. (Hardness 0, Opacity 100%, Flow <10%) dard go to is Overlay, Soft Light or Hard group from Roma to Firenze and just re-
HOMEWORK FOR WEEK 5 Done.
Save the file with this name:
Used black or white to fix sketchiness in the
mask.
Light. For the example, I actually used Hue
near the bottom. It selectively changes the
typed the name. If you hold the shift key as
you drag and drop it lands in the exact same
Complete Lessons 8 place-path1.psd Examples to your right color while allowing much of the other layers location.
Make sure that what is supposed to be to be softly desaturated. I then painted on One last excessive touch...
Finish, as much as possible, both posters solid, is, and what’s supposed to be softly the layer mask that comes with the Adjust- I added a mask to the type group in Firenze
blended is as well.. ment Layer and painted black on the areas so the Statue in the center could sorta poke
in the composite I wanted original color to over and under thru.
show through. Viola! Posters done!
WEEK 5
PEN TOOL MIDTERM WEEK 6: a rubric is included in the Dropbox. Please check that for point values of each item. POSTER TO TRANSIT SHELTER BILLBOARD Next, place the 2 files side by side. Save the layered horizontal as
Tutorials on use of the Pen tool abound in the places you SHOULD be visiting for information: Lynda.com, AdobeTV.com, Phlearn.com PLACE1-POSTER.PSD POSTER TO HORIZONTAL TO BILLBOARD YOUR NAME_PLACE_HORIZONTAL.PSD
If my absolutely FABULOUS hour talk on the Pen and making selections has been forgotten just remember the following tips: 2 POSTERS of 2 places designed as a campaign, thus having elements that make the 2 SEEM to go together (geographic location, city- PLACE2-POSTER.PSD Do not make the mistake of naming this file BILLBOARD. The one next it will be called

9/18-19 06 11
Clicking with the pen, then clicking elsewhere, creates a straight line segment. city/country-country, similar colors scheme or compositional style or use of type, etc) BILLBOARD, not this one.
Clicking and DRAGGING creates a curve from the previous point BEHIND the current point, linking the 2. PLACE1-HORIZONTAL.PSD This is a little harder. Bring the image of the Billboard forward and gauge the approximate IMAGE 11
TRANSIT SHELTER
If, still holding down the mouse, you wish to change location of the second point, hold the SPACE BAR to move that point around (like we 2 BILLBOARDS created from the 2 posters; thus 2 horizontals created from the same elements in the same style as the 2 posters. WE PLACE2-HORIZONTAL.PSD rectangle you need to create. Both are relatively long thin horizontals. I find it easier to
did when creating a circle using the Elliptical Marquee).
If, after LETTING GO OF THE MOUSE, you wish to change the point’s location, hold down the COMMAND KEY and move the point. When
WILL MAKE THESE WEEK 5.
PLACE1-TRANSIT SHELTER.PSD
In your poster click the topmost layer (SHOULD BE THE TYPE LAYER OR TYPE GROUP).
Then use this keyboard shortcut: COMMAND-OPTION-SHIFT-E (as in EDWARD)
A new layer appears at the top that looks like the whole poster. This is called a COMPOSITE LAYER.
01 make a simple rectangular selection of the billboard, hit COMMAND+J to place that on
its own layer. Then drag that layer ABOVE the topmost layer in your poster file. This will
you let go of the command key the cursor returns to the pen tool. To reconnect your path, click on the point you just moved to restart that HOMEWORKS: 15% of your grade. You must show me Lessons 3-9 finished slightly differently than the End version for each Lesson. PLACE2-TRANSIT SHLETER.PSD be your guide to making your horizontal the exact shape of the billboard.
IMAGE 01
path. IMAGE 06 and 07 Now click COMMAND+OPTION+SHIFT+E (as in EDWARD). This creates a composite

2 VERTICAL POSTERS + PLACEMENT;


To change directions entirely after you’ve made a curve (e.g. making the top of a valentine heart shape as I did in class), hold down the
OPTION KEY and click on the point you just made. This removes the forward control handle and allows a new direction for the next curve or
line segment.
A brief quiz based on the Prod_Terms handout and information in the questions at the ends of the Lessons. The questions will be very
general:
Raster and Vector files
PLACE1-BILLBOARD.PSD
PLACE2-BILLBOARD.PSD 07 layer at top of the layer stack in the horizontal.
IMAGE 12 12
Next drag that layer and drop it on one of the TRANSIT SHELTER images. It will be
After you close the path by returning to the point of origin, COMMAND CLICK the path icon in the paths palette. This loads the path as a .3 letter file extensions (.jpg, .psd, etc) and what they stand for PLACE-PATH-1.PSD

2 HORIZONTAL POSTERS + PLACEMENT


selection. Now use SELECT AND MASK to determine if you need to make any other changes with the path. Remember you are SAVING
THE PATH (by double clicking it) and keeping it for later in the file so make the path as perfect as possible( for the midterm I will be
Difference between RGB and CMYK files
Difference between Web and Print files
PLACE-PATH-2.PSD
PLACE-PATH-3.PSD
gigantic, covering the whole thing. Click COMMAND-T, Free Transform. Click the bottom
corner of the window and stretch it open to reveal the 4 corners of the Free Transform
box. Hold down SHIFT AND OPTION and click-drag a corner to scale down the poster
02
GRADING your paths for perfection). Output to a LAYER MASK from refine edge to finish refining your selection. Masks in Photoshop PLACE-PATH-4.PSD until it is almost the size of the Transit Shelter window.
Simple shortcuts IMAGE 02
REAL LIFE APPLICATION OF THE PEN TOOL FOR THE MIDTERM: All these topics are in either the “answers” to the end of lesson questions or in the PDF in my dropbox titled Production Terms.

HI RES PICS OF TRANSIT SHELTER AND Your posters are made up of individual images you dragged and dropped onto it. So find 2 of those picture, those original JPGs, and open
them in Photoshop. They should be something easy to select using the Pen tool, like a building, a boat, a sea turtle, something easy.
12 FILES TOTAL FOR YOUR MIDTERM
08 Now you have a composite layer of the horizontal that you can drag onto the image 13
Find a corner or start at the top of the object. Clcik and place your first anchor point. You can click and click away to avoid using the curved N THE WEEK 4 FOLDER YOU WILL SEE A FOLDER CALLED TRANSIT_SHELTER/BILLBOARD JPGS. Download and open all 4 files in PS. CHECK IN DROPBOX: of the Billboard. Free Transform to fit into the billboard and use COMMAND click the

BILLBOARD
points that you learned in Lesson 8 if you want. It’s easier if you just learn and use them. Make a good tight selection with the Pen around
your object. Once you close the Path, double click it in the Paths palette. This saves the path. IF YOU DON’T SAVE THE PATH YOU WILL
NOT GET CREDIT. Now hold down Command key and click the little thumbnail of the path in the Paths palette. This loads the Path as
We will place the 2 posters and 2 horizontals onto the pictures of Transit Shelters and Billboards. Here’s how!
TRANSIT SHELTER
In your poster click the topmost layer (SHOULD BE THE TYPE LAYER OR TYPE GROUP).
MIDTERM EXAMPLES FOLDER>STUDENT EXAMPLES>A MIDTERM COMPLETE FILES
Shows the above list by 3 students complete with correct names.
Your welcome.
Then hold down COMMAND key and drag each corner to fit it into the corners of the
Transit Shelter so it looks like the poster is in the Transit Shelter.
03 Now select COMMAND+T to make the billboard layer fit across the poster left to right
corners to fit into the corners of the billboard.
IMAGE 13

Selection. Go SELECT>SELECT AND MASK to open the selection in that box. Determine if its a good selection or if it needs help. I would Then use this keyboard shortcut: COMMAND-OPTION-SHIFT-E (as in EDWARD) IMAGE 03 edge. Then select the Crop tool. Take the top left edge of the crop box and drag it down
Output To> New Layer With Layer Mask. This allows you to fine tune the selection. A new layer appears at the top that looks like the whole poster. This is called a COMPOSITE LAYER. to the top left edge of billboard layer. Now drag the lower right edge of the crop and fit

COMMAND+OPTION+SHIFT+E If you wish, you can now drag and drop the better selected object onto your poster and replace the not so good selection that’s there. Or
not. I don’t care about that. I care only that you open 2 original pictures from each of your poster’s folders and cut something out on them
using Pen tool. Then save path, then save files as PLACE-PATH1.PSD or PLACE-PATH2.PSD. 2 for each place.
Next drag that layer and drop it on one of the 2 TRANSIT SHELTER images. It will be gigantic, covering the whole thing. Click
COMMAND-T, Free Transform. Click the bottom corner of the window and stretch it open to reveal the 4 corners of the Free Transform box.
Hold down SHIFT AND OPTION and click-drag a corner to scale down the poster until it is almost the size of the Transit Shelter window.
it to the lower right edge of the billboard layer. Click Return or the check mark at top to
commit the crop
MOST IMPORTANT: MAKE SURE DELETE CROPPED PIXELS IN THE OPTIONS OF THE
09 Save the new image as:
YOUR NAME_PLACE_BILLBOARD.PSD 14
YOUR PATHS CANNOT BE ON THE POSTER. THEY MUST BE ON ORIGIANL JPGS. IF IT’S ON THE POSTER I TAKE 5 POINTS OFF. Then hold down COMMAND key and drag each corner to fit it into the corners of the Transit Shelter so it looks like the poster is in the CROP TOOL IS DESELECTED

FOR COMPOSITE STAMP TO TRANSIT Transit Shelter. A miracle!!


SAVE THIS FILE AS PLACE1-TRANSIT SHELTER.PSD.
Make the second one in the same way and name it PLACE2-TRANSIT SHELTER.PSD
A miracle!!
SAVE THIS FILE AS LAST NAME_PLACE_TRANSIT SHELTER.PSD.
Make the second one in the same way and name it with that second place. 04
Now delete the billboard layer and there’s your basic starting horizontal.
IMAGE 08 09 10

Go back to the posters and delete that composite layer from BOTH. Make sure everyone is saved. Go back to the posters and delete that top composite layer from BOTH. Make sure

SHELTER
Transit Shelters completed. everyone is saved.
Transit Shelters completed.
IMAGE 04
10 Now do the WHOLE PROCESS with the second poster.
Remember, try to make BOTH POSTERS FIRST SO THEY HAVE MATCHING ELEMENTS/STYLE.
BILLBOARD Then do all the other steps after they’re done.
This is a little harder. Bring the images of the Billboards forward and gauge the approximate rectangle you need to create. Both are relatively
long thin horizontals. We will do all this in class TUESDAY.
Select the Crop tool and click in your poster. MAKE SURE THE BUTTON AT THE TOP THAT SAYS DELETE CROPPED PIXELS IS NOT WEDNESDAY will be a work day in class.
SELECTED. Very very important. THURSDAY the whole project is due.
Now click and drag the TOP LEFT corner of the crop box and stretch it to the left and down . Then click and drag the BOTTOM RIGHT
corner handle and drag tot he right and up. MAKE THE CROP BOX LOOK MORE OR LESS LIKE THE BILLBOARDS SHAPE.
This is what your placed Transit Shelter file layers palette ends up looking like. The layer with the
placed poster is on the layer just above the original background layer of the original image.
05 Here’s the files you must have for THURSDAY:

2 POSTERS OF 2 SEPARATE PLACES


Once satisfied with the shape, hit Return or Enter or the Check at the top of the screen. This crops your poster down to the shape of the
billboard. It will look weird. Don’t worry.
Next SAVE THIS FILE AS PLACE1-HORIZONTAL.PSD
IMAGE 05
09 2 TRANSIT SHELTERS OF THE 2 PLACES (POSTERS)

(I PRAY YOU UNDERSTAND WHEN I SAY PLACE I MEAN YOUR PLACE, LIKE PARIS OR ROME OR NYC) Then reopen your poster of that After the initial crop and removal this is what you should sort of end up with: your poster cropped 2 HORIZONTALS (BASED ON POSTERS)
place so you have a basic guide to making it look similar. Make it small and keep it down in corner to look at it as a guide. across the middle. The type may or may not be cut off and the company name is probably hidden.
Now go into the layers and turn off the visibility of all the layers. Begin with your backgrounds. Use Free Transform to resize them to fit the I went in and started shutting off visibility of some layer, making some masks clearer or removing 2 BILLBOARDS (HORIZONTALS)

HOMEWORK FOR WEEK 6 length of the billboard. Go a layer at a time and try to include as much of your imagery as possible. It doesn’t need to be near as complex
as the poster. When you get to the TYPE layers or group, make it kinda larger since it’s a billboard and meant to be read from a distance.
pixels and basically moving stuff around until your horizontal starts to come together as it’s own new
version of the poster. 1 PATH ON AN ORIGINAL FILE

10
Once you’ve completed this, select the topmost TYPE layer or group and perform the shortcut again: IMAGE 09 - BEFORE

MIDTERM - PRESENT EVERYTHING COMMAND-OPTION-SHIFT-E IMAGE 10- AFTER

Study for test, have all your files with layers intact, make sure I’ve Now you have a composite layer of the horizontal that you can drag onto the image of the Billboard. Free Transform to fit into the billboard
and use COMMAND click the corners to fit into the corners of the billboard.
seen all your homeworks of the past 4 weeks. SAVE THIS FILE AS PLACE1-BILLBOARD.PSD
Do the same procedure with the second poster to convert to horizontal and then place into billboard image.
So you should end up with the following files:
WEEK 6
STC102 WEEK 6 SYNOPSIS
Hello All
INDESIGN STARTING GUIDE PICTURES ON THE PAGE SAVING AND PACKAGING INDESIGN FILES

9/25-26
Now that midterms are over we can focus on part 2 of the class: layouts with Adobe InDesign.
ONE WAY TO GET PICS ON PAGE: When done working, first save the file with this naming convention:
Basic InDesign highlights:
FILE>PLACE NAME_MAGAZINE_DATE.indd
Shortcuts very similar to Adobe Illustrator and Photoshop, command + and _ to zoom, Spacebar +command for zoom tool, Command+0
for fit to screen. OR Use Save As... in order to change it’s name.
The file we created for the Trifold Brochure project is Letter sized (8.5x11) horizontal/landscape so actually 11x8.5. 2 pages were created for Keyboard shortcut COMMAND+D
the INSIDE AND OUTSIDE of the brochure. PERIOD. Then go FILE>PACKAGE
REMEMBER UNCHECK FACING PAGES! When you choose FILE>PACKAGE, you must navigate 3 screens to

GRADING OF THE MIDTERM + TEST Once in InDesign, make sure rulers are in inches (Control Click on the rulers, both of them, and change to inches).
Double click the Master-A page at top of Pages palette. Go to LAYOUT>MARGINS AND COLUMNS and make number of columns 3 with 0
gutter, so that 2 lines appear and divide the page in 3. You might want to decrease the MARGINS to .25 inches all around instead of .5, just
If no box was made and preselected, the image appears as
thumbnail in the cursor.
Click and drag to make the PICTURE and its FRAME the size you
get to the final saving screen. See the images to the left.
First window: PACKAGE
Second window: CONTINUE
TYPE ON THE PAGE
to give you more live area. want it. Third window: PACKAGE
Double Click on page 1 to return to regular pages. Now create a big text box off the page on the left. Type OUTSIDE and make the point
INTRODUCTION TO INDESIGN size very big, like 100pt. Option+Drag that box down to same location on page 2. Change the type to INSIDE.
Retirn to page 1. Over the top of the 3 columns in the gray area off the page make 3 boxes that say what your trifold says for outside:
Select the Type tool (keyboard shortcut letter T).
Click and drag to create a Text Frame.
At top of screen click on TYPE>FILL WITH PLACEHOLDER TEXT.
Images are inside frames. They are 2 parts. The FRAME is the BLUE
box border. When selected you can move or scale the FRAME. The
PACKAGING IS ULTRA SUPER DUPER OMG IMPORTANT.
You MUST package after working on the document, update the
INSIDE FLAP / BACK / FRONT.
Down to page 2 just Option+Drag those boxes and retype: LEFT / CENTER / RIGHT. Select/highlight text, change the size to 9pts with 11pts leading. PICTURE stays the same inside. changing names of the folder with a NEW DATE, and make sure you

OVERVIEW OF THE APPLICATION Your brochures will be about one of your poster locations. It can have the same client, whose name must be on both the front and back (the 2 fields to the right of the Font name) If you want to change the PICTURE and not the FRAME, click the bring the folders on a USB with you to class EVERY DAY.
panels. white circle that appears in center of box. Now frame border turns Along with your physical magazines.
DO NOT LET YOUR 3 PANELS TOTALLY BLOCK UP YOUR TRIFOLD!! This is the problem with trifolds and “designers”, they try to draw This is your basic story type. All your stories basic text will look kind GOLD/BROWN. Thats the PICTURE. You can click and drag any Otherwise we cannot work in class on the latest version of the
inside the lines to please me or the client. Do your best to make a beautiful flowing piece that has pertinent text but is not overpowered by of like this. corner HOLDING SHIFT KEY and resize PICTURE in the FRAME. document.
the text. Let the images do the talking.
CREATING THE TRIFOLD Refer to the folder in the dropbox for examples of previous student brochures… THEN USE THOSE AS STARTING POINTS OF WHAT NOT
TO DO. Do research of what REALLY AWESOME OVER THE TOP BEAUTIFUL TRIFOLDS look like.
You can resize both PICTURE and FRAME TOGETHER by holding
down:
The PACKAGE collects together all the fonts and images into that
folder and the copy of the file in the package is connected to them.
COMMAND+SHIFT CLICK AND HOLD A CORNER THEN DRAG IN
https://urldefense.proofpoint.com/v2/url?u=http-3A__beforeitsnews.com_fine-2Dart_2012_12_40-2Dtri-2Dfold-2Dbrochure-2Ddesign-
OR OUT TO RESIZE BOTH. You delete the saved file so you can update the file name AND the
2Dfor-2Dinspiration-2D2457032.html&d=BQIFaQ&c=y2w-uYmhgFWijp_IQN0DhA&r=iknjQ22c0iRRj92MiprBxzeMY3Af_sA_-gCTEpY6N00&
package name each time. I know it seems like extra work but trust
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You can also RIGHT-CLICK or CONTROL-CLICK to get a CONTEXT me it keeps everything very organized.
https://urldefense.proofpoint.com/v2/url?u=http-3A__www.designbolts.com_2013_04_11_20-2Dsimple-2Dyet-2Dbeautiful-2Dbrochure- MENU. Where it says FITTING, you will find options for changing the
2Ddesign-2Dinspiration-2Dtemplates_&d=BQIFaQ&c=y2w-uYmhgFWijp_IQN0DhA&r=iknjQ22c0iRRj92MiprBxzeMY3Af_sA_-gCTEpY6N00 PICTURE or the FRAME. Se screen shots at left for detailed procedure.
&m=mmFhtVPKqTTFv3grVOtpuYe-7XHWRVXe4cazyT2Tzhc&s=_aSSyeHrqi0VwZ7reVgxg3bEJ5DsbtOHBCEqnItoY-c&e= The most common one is:
COMMAND+OPTION+SHIFT+C
https://urldefense.proofpoint.com/v2/url?u=https-3A__www.pinterest.com_minglittlefish_2014-2Dtri-2Dfold- This fits the PICTURE to the FRAME.
2Dbrochure_&d=BQIFaQ&c=y2w-uYmhgFWijp_IQN0DhA&r=iknjQ22c0iRRj92MiprBxzeMY3Af_sA_-gCTEpY6N00&m=mmFhtVPKqTTFv3gr To fit the FRAME to the PICTURE:
VOtpuYe-7XHWRVXe4cazyT2Tzhc&s=atvdKfSrSaGQDIz_2Z1nht9kScQQNUMUQVHhPHWzPCE&e= COMMAND+OPTION+C (leave out SHIFT)

https://urldefense.proofpoint.com/v2/url?u=http-3A__bestdesignoptions.com_-3Fp-3D5271&d=BQIFaQ&c=y2w-
uYmhgFWijp_IQN0DhA&r=iknjQ22c0iRRj92MiprBxzeMY3Af_sA_-gCTEpY6N00&m=mmFhtVPKqTTFv3grVOtpuYe-
7XHWRVXe4cazyT2Tzhc&s=oswEb-q_lM2FjHuD_cSqmUxF8ExdNulfK9ESXiXG770&e=

https://urldefense.proofpoint.com/v2/url?u=https-3A__helpx.adobe.com_indesign_tutorials.html&d=BQIFaQ&c=y2w-uYmhgFWijp_
IQN0DhA&r=iknjQ22c0iRRj92MiprBxzeMY3Af_sA_-gCTEpY6N00&m=mmFhtVPKqTTFv3grVOtpuYe-7XHWRVXe4cazyT2Tzhc&s=tHouXCD
pplI4W_V4lXvYuWf2vtrWaRE8YGg86qvJLok&e=
There, as usual I SPOON FEED YOU the research.
I expect interesting brochures people. We’re upping the ante here. Feel free to send me screen shots of what you’re thinking about. Or,
better yet, attempt to learn how to get SMALLEST FILE SIZE pdfs from InDesign. Command+E is the shortcut to export to PDF (make sure
it’s PRINT not interactive).

*A NOTE ABOUT TRIFOLD DESIGN…


The purpose of a trifold is a cheap, easy way to create an impactful way to get across some kind of message, be it public service or
business advertisement. The trifold gives the viewer a ONE-TWO-THREE punch; that is, the Front and Back panels are viewed first
(ONE), the front opens to the Left Inside panel NEXT TO the Inside Flap (TWO), and finally, the Inside is opened to it’s 3 panel view

HOMEWORK FOR WEEK 7 (THREE).


Therefore, for effective design, be sure to design each of these so they make sense. In InDesign the best way is to consider the Front
and Back as one composition, the Inside Flap and the Inside Left Panel as another composition, and the 3 panel Inside as it’s own
Begin trifold brochures. composition and the big finish for the viewer, so to speak.
The tough part of this is TWO. Making sure that the Inside Flap and the Inside Left Panel somehow create their own “special” design
Attempt to add what you need to both sides. Follow the is very important. Consider using the Inside Flap as a space for impactful text facing off to the beginning of the three panel Inside
imagery, almost like an intro to the Inside.
guidelines in this pdf.
WEEK 7
STC102 WEEK 7 SYNOPSIS *A NOTE ABOUT TRIFOLD DESIGN…
TRIFOLD BROCHURE
Hello All The purpose of a trifold is a cheap, easy way to create an impactful way to get across some kind of message, be it public service or
STARTING GUIDE

10/2-3
Now that midterms are over we can focus on part 2 of the class: layouts with Adobe InDesign. business advertisement. The trifold gives the viewer a ONE-TWO-THREE punch; that is, the Front and Back panels are viewed first (ONE), THE STARTING POINT.
Basic InDesign highlights: the front opens to the Left Inside panel NEXT TO the Inside Flap (TWO), and finally, the Inside is opened to it’s 3 panel view (THREE). TRIFOLD BROCHURE FILE
Shortcuts very similar to Adobe Illustrator and Photoshop, command + and _ to zoom, Spacebar +command for zoom tool, Command+0 Therefore, for effective design, be sure to design each of these so they make sense. In InDesign the best way is to consider the Front and
for fit to screen. 3 MAIN TOOLS: V for the BLACK arrow, A for the WHITE arrow and T for the TYPE/TEXT tool. Back as one composition, the Inside Flap and the Inside Left Panel as another composition, and the 3 panel Inside as it’s own composition FILE>NEW
The area around the page is the ARTBOARD (which can be increased in the preferences). You can put non-printing items there. and the big finish for the viewer, so to speak. CLICK PRINT AT TOP OF BOX
The tough part of this is TWO. Making sure that the Inside Flap and the Inside Left Panel somehow create their own “special” design is very FIRST CHOICE IS LETTER SIZE
Trifold Brochure project important. Consider using the Inside Flap as a space for impactful text facing off to the beginning of the three panel Inside imagery, almost (CHANGE UNITS TO INCHES)
File>NEW>Document like an intro to the Inside. Your brochures will be about one of your poster locations. It can have the same client, whose name must be on ADDING A COLOR BOX

REVIEW OF BASICS OF INDESIGN, MAKING


WIDTH & HEIGHT: 8.5 X 11
When the box first opens, click PREVIEW at the bottom left corner so you can see what you’re doing. both the front and back panels. There are 2 tools for creating frames in tool box, Rectangular Frame
ORIENTATION: FIND AN EXAMPLE- PLACE THE FIRST IMAGE Place the image frame. Then scale the frame to fit from the red
Number of Pages: 2 DO NOT LET YOUR 3 PANELS TOTALLY BLOCK UP YOUR TRIFOLD!! This is the problem with trifolds and “designers”, they try to draw tool and Rectangle Tool. The Frame one has the X in it and is used for
HORIZONTAL (LANDSCAPE) Looking up in a Google search TRAVEL TRI FOLD BROCHURES, bleed line to the second guide dividing the BACK and INNER FLAP
PAGE SIZE: LETTER (AT FIRST IT WILL SAY 51p0 x 66p0 which is 8.5”x11”) horizontal/landscape so actually 11x8.5. inside the lines to please me or the client. Do your best to make a beautiful flowing piece that has pertinent text but is not overpowered by images. The second one is made for colors, as it has a default black
UN-CHECK FACING PAGES find an example of one you find matches the aesthetic of the place columns. Right click in the frame and choose FITTING>FILL FRAME
UNCHECK THE BOX TO THE RIGHT OF THE PAGE SIZE THAT SAYS FACING PAGES. the text. Let the images do the talking. stroke when frames are created with it.
2 PAGES you’re designing. Download one or more and include it in the PROPORTIONATELY. This expands the image to fill the frame
SURE TRIFOLD FILE IS CORRECT Where it says COLUMNS enter 3. Then where it says GUTTER enter 0 (zero). That way there’s 2 lines simply dividing the pages.
LEAVE MARGINS AS THEY ARE.
BLEED AND SLUG: Only fill in the BLEED first box that says TOP. Enter 0.125 in and click TAB.
Refer to the folder in the dropbox for examples of previous student brochures… THEN USE THOSE AS STARTING POINTS OF WHAT NOT
TO DO. Do research of what REALLY AWESOME OVER THE TOP BEAUTIFUL TRIFOLDS look like.
COLUMNS: 3 GUTTER: 0
MARGINS: .25 IN
pasteboard of the trifold to use as a visual guide. In the example
here I used a trifold that divides the page with shapes and colors.
regadless of aspect ratio. Create a frame using the Rectangle tool. Then click SHIFT-X to switch
the Stroke and Fill. Now the box is black. Click the letter I to get the
BLEED: 0.125 IN. ON ALL 4 SIDES To start our design with it, the first image is added to the right top Eyedropper tool. Click anywhere in your image to sample a color. To
You should see all 4 boxes for BLEED say 0p9 (which is equivalent to 0.125”) https://urldefense.proofpoint.com/v2/url?u=http-3A__beforeitsnews.com_fine-2Dart_2012_12_40-2Dtri-2Dfold-2Dbrochure-2Ddesign- reset it and sample a different color, re-click the letter I.
corner of the page. MAKE SURE TO MOVE THE FRAME TO THE

LOOKING AT TOUR WEBPAGES FOR IDEAS Make sure your page has a red line around the OUTSIDE, purple/pink lines around the INSIDE, and 2 purple lines dividing the page in 3.
NOW click OK.
2Dfor-2Dinspiration-2D2457032.html&d=BQIFaQ&c=y2w-uYmhgFWijp_IQN0DhA&r=iknjQ22c0iRRj92MiprBxzeMY3Af_sA_-gCTEpY6N00&
m=mmFhtVPKqTTFv3grVOtpuYe-7XHWRVXe4cazyT2Tzhc&s=K3jPUfKzbNwRO3RiE-FQcZzQgSPwYfjFyJLeh4-iZEs&e=
CLICK OK RED BLEED LINES WHENEVER A FRAME GOES TO THE PAGE
EDGE.

Once in InDesign, DOUBLE-CLICK THE TOP RULER and change the increments from PICAS to INCHES. NOW DO THE SAME TO THE https://urldefense.proofpoint.com/v2/url?u=http-3A__www.designbolts.com_2013_04_11_20-2Dsimple-2Dyet-2Dbeautiful-2Dbrochure-

ON LAYOUT AND INTENTION


LEFT SIDE RULER. 2Ddesign-2Dinspiration-2Dtemplates_&d=BQIFaQ&c=y2w-uYmhgFWijp_IQN0DhA&r=iknjQ22c0iRRj92MiprBxzeMY3Af_sA_-gCTEpY6N00
&m=mmFhtVPKqTTFv3grVOtpuYe-7XHWRVXe4cazyT2Tzhc&s=_aSSyeHrqi0VwZ7reVgxg3bEJ5DsbtOHBCEqnItoY-c&e=
Select the TYPE tool. Click and drag to make a text box in the left side ARTBOARD of page 1; make it long and not too high. Type
LAYING OUT PAGE 2 - ALTERNATIVE LAYOUT The text needs some serious attention but honestly, its midnight on
OUTSIDE. Select the type and use shortcut to increase size: COMMAND+SHIFT+> https://urldefense.proofpoint.com/v2/url?u=https-3A__www.pinterest.com_minglittlefish_2014-2Dtri-2Dfold-
Having some visual idea to use as an example of a different direction Sunday and I’m pooped.
OR use the shortcut to scale box BOX AND CONTENT: COMMAND+SHIFT and CLICK A CORNER, HOLD, SAY JUAN MISSISSIPPI then 2Dbrochure_&d=BQIFaQ&c=y2w-uYmhgFWijp_IQN0DhA&r=iknjQ22c0iRRj92MiprBxzeMY3Af_sA_-gCTEpY6N00&m=mmFhtVPKqTTFv3gr
TRIFOLD DUE ONSCREEN WEEK 9 pull outwards slowly. Box and content resize LIVE. Always HOLD, SAY JUAN MISSISSIPPI, THEN DRAG.
OPTION+SHIFT DRAG that box down to ARTBOARD of page 2. . Change the type to INSIDE.
VOtpuYe-7XHWRVXe4cazyT2Tzhc&s=atvdKfSrSaGQDIz_2Z1nht9kScQQNUMUQVHhPHWzPCE&e=
STARTING THE BROCHURE WITH LABELS
or combination of visual elements may stimulate a completely
different vibe to the whole piece.
It’s all about the details and changing the feel, while still using the
Hopefully this will help.
Best
Heria
Return to page 1. OPTION +DRAG a copy of the big OUTSIDE text box onto the page in the first column. RESIZE that box down so it fits in https://urldefense.proofpoint.com/v2/url?u=http-3A__bestdesignoptions.com_-3Fp-3D5271&d=BQIFaQ&c=y2w- When you open the file it will have 2 horizontal pages. You can use
same basic elements. That’s design in a nutshell.
that first column on the left. This is INSIDE FLAP. OPTION+DRAG that box over to the middle column. This is BACK. OPTION+DRAG that uYmhgFWijp_IQN0DhA&r=iknjQ22c0iRRj92MiprBxzeMY3Af_sA_-gCTEpY6N00&m=mmFhtVPKqTTFv3grVOtpuYe- same navigation as in Photoshop:

QUICK INTRO TO MAGAZINE PROJECT box over to the right column. This is FRONT.
Switch to Black Arrow, drag to select those 3 boxes and OPTION+SHIFT+DRAG them down to the same spot on Page 2.
7XHWRVXe4cazyT2Tzhc&s=oswEb-q_lM2FjHuD_cSqmUxF8ExdNulfK9ESXiXG770&e= COMMAND- +/-/0 to ZOOM IN/OUT/FIT TO PAGE
Pages panel is same as Layers in PS. Keep it open and long&thin
For this piece I created the 2 lighter blue shapes with the pen tool,
as shown in class. Make sure to complete or close the shape. Fill
the shape with a color, perhaps sampled from the images. I placed
That’s your basic intro to using Text and TEXT boxes. on the left side of the screen.
a color in the background, kept the ghosted in image of the David,
Next is IMAGES! https://urldefense.proofpoint.com/v2/url?u=https-3A__helpx.adobe.com_indesign_tutorials.html&d=BQIFaQ&c=y2w-uYmhgFWijp_ Click T for the Type tool. In the Pasteboard (empty gray area to left

MAGAZINES MUST BE BROUGHT OR ONE


now picking up that darkish blue as well.
To get images onto your page, you have choices. IQN0DhA&r=iknjQ22c0iRRj92MiprBxzeMY3Af_sA_-gCTEpY6N00&m=mmFhtVPKqTTFv3grVOtpuYe-7XHWRVXe4cazyT2Tzhc&s=tHouXCD of white page) click and drag from upper left to lower right to create
USE THE PLACE COMMAND SOMEWHERE TO GET IMAGES ONTO YOUR PAGE. pplI4W_V4lXvYuWf2vtrWaRE8YGg86qvJLok&e= a TEXT FRAME.
You can either go File>Place, which opens a dialog box to find the images you want to use. OR There, as usual I SPOON FEED YOU the research. Everything in InDesign is in FRAMES.
You can open BRIDGE and find your images there, select and right click/control click or go File>Place>In InDesign. And ALL FRAMES can be made or converted to have TEXT, COLOR

WILL BE ASSIGNED They both give you a little thumbnail of your image in the cursor. Click and drag from UPPER LEFT CORNER OF THE BACK PANEL TO THE
LOWER RIGHT CORNER OF THE FRONT PANEL. Keep dragging until the box gets to the left edge of the page and let go.
Now just pull the bottom of the frame (the BLUE box with control handles) up to the RED BLEED LINE.
Lastly, the type you’ll use must be like a tour or package to the place in the brochure, it cannot just be history or simply about the place. To
find pertinent info you can use, and copy and paste directly into a text box in your trifold in InDesign, try Lonely Planet tours. There’s tons of
them often to your exact location. If your poster was a city and you find a tour to that city’s COUNTRY switch it to that.
or IMAGES.
In the text frame, type the word OUTSIDE. Looking at the paper
example of the trifold, outside is the front/back and inner flap panels.
ALL IMAGES THAT GO TO THE EDGE OF THE PAGE MUST GO TO THE RED BLEED LINE. COMMAND-OPTION-DRAG the OUTSIDE text box to copy it up
The BLUE box is the frame, like a picture in a frame in your house. Run the cursor over the image and a WHITE CIRCLE BUTTON appears Here’s a starter link: over the page on the left side. Rename this INNER FLAP. Copy
in the center of the box. Click it. Now the frame changes to BROWN/GOLD. This is THE IMAGE IN THE FRAME. You can CLICK A https://www.lonelyplanet.com/tours/a/pa-tou/358537 again and rename BACK. Then copy a third time and rename
CORNER, HOLD, SAY JUAN MISSISSIPPI AND DRAG to make the picture bigger or smaller WITHIN THE FRAME. Bigger means you’re You do the rest. I demonstrated copying and pasting type from a site into your trifold. AT LEAST DO THAT for next class, as well as start FRONT.
CROPPING part of the image. Then you can CLICK, HOLD, SAY JUAN MISSISSIPPI and reposition the picture within the frame. placing pictures in your trifolds, even if it’s onto the artboards. Switch to the BLACK ARROW (shortcut letter V).
You’re main picture in front should probably cover the FRONT AND BACK panels. Click and drag to select all 4 text frames.
CHANGING THE TRIFOLD TITLE WITH A NEW FONT Adobe app. Remember the name so you can find it. Select the
ALL TEXT IN YOUR TRIFOLD MUST BE MADE IN INDESIGN. So if you use your posters, you must reposition the image so the type isn’t OPTION-DRAG to copy all 4 and drag down to page 2.
Make a copy of the text box that says OUTSIDE and drag it to the word OUTSIDE and change the font to the new one. Since this
showing. I’ll show you how to fix that next class. Rename the boxes INSIDE, LEFT, CENTER and RIGHT. LAYING OUT PAGE 2 - INSIDE to complete the text part of the page.
right side pasteboard. Leave it there a moment. frame is below the frame with the image, control/right click to get

HOMEWORK FOR WEEK 8 Now SAVE your file. Call it TRIFOLD-PLACE NAME-DATE.INDD (Remember to ck=lick the triangle so the whole box opens)
DO NOT SAVE DIRECTLY INTO A USB OR HARDDRIVE. SAVE ONTO THE DESKTOP.
Now the MOST IMPORTANT PART:
If confused look at the pictures here to your left!!!
Go to the interwebs and download a fancy font/typeface to use
for the title. I chose FONT SQUIRREL. I picked a font that I could
download directly. It ends up in the Downloads folder. Find it and
the Arrange menu and BRING TO THE FRONT. That puts the box
in front of the image. I changed to color to white (paper) and added
a drop shadow using the FX menu at the top of the screen. The
Use the Rectangular Frame tool to make a box on Page 2 from
top left to bottom right BLEED LINES. Place an image, preferable
horizontal. We’ll make it 50% transparent using the slider in the
Voila! finished trifold.
However, it’s more boring than watching paint dry.
Search the interwebs for interesting trifold examples. Download and
Working on trifold brochures. Grading Week 9 File>PACKAGE. You must go thru 3 menus. Click PACKAGE on the first, then CONTINUE, on the second. On the third make sure you’re
putting the FOLDER that gets created with the same name as the file right next to the file in the harddrive/desktop.
double click on it to bring up the INSTALL FONT window. That setting for the Drop Shadow are in the screen shot - 0.02 in for the options top middle so we can safely place type on it and still be able
to read it. Then create 2 more picture frames on the 2 top corners
place on the page to give inspiration for creating a better piece.
For example...
brings up FONT BOOK, the font management system for the Mac. distance and everything else adjusts automatically.
Bring physical magazine for use in final project. That PACKAGE will have 5 files in it: a copy of the file you’re working on, an IDML file (opens indesign files on older versions), a PDF of the
current file, and 2 folders: DOCUMENT FONTS and LINKS. This is the fonts and images used in the file copied here.
The font is now installed and can be found in the font menu in any of the page. You can select multiple images and place them in
premade frames by OPTION CLICKING in the frames and dropping
YOU MUST BRING THE FOLDER WITH YOU TO CLASS. YOU CANNOT TECHNICALLY SEND IT OR THE FILE BY ITSELF THRU YOUR the images in. Select both frames and use COMMAND-OPTION-
EMAIL. I CANNOT STRESS THIS ENOUGH. SHIFT-C to fill the frames proportionately. Create 2 text frames
underneath and copy paste from the travel site you’re using for info
WEEK 8 TRIFOLD SPEC SHEET FOR GRADING
STC102 WEEK 8 SYNOPSIS When a box of any kind is selected, you’ll see the thumbnail for STROKE and FILL colors at the top. EVERY WEEK YOU ,UST BRING THIS MAGAZINE WITH YOU WITHOUT EXEPTION OR I WILL CONSIDER IT HOMEWORK NOT DONE
THE TRIFOLD IS DUE FINISHED ONSCEEN IN CLASS WHEN YOU RETURN FROM SPRING BREAK. Choose WINDOW>COLOR to see the palettes that control color. Swatches gives you preset simple set of colors: black, white, rgb and AND LOWER YOUR GRADE.
cmy. Color lets you invent colors. In the little control button at the top right of the Color palette, you can change the box to be CMYK, the PERIOD.

10/9-10 This week we covered a lot of material. We are finishing off the trifold brochure and starting the magazine. So here we go…
Curious about what represents “good” typography?
https://urldefense.proofpoint.com/v2/url?u=https-3A__99designs.com_designer-2Dblog_2012_10_16_the-2Dbest-2Dand-
color of print things. There’s a little color ramp along the bottom. It changes the color of any selected box.
In the toolbox, there’s FILL and STROKE positioned like FOREGROUND/BACKGROUND colors in Photoshop. Click once to make the one
come forward you want to use. Double click to bring up the color picker and invent a color.
See you all in two weeks
THIS SYNOPSIS AND ALL THE OTHERS ARE IN THE DROPBOX
www.tinyurl.com/STC102FALL2017
2Dworst-2Dtypefaces-2Dand-2Dwhy_&d=CwIFaQ&c=y2w-uYmhgFWijp_IQN0DhA&r=iknjQ22c0iRRj92MiprBxzeMY3Af_sA_- We’ll talk about Gradients another day. Or look it up. Heria
gCTEpY6N00&m=BQit9fi-1umiSVE9UjodGm8USy6N4nHgBwcpI007LN4&s=7DsJzGG9Bf-JnyCKrUop9dgYRSl-Of1rNMvCXLXmdcs&e= You have choices in your trifold to add color as a background, an accent or a blend for your images.
If you make a rectangle, SHIFT+X to change the FILL to black then choose a color in one of the ways above, you now have a color box. If -Size 11X8.5 (Letter Horizontal), 2 pages, .25” margin, .125” bleed NO FACING PAGES, rulers
FINISHING TRIFOLD DUE WEEK 9
What else? you want to add some visual movement to your brochure, select the WHITE ARROW (keyboard shortcut A), deselect and then reselct your
I showed a PLETHORA of tips, tricks, techniques and workflow to make working in InDesign easier for you. You MUST supplant my box, you’ll see the 4 corners become hollow boxes, like in the path we made in lesson 8 in PS. Click one of the handles and drag to change changed to inches
instruction with good tutorials. I’ve already made all this clear. the shape of the box. To make it into a triangle just delete one of the points.
www.miami.edu/Lynda To make a curvy shape, best to use the Pen tool. I demonstrated in class.
https://urldefense.proofpoint.com/v2/url?u=http-3A__tv.adobe.com_product_indesign_&d=CwIFaQ&c=y2w-uYmhgFWijp_ Any of these chapes can have a color. They can also contain a picture. Just click COMMAND+D to fill the same box with a picture
QUICK INTRO TO MAGAZINE PROJECT IQN0DhA&r=iknjQ22c0iRRj92MiprBxzeMY3Af_sA_-gCTEpY6N00&m=BQit9fi-1umiSVE9UjodGm8USy6N4nHgBwcpI007LN4&s=pJC5Vhp
wYWL3BkYimaUgL9qqkOY7GJq_iJXBUJ46eVo&e=
(COMM+OPT+SHFT+C to fill the box with the picture proportionately). To make the picture transparent and change it’s blend mode, click
the white dot in the box to switch to picture edit mode, then locate the Fx button at the top. When you click it, choose TRANSPARENCY. A
box opens and you can change the blend mode of your image to Hard Light or Multiply to give it the color of the fill underneath. -PAGES PALETTE: Master page: .25 inch margin, 3 columns, 0” gutter
THIS IS WHAT I COVERED THIS WEEK TO FINISH THE TRIFOLD OFF: In class I did this with the Roman Coliseum. When you fill a box with a picture, you can also switch to picture mode and click the Fx

MAGAZINES MUST BE BROUGHT OR ONE TYPE:


Before you open your InDesign file, navigate to the Package folder and locate the Document Fonts folder. Inside you’ll see whatever fonts
>TRANSPARENCY button to reduce the intensity of the image, allowing for text to go over an image covering the background.

you used in your project. Select them all and double click. They will open as little folders on the top left of your screen. Click the INSTALL LASTLY! -2 pages OUTSIDE: 3 panels INSIDE FLAP, BACK, FRONT; INSIDE: 3 panels LEFT, CENTER,
FONT button for each. This opens FontBook, the font management application for the Mac (it’s different on a PC, look it up). You may get a Remember your trifold is a TRI-FOLD. That means it has 3 different user experiences in 1. There’s the Front/Back, which I suggested
RIGHT
WILL BE ASSIGNED menu that indicates a problem with your font(s). Just select all and install regardless. You probably don’t have to do this on your laptops.
TAKE THE TIME TO LOOK THRU FONTBOOK. Those are the fonts available on your computer. In general, a piece like your trifolds have
using your posters to cover, witht he name of the place and client in front and the contact info and name of client in the back. Then when
you first open the trifold, there’s the LEFT page on the left and the INNER FLAP on the right. THEY MUST SOMEHOW BE A SECOND
2-3 fonts, a mix of Serif and Sans Serif fonts to create clear hierarchical order and contrast. COMPOSTION IN THEIR OWN RIGHT. The inner flap is often used for some kind of bullet list of what you get on your tour or why you
TO FIND OTHER FONTS go to the websites I showed: Font Squirrel ( I like it better) or DaFont.com. When you download a font it ends up should use that company, while the left is the beginning of the whole inside. When you then open the the inner flap, this is experience
either as a zip file of a folder or a folder itself with the type inside in the downloads folder. Double click the files that have TTF or OTF as their number 3, the whole inside. You can create some crazy thing like I showed in the example during class or find some other example that -TYPE>FIND FONT all fonts present because the file was packaged correctly, body copy (the
extensions, those are the actual fonts. you can use and make your selves. DO NOT ASSUME YOU WILL SIMPLY CREATE THIS OUT OF THIN AIR. YOU MUST RESEARCH
TYPEKIT For those of you that have Creative Cloud, you might be tempted to use Adobe Typekit. Don’t. You can’t package those fonts and TRIFOLDS FOR IDEAS ON HOW TO MAKE IT SPECTACULAR. type used most in a brochure, the “paragraph” type) should be 8 points.
it’s a pain. Better to download free fonts from the sites above for now. There should be at least ONE other font used for HEADERS, to create contrast between
KERNING/TRACKING These terms refer to the space between the letters themselves. Tracking is the overall space of all the letters, Kerning Once you’ve finished working for the day, you click SAVE AS, and save the file OUTSIDE of the previous package with this day’s date. Then
is changes to specific letter pairs. you go back and click FILE>PACKAGE. The new packge DOES NOT go into the previous package. DO NOT nest packages inside each the 2 kinds of typogrphy (that’s called HIERARCHY, by the way...)
other!! Then close the file in InDesign (save or not soean’t matter) then DELETE the file that is NOT in the package. Empty the trash.
TRACKING> regular AMAZING > very tight AMAZING > very loose A M A Z I N G This is the process and workflow for the whoel semester. I will know immediately if you don’t follow it.

KERNING> regular ROMANTIC > fixed ROMANTIC THIS IS DUE BEGINNING OF CLASS UPON ARRIVAL BACK FROM SPRING BREAK. IT IS WORTH THAT LAST 10 POINTS FOR YOUR -PACKAGE: the file must be PACKAGED with all the folders and files inside the package
So the above MUST happen you your HEADERS TOTAL MIDTERM. IT IS THE DIFFERENCE BETWEEN AN A AND A B.
Remember too the intention of the trifold: TO SELL ME ON JOINING SOME KIND OF TOUR TO YOUR LOCATION BY THE COMPANY
WHO IS YOUR CLIENT. ALL TYPE MUST REFLECT THIS. NEXT PROJECT: MAGAZINE
AND ALL TYPE MUST BE MADE IN INDESIGN. The OTHER thing you must bring the following week is an elegant, beautiful, typographically striking magazine, which you will use for your
next project. Examples: WIRED, Nylon, Vanity Fair, ESPN, WAD, Dazed and Confused, Wallpaper, Surface, Idn, ID, METROPOLITAN, -Clear examples of interesting, elegant, beautiful uses of type, color and image used as
MARGINS AND GUIDES/MASTER PAGE
So the current purple/pink box around the inside of the page is the Margin and it’s set at 0.5”. I want it to be 0.25” (1/4 inch not 1/2 inch)
Esquire, Smithsonian inspiration to create your trifold; clarity on your client, the trifold’s intention, your target audience;
https://urldefense.proofpoint.com/v2/url?u=http-3A__www.theguardian.com_media_gallery_2014_feb_16_beautiful-2Dmagazines-
To do this you must go to the Master page. 2Dprove-2Dprint-2Disnt-2Ddead-2Din-2Dpictures&d=CwIFaQ&c=y2w-uYmhgFWijp_IQN0DhA&r=iknjQ22c0iRRj92MiprBxzeMY3Af_sA_- a visual flow without being blocky or using tacky, oversized type
In the pages palette, locate at the top the page next to the word A-MASTER. Double click on it. You are now in the Master page. Anything gCTEpY6N00&m=BQit9fi-1umiSVE9UjodGm8USy6N4nHgBwcpI007LN4&s=S6exEmO3Dv-3WyBlxfS_8yxI0flm-slmyPil3ZpJWT0&e=
on this page will repeat on all subsequent pages. To change the margins, go to the Menu items and locate LAYOUT>MARGINS AND
COLUMNS. In the box that opens, make sure the lock is on next to the top Margin field. Change the number from .5 to .25”. If you see https://urldefense.proofpoint.com/v2/url?u=http-3A__www.stackmagazines.com_the-2Dmagazines_&d=CwIFaQ&c=y2w-uYmhgFWijp_
some kind of 3p0 instead of 0.5 inches, you have not changed your rulers like I showed everyone (right click or control click in both top and IQN0DhA&r=iknjQ22c0iRRj92MiprBxzeMY3Af_sA_-gCTEpY6N00&m=BQit9fi-1umiSVE9UjodGm8USy6N4nHgBwcpI007LN4&s=hzLoY65y
left side rulers and change to inches). Click OK Y1Dr9zJJpQuKZXG7GGDY9f4k7NdrsbXXNvY&e=
Now place your cursor in the left side ruler and drag a guide out. Move it so it’s approximately .25in to the right of the first line dividing the

HOMEWORK FOR WEEK 9 page in 3 (the column guides). Go back and drag another and put it on the other side. so both Columns guides will be flanked by 2 user
made guides on either side.
https://urldefense.proofpoint.com/v2/url?u=http-3A__www.buzzfeed.com_patricksmith_wonderful-2Dindependent-2Dmagazines-2Dyou-
2Dneed-2Dto-2Dread-2Dright-2Dno-23.kgV5ZBzJP&d=CwIFaQ&c=y2w-uYmhgFWijp_IQN0DhA&r=iknjQ22c0iRRj92MiprBxzeMY3Af_sA_-
gCTEpY6N00&m=BQit9fi-1umiSVE9UjodGm8USy6N4nHgBwcpI007LN4&s=JvkS-MpdAHUpw50jQdKt5SH0wqviuIk101PQL6jIawU&e=
Complete trifold brochures. Grading Week 9 COLORS AND COLOR BOXES
In design, there are basically 3 elements: type, pictures and color areas. https://urldefense.proofpoint.com/v2/url?u=https-3A__www.google.com_search-3Fq-3Dbest-2Bdesigned-2Bmagazines-26client-3Dsafari-
Bring physical magazine for use in final project. In the toolbox, locate the 2 Rectangle tools just under the Pencil. One has an X in it, the one below it does not.
The one with the X is generally used for pictures/images.
26rls-3Den-26source-3Dlnms-26tbm-3Disch-26sa-3DX-26ved-3D0CAgQ-5FAUoAmoVChMI8Mzup-2DvIyAIVQZSICh34vwxK-26biw-
3D1088-26bih-3D811&d=CwIFaQ&c=y2w-uYmhgFWijp_IQN0DhA&r=iknjQ22c0iRRj92MiprBxzeMY3Af_sA_-gCTEpY6N00&m=BQit9fi-1um
The one below is used for color areas. Select the tool and either draw out a box or click on the screen to get a dialogue that lets you make iSVE9UjodGm8USy6N4nHgBwcpI007LN4&s=VYZFalCw7fyIGklBTMFXBjFG45T2og6pebc3FVt9pNo&e=
an exacxt size box. The box you’ve created has a default 1 point black Stroke around the edge. Click Shift+X to switch the Stroke to the Fill.
STROKE is the color along the box edge. FILL is the color inside the box. To switch them, use SHIFT+X. OK, there. I did some of the research for you.
WEEK 9 MAGAZINE BREAKDOWN
Hello all
This week we finished the trifolds and started the magazine. I truly hope you all learned about design & intention going hand-n-hand to meet

10/16-17
the needs of your client. That’s what I yelled and carried on about the whole time with the trifold, and such is the case here.
The game is you are hired as an intern at your magazine (the one you chose or I gave you) and your task to get the job is to reproduce an
issue of that magazine completely in the artistic direction of the issue you have, BUT WITH ENTIRELY DIFFERENT CONTENT.

1
MEANING: you will find stories and images to go with those stories and lay them out exactly as the stories in your mag. So you are copying
the layout style (the header, the authors name, the body copy, drop caps, pull quotes, etc.) but not the layout CONTENT; that comes from
you, finding it somewhere on the Interwebs. The general subject matter will be similar because that’s what generally goes in your magazine’s FRONT COVER
monthly issues. Hopefully everyone understands this, tho I know I’ll have to repeat it probably another 5 times...
WEEK 11 2 SPREADS -4 PAGES
YOUR FIRST STORY
GRADING TRIFOLDS MAGAZINE DO YOUR BEST, WE WILL FIX IN CLASS

2 3
8.5x11” Letter size Portrait (vertical), Facing Pages IS ON, 16 Pages MINIMUM (any more pages must be added in 4 page increments -20,
24, 28, 32...), .5” Margins, .125” Bleed TABLE OF FULL PAGE AD
CONTENT CONTENTS
INTRO TO MAGAZINE PROJECT COVER, TABLE OF CONTENTS, MASTHEAD, 2-3 STORIES OF BETWEEN MINIMUM 4 PAGES IN LENGTH
ADS WEEK 12 3 SPREADS - 6 PAGES
Ads are ENTIRELY made by you. There are automatically 3 pages of ads: Page 2 (or 3), Page 4 (or 5) and the Back Cover. YOUR SECOND STORY

4 5
NOW YOU KNOW BETTER HOW TO DO IT. I WANT TO SEE PARAGRAPH
MAIN RULE FOR LAYOUT: ALL TYPE MUST BE MADE IN INDESIGN. PERIOD. STYLES APPLIED IN THIS FOR HOMEWORK MASTHEAD FULL PAGE AD
NO TYPE CAN BE MINION PRO 12PTS WITH (14.4) LEADING (OR ANY LEADING IN PARENTHESIS; IT MUST ALL BE BIGGER OR
SMALLER THAN 12 PTS.)
WEEK 13 2 SPREADS - 4 PAGES

6 7
STARTING WEEK 11 YOU MUST COMPLETE 2 SPREADS PER CLASS AS HOMEWORK. NO EXCEPTIONS. UNFINISHED SPREADS TABLE OF CONTENTS AND FULL PAGE AD
WILL BE 10 POINTS OFF FINAL MAGAZINE GRADE. THIS IS WHAT IS DUE WEEKLY AND EXACTLY AS YOU SEE IT: MASTHEAD AND FULL PAGE AD CONTENT-STORY 1 CONTENT-STORY 1
AD LOGOS ARE .EPS FROM BRANDS OF THE WORLD
WEEK 11 - FIRST STORY (2 SPREADS OR 4 PAGES MINIMUM)

8 9
WEEK 12 - SECOND STORY (2 SPREADS OR 4 PAGES MINIMUM)

WEEK 13 - TABLE OF CONTENTS & FULL PAGE AD + MASTHEAD & FULL PAGE AD (PAGES 2-3 AND 4-5) WEEK 14 FRONT AND BACK COVERS AND ANYTHING ELSE NOT DONE CONTENT-STORY 1 CONTENT-STORY 1
WEEK 14 - FRONT AND BACK COVERS AND ANY MISSING PAGES

MASTER PAGES: A-Master will have large page numbers (COMMAND+OPTION+SHIFT+N) outside pages on either side, then page
numbers on the bottom outside corners. The bottom margins are raised to .75 in to accommodate the page number. The page number is
adjusted with Text Options (Comm+B) to be at ALIGN>BOTTOM so there’s space between bottom of purple margins and the number itself.
CONTENT-STORY 2
10 11 CONTENT-STORY 2

LASTLY, A-MASTER HAS EITHER 2 COLUMNS WITH .25 IN GUTTER TO START. WEEK 15 INTERACTIVE VERSION

PACKAGE PACKAGE PACKAGE. I can’t say that enough! Package each TIME you work.

Start looking for interesting type (FontSquirrel or DaFont.com). STAY AWAY FROM TYPEKIT FONTS!!!! They don’t package so when you
open your file on the school computers they will ask you to open Typekit and find those missing fonts.
CONTENT-STORY 2 12 13 CONTENT-STORY 2
DO NOT USE TYPEKIT FONTS IN THIS DOCUMENT!!

14 15 CONTENT-STORY 2
WEEK 16 PRINT VERSION
CONTENT-STORY 2
IMAGES: a full page 300 DPI image is 2550x3300 pixels VERTICAL. Choose wisely. Lots of Free Images at SXC.HU. Or look for free or
cheap images online. Google is not the end all be all. Here’s a cool one: http://nos.twnsnd.co

See you all next week. I’ll be in school with regular office hours: Wednesday 1230-230 and Thursday 3-630. If you really need me make

HOMEWORK FOR WEEK 10 sure I know you’re coming.

16
Best,
Heria BACK COVER
Bring physical magazine for use in final project. FINAL FINAL: Printed Magazine, package folder with Magazine, Magazine-Interactive FULL PAGE AD
and Magazine-Print INDD files, plus all component folders and files from all of
Must bring physical magazine to every class. them IN ONE PACKAGE ONLY
Or else.
WEEK 10
BASIC PAGE LAYOUT Selecting the text boxes, I clicked COMMAND+B, TEXT FRAME
OPTIONS. In that box the first choice at the top is NUMBER OF

10/23-24 01
This is the layout for my first story so it starts on Page 6&7.
One image will cover both pages, so it needs to be horizontal.
Import the picture (FILE>PLACE) and stretch it so it fits from the top 08
COLUMNS in the text frame. Choose 2 to split the box in 2 ending
up with columnar type. Do it to both pages.
Images 8 and 9
left red bleed line to the side or bottom right bleed line. This picture
was much longer on the bottom. I clicked in the control box in the
bottom center of the frame and resized the frame to fit all 4 red
bleed lines. Then I clicked the White Circle in the image to resize and

Examine magazine structure, apply to project move the picture, better centering it on the page to my liking.
Images 1, 2 and 3

02 09
16 page Letter sized mag: cover, TOC,
masthead, 2 stories, 3 ads
03 10
The game: intern at YOUR mag, reproduce an
Now go WINDOW>TEXT WRAP.
The TEXT WRAP panel opens. Click on the image to select it, and in the

issue entirely to get the job. Matching content, Next step the TITLE.
We’re designing this kind of double page lead to the story to be able to be
TEXT WRAP panel click the second icon on the top. This makes the image
frame push the type off of it on the second page. There 4 little controls to
creative about the title text. In my example, there’s a line of type sized smaller add more space on the 4 sides of the image. You have to uncheck the

style, intent, art direction... with your own 04 above a larger word. This creates a sense of HIERARCHY and VISUAL
INTEREST in the typography of the page. It also makes the title type a
VISUAL ELEMENT that plays off the image behind it.
11 little link icon in the middle first so you can enter amounts independently. I
added more space on the right side to push the type into column on the far
right, and added space at bottom of the box to push all the type down, also
That’s called DESIGNING. aligning the top edge of both boxes at the bottom.
In many cases white type on an image works well. Remember THE IMAGE Images 10, 11 and 12

found content. WILL TELL YOU WHERE TO PLACE THE TYPE. You don’t have to place
your type in the same spot as your magazine. You simply want to use the
DESIGN and the STYLE so it still feels like your magazine.
Images 4 and 5

We will go over how to make a 2 spread story 05 12


layout in class
06 Next Page.
There’s a large image taking up the upper right corner of the spread, and
13 There’s a small box of small white type in my magazine at the top right
corner of the image. I created a text box, added type, made it smaller
than the regular type, like 8pts, and made it white. However, I cannot put
type along the bottom and on the left of the second page. This happens a box over the image with text wrap... unless I tell the frame to ignore the

HOMEWORK FOR WEEK 11 BASIC LAYOUT DONE IN CLASS OF FIRST STORY USING ABOVE TEMPLATE BY
INSTRUCTOR
using TEXT WRAP and TEXT BOX OPTIONS (COMMAND+B).
Image first. I imported and tried to more or less match the shape from my
magazine. Then I made on text box along the bottom of the first page and
text wrap. I click COMMAND+B, and at the bottom of the TEXT FRAME
OPTIONS box theres a spot to check off IGNORE TEXT WRAP. This allows
me to place the white text top. MY VERSION OF THE LAYOUT WE STARTED WITH
Complete the First of your 2 stories. filling up the second page. Notice, too, my text begins with a giant letter B. I created a text box, typed
Here is a random story I’m using as my layout guide for this magazine. Images 6 and 7 capital B the first letter in the text, added text wrap to box then pushed it into
2 Spreads = 4 pages These were the steps to lay it out in my magazine. You will use these same steps. The ONLY the body copy (that’s what regular readable type is actually called). It now

Completed to look as much like your magazine’s layout as difference is I used Placeholder Type. You must use real type copied and pasted from the Interwebs.
07 14 becomes my drop cap, the official name for that.
Images 13 and 14

possible
WEEK 11 MAGAZINE
LAYING OUT STORY SPREADS Ok here’s some other magazine initial spreads from a couple of the sources on the next page. Amazing magazine layouts: This week you have 2 spreads due. We will talk about the history of magazine design, what the grid means and how to set up all the Body

1
Magazines use a layout tool called grids to layout their pages. Consistent use of grids, or purposeful breaking of grids, is what gives each https://www.google.com/ Copy correctly using Paragraph Styles. This will assist in finishing off the stories section of the magazine for next week’s class.

10/30-31
magazine it’s expected, or unexpected, style. search?q=great+magazine+typography+layouts&client=safari&rls=en&source=lnms&tbm=isch&sa=X&ved=0CAcQ_ We’ve discussed grids in the first part of this PDF.
Here are some examples of initial story spreads (the first 2 pages of a story) and the grid it’s composed of: AUoAWoVChMItLmw94ztyAIVzDYmCh3ChgXH&biw=1325&bih=790&dpr=2#tbm=isch&q=amazing+magazine+layouts
PARAGRAPH STYLES
amazing layout typography Styles are a way of guaranteeing that text formatting is the same throughout a document. In particular it is important for the Body Copy, the
https://www.google.com/ text one reads as the “story” part of a layout. Consistency in this part increases readability and adds a sense of consistency to the design. InDesign Photoshop
search?q=great+magazine+typography+layouts&client=safari&rls=en&source=lnms&tbm=isch&sa=X&ved=0CAcQ_ Go to WINDOW>STYLES>PARAGRAPH STYLES
AUoAWoVChMItLmw94ztyAIVzDYmCh3ChgXH&biw=1325&bih=790&dpr=2#tbm=isch&q=amazing+layout+typography This is a palette with 2 palettes in one: Paragraph Styles and Character Styles.
Alexey Brodovitch
COVER All type in InDesign (obviously) Strong central image MIXED with separate

CHECKING YOUR FIRST STORY Harper’s Bazaar Magazine Paragraph Styles control the whole paragraph and it’s formatting. No type embedded in image interesting background
Art Director 1934-1958 Alexey Brodovitch Character Styles are used when just a word or a portion of the text needs to be changed within a Paragraph Style. Strong hierarchy (look it up) The whole works artistically, may be a departure
https://www.google.com/ Think of any catalog for any products you’ve ever looked at. A human MADE all that text happen, designed it so you could easily figure out Headers relate to stories within from what the magazine USUSALLY does
search?q=great+magazine+typography+layouts&client=safari&rls=en&source=lnms&tbm=isch&sa=X&ved=0CAcQ_ what product, what it has, how much it costs, it’s item number, etc. Main header = main story YOUR chance to make a statement
AUoAWoVChMItLmw94ztyAIVzDYmCh3ChgXH&biw=1325&bih=790&dpr=2#tbm=isch&q=alexey+brodovitch Imagine you were designing that catalog. What if you had to change every single change in the type individually. The catalog is 100+ pages.
- 2 SPREADS
2
Ever seen an IKEA catalog?
David Carson RayGun magazine Paragraph Styles would be the main level formatting: font , size and leading, whether the type is left or right flush and a bunch of other
https://www.google.com/ things that we’ll go over
search?q=great+magazine+typography+layouts&client=safari&rls=en&source=lnms&tbm=isch&sa=X&ved=0CAcQ_ Character Styles would control thos places where the type has minor changes to it’s formatting. Character Styles OVERRIDE Paragraph ADS All type in InDesign (obviously) Also collaged, as cover, made of at least 2 images

ATTENDING TO THE DETAILS OF DESIGN AUoAWoVChMItLmw94ztyAIVzDYmCh3ChgXH&biw=1325&bih=790&dpr=2#tbm=isch&q=david+carson+Raygun+magazine+layouts%27 Styles. So where the Price of an item is slightly larger, maybe bold and in a different font, that would be done using a Character Style.
As I show you this and we practice, it will all come clear.
Typed brand name DOES NOT HAVE
TO BE EXACT replica of actual brand name
Strong sense of hierarchy
Utilizes effects, gradients, filters, altered or
heightened color/contrast/sharpness/DRAMA
Images are ALL PSD, with Adjustment Layers,
Dazed and Confused magazine layouts HOWEVER YOU MUST WATCH AT LEAST 1-5 VIDEOS ON PARAGRAPH AND CHARACTER STYLES OUTSIDE CLASS. PERIOD.
https://www.google.com/ So,SEE images of each screen in the paragraph styles you will use for BODY COPY. They are in order with the list below. Can have copy or EXTRA words transparency, whatever..

LAYING OUT A STORY


3
search?q=great+magazine+typography+layouts&client=safari&rls=en&source=lnms&tbm=isch&sa=X&ved=0CAcQ_
AUoAWoVChMItLmw94ztyAIVzDYmCh3ChgXH&biw=1325&bih=790&dpr=2#tbm=isch&q=dazed+and+confused+magazine+layouts
David Carson
1. Paragraph styles>New Style
Raygun Magazine
Dirk Barnett at Newsweek

PHOTOS, SIZES, RESOLUTION, FIXES


Art Director 1992-1994
https://www.google.com/search?client=safari&rls=en&biw=2398&bih=1310&tbm=isch&sa=1&ei=XLj3WeCvAaiY0gLHwZ-gCg&q=dirk+barn
ett+newsweek&oq=dirk+barnett+newsweek&gs_l=psy-ab.3...30029.32098.0.32412.8.8.0.0.0.0.210.896.0j6j1.7.0....0...1.1.64.psy-ab..1.1
2.GENERAL > STYLE NAME: BODY COPY STORIES All type has PARAGRAPH STYLE associated with it
BODY COPY: same font throughout magazine, can
ALL IMAGES MUST END UP BEING 300 PPI IN
BOTH ACTUAL AND EFFECTIVE PPI
.131...0i24k1.0.oCoqddYVNIY 3.BASIC CHARACTER FORMATS > FONT: serif or sans serif be serif or sans serif, 9pt Size/11-13 pts Leading, All images glammed up, filtered up, saturated and
(SERIF: Baskerville, Cambria, Caslon, Bodoni, Garamond, Schoolbook, Utopia, Palatino, Perpetua, Times) plus all the goodies I will teach you about styles special - or desaturated and special WHATEVER
ALL STORIES CONTAIN: YOUR MAGAZINE’S STYLE DICTATES
PARAGRAPH STYLES: BODY COPY Alice Cho at Wired Mag
http://alicecho.net/filter/editorial/Wired-1
(SANS SERIF: Arial, Avenir, Helvetica Neue Light, Optima, Verdana)
>SIZE: 9pts >LEADING: 11pts. Headers, sub-heads, pull quotes, captions, credits
Each with it’s own PARAGRAPH STYLE and ALL
At least 2 images in magazine are made
BLACK/WHITE with adjustment layers

4
4.INDENTS AND SPACING >ALIGNMENT: Left or Left Justified appropriately named for what it is (as above, named At least 1 image has a path selecting it defining
accordingly) transparency, with type wrapping around the

HISTORY OF MAGAZINE LAYOUTS


>FIRST LINE INDENT: .25IN
VERY distinct HIERARCHY unusual shape
5.HYPHENATION >Change the 4 numbers, leave the 5th space alone: 6, 2, 2, 3 (CHANGED FROM DEFAULT 5, 3, 3, 2) VERY distinctive TYPOGRAPHY
then UNCHECK Hyphenate Capitalized Words, Last Words, Across Columns

EDUCATING YOURSELF ON STYLE 6.JUSTIFICATION > Change WORD SPACING TO> 85% 100% 150%

5
Change LETTER SPACING TO> -10% 0% 5%

WORK ON SECOND STORY Alice Cho


Wired Magazine
Art Director (not sure what years, sorry)

HOMEWORK FOR WEEK 12


Complete the Second of your 2 stories.
2 Spreads = 4 pages
A grid simply implies the order of the elements that make up page layout design. Breaking everything down to it’s essential shape
components, ones sees the uses of basic patterns on a page over and over again. Once populated with text and images, this becomes the
living page. Look through any magazine and this can be seen over and over.
Some magazine like Wired like to break the grid, and go back to famous page layouts that broke the molds imposed by grid structures on
the page. This works great IF THAT’S WHAT YOUR MAGAZINE IS ABOUT. In the real world, factors like money, readership and audience
play important roles in the “edginess” of the design found.
6
On the next page I’ve given links to amazing magazine layouts and spreads, and a few masters of layout and their groundbreaking work in
Completed to look as much like your magazine’s layout as making magazines what they are today.
DO NOT ASSUME FROM THESE EXAMPLES THAT THE IMAGE IS ALWAYS ON THE RIGHT, PLEASE!!! THANK YOU!!
possible
WEEK 12
Hello kids
So far so good. Most people have interesting cool layouts and are executing them very well. Good job!

11/6-7 I know the Paragraph/Character Styles thing may seem a drag to some but trust me it saves a huge amount of time and energy and retains
consistency throughout the document.
TABLE OF CONTENTS:
Most of you have a 3-4 paragraph style table of contents setup.
If your numbers are out to the side, you may want to add them after OR you can use the method I showed in class, hanging indents.

CHECKING SECOND STORY - 2 SPREADS So if your set up is like this:

23 SUPERIOR TALENTS FOR


SUPERIOR PEOPLE

CORRECTING STORIES All the supplements you need to


become super-human
BY MARIA FULANO

MAKING PARAGRAPH/CHARACTER STYLE It happened from 4 Styles: 1 paragraph, 3 Character


FIRST: There is an overall Paragraph Style called TOC-MAIN. It has the style, generally, of the most type in the group; in this case the body
text describing that page entry. In the case of the example, here are the attributes:
Font: Helvetica Neue Light, 7 pts with 9 pts of Leading. There’s other special stuff going on there I’ll describe in class.

TABLE OF CONTENTS CHARACTER STYLES OVERRIDE PARAGRAPH STYLES!!!


They are meant to be used on special case font changes within the paragraph style. So if you change a paragraph style but some words
aren’t changing it’s because the Character style is there.
The next 3 items are made with CHARACTER STYLES.
The SUPERIOR TALENTS line has Character Style named TOC TITLE.
MASTHEAD The number of the page has Character Style called TOC PAGE NUMBER.
The authors name has Character Style called TOC AUTHORS NAME.

MASTHEAD
DROP CAPS The same thing will occur for the masthead in your magazine. Use the same system. For instance, the person’s name and title will have 1
paragraph style, but when you’re done typing, select the name or title and apply a character style to change it.
IF the names and positions are a weird shape with a white line/space down the middle, that’s made using the following technique:
Click TAB then type the name, then click TAB again and type their official title.

WORKING WITH AD LOGOS Now click COMMAND+SHIFT+T to open the TABS box over your currently selected box. In the space above the ruler, in the middle of the
box, click 2 times with a space between them. On the top left is the Justification directions. You want a RIGHT JUSTIFIED TAB on the left
side and a LEFT JUSTIFIED TAB on the right. This creates the space between the two. Click New Paragraph Style and call it MASTHEAD
TAB. That’s it.

IN EPS FORMAT DROP CAPS


If the first paragraph of your story has a giant letter dropping down into the text, it’s created using a paragraph style for just the first
paragraph. Call it BODY COPY DROP CAP. Choose Drop Caps from the Styles navigation on the right of the box, enter 1 for the number of
characters and however many lines deep the drop extends.

So I need all of you to pretty much finish the magazine for this week. I will be showing yyou how to make it interactive. It will be worth 25
points towards this project’s grade. Go to AdobeTV and watch Terry White’s video of how to make interactive PDFs in InDesign.

See you soon


AH
WEEK 13
Hello All WORKING WITH IMAGES
This week we discuss the manipulating of images for your magazine. The Links palette is the go-to for all things image in your work. When

11/13-14
1 2
The cover of the magazine must be made as a minimum 2 layer, replaced background, person or main object photoshop extravaganza. a picture is selected or if you choose one of the hyperlink-like numbers next to the name of an image, the image becomes selected. When it
The cover should reflect one of the 2 articles in your magazine and not be just some generic entry. does, information appears in the bottom half of the links palette referring to that image’s metadata.

To recap the process:


At the end of the day, ALL IMAGES MUST BE IN CMYK COLOR SPACE AND THE ACTUAL AND EFFECTIVE PPI MUST BE 300. Period.
To achieve this, here are the steps to follow:
MAKING RELEVANT FRONT MAGAZINE COVERS
You will find a vertical picture of the person/house/car/place/food your article is about. You will also find some other image, be it a texture or
a sky or a table, WHATEVER, that replaces the background in your image. 1- Select the IMAGE by clicking on the white circle that appears when you float the cursor over the image. You know the IMAGE and not
Your main “character” layer is visible, the background is not visible. Then with that first layer selected choose Select > Select and Mask the FRAME is selected because the border becomes golden brown not blue and it probably extends beyond the border of the frame edges.

FRONT COVER:
Use the first tool on the left side toolbox and then move the TRANSPARENCY slider, on the right, down to like 25%. The cover of the magazine must be made as a minimum 2 layer, replaced background, person or main object photoshop extravaganza.
Pass the brush over the big sections of your image first. Then make the brush smaller (brackets left and right change brush size) and go into 2- Locate the W and H of the image in the Options in the top left corner of the window. Remember the W number to input it later in The cover should reflect one of the 2 articles in your magazine and not be just some generic entry.

3 4
the detail areas, but not the hair if it’s a person! PhotoShop
Next change to the second tool on the lefttoolbox, the Refine mask tool. If you’re selecting hair, the circle of the brush touches what you To recap the process:
want to keep, the cross in the center is on the part you want to remove. Brush to refine the mask. Remember to use multiple strokes and 3- Right click or Control Click in the image box and in the context menu choose Edit With Adobe Photoshop. The image then launches and You will find a vertical picture of the person/house/car/place/food your article is about. You will also find some other image, be it a texture or
PHOTOSHOP EXTRAVAGANZA definitely different strokes for changes in background color.
When your image is adequately cut out, you can raise the Contrast slider on the right to like between 10-25% to sharpen the mask.
appears in PS a sky or a table, WHATEVER, that replaces the background in your image.
Your main “character” layer is visible, the background is not visible. Then with that first layer selected choose Select > Select and Mask
In lower right, look for Output Settings. 4- Go to IMAGE>IMAGE SIZE. There make sure the Constrain Proportions button is on and enter the W number from Step 2, AND change Use the first tool on the left side toolbox and then move the TRANSPARENCY slider, on the right, down to like 25%.
Find the Decontaminate Colors. Try that to get better contrast as well. the RESOLUTION to 300. Click OK Pass the brush over the big sections of your image first. Then make the brush smaller (brackets left and right change brush size) and go into

CORRECTING IMAGE SIZING AND COLOR Then choose New Layer with Layer Mask for Output To.
Hit ok and now your object is on it’s own layer with a mask. 5- Make whatever changes to the image you intend to make, like color change, B/W, whatever. Then when done,
the detail areas, but not the hair if it’s a person!
Next change to the second tool on the lefttoolbox, the Refine mask tool. If you’re selecting hair, the circle of the brush touches what you

6
Fix if necessary painting in BLACK on the mask to hide pixels, WHITE to show. click IMAGE>MODE>CMYK want to keep, the cross in the center is on the part you want to remove. Brush to refine the mask. Remember to use multiple strokes and

5
Save the image as a layered Photoshop file. definitely different strokes for changes in background color.

SPACE FOR ALL IMAGES IN MAGAZINE Open the image in InDesign on the cover.
6- Save the image. If you simply hit Save (command+ S) then the image will update in ID automatically. If you wish to save a copy, hit Save
As and change the name but still save the image into the Links folder in the package for the current version of your magazine.
When your image is adequately cut out, you can raise the Contrast slider on the right to like between 10-25% to sharpen the mask.
In lower right, look for Output Settings.
Then make a box for the logo of the magazine place on top of page. Find the Decontaminate Colors. Try that to get better contrast as well.
Then click the image below thatto select, click Command -C to copy, then 7- If you changed the name or ID is misbehaving and says the image is modified (a yellow triangle appears in the space in the links palette Then choose New Layer with Layer Mask for Output To.
COMMAND-OPTION-SHIFT-V to Paste in Place on top of first 2. next to the image name), then just reload the image using Command+D. Hit ok and now your object is on it’s own layer with a mask.
Now click COMMAND-D to reload the same layered file BUT in the lower left of the import box look for OPTIONS, then SHOW IMPORT Fix if necessary painting in BLACK on the mask to hide pixels, WHITE to show.
OPTIONS to allow you to shut off the background layer in the importing layered file. When you hit OPEN you’ll see the image but the Nmae 8- Adjust the image to how it was previously. Save the image as a layered Photoshop file.
comes thru. It’s like an image sandwich with the logo as the filling!

7 8
Open the image in InDesign on the cover.
AD PRODUCTION Then make a box for the logo of the magazine place on top of page.
NO TYPE NOT MADE IN A BOX IN INDESIGN ON ANY AD. PERIOD. Then click the image below thatto select, click Command -C to copy, then
You can find existing ads and remove the logo in Photoshop using the clone stamp tool. Or simply crop the image in InDesign. COMMAND-OPTION-SHIFT-V to Paste in Place on top of first 2.
Logos can be found on the website: BRANDSOFTHEWORLD.COM Now click COMMAND-D to reload the same layered file BUT in the lower left of the import box look for OPTIONS, then SHOW IMPORT
OPTIONS to allow you to shut off the background layer in the importing layered file. When you hit OPEN you’ll see the image but the Nmae
Make sure the logo type is in either .EPS or .AI formats. comes thru. It’s like an image sandwich with the logo as the filling!
When they land in your Downloads folder, drag them to your Links folder in your ID package. Open on the page just like an image,
COMMAND-D. AD PRODUCTION
To change the color or get rid of the white box behind the logo, you’ll have to open in Adobe Illustrator. Use the Layers palette and keep NO TYPE NOT MADE IN A BOX IN INDESIGN ON ANY AD. PERIOD.

9 10
opening Groups until you see a blank Path layer. Thats the white box. You can find existing ads and remove the logo in Photoshop using the clone stamp tool. Or simply crop the image in InDesign.
To select and change color, use the Black Arrow just like in InDesign, drag and select, then double click the T that appears in the Fill box, Logos can be found on the website: BRANDSOFTHEWORLD.COM
lower left of tool box. Save the file with same name in same spot, it automatically updates in InDesign.
Make sure the logo type is in either .EPS or .AI formats.
The End. When they land in your Downloads folder, drag them to your Links folder in your ID package. Open on the page just like an image,
COMMAND-D.
To change the color or get rid of the white box behind the logo, you’ll have to open in Adobe Illustrator. Use the Layers palette and keep
opening Groups until you see a blank Path layer. Thats the white box.
To select and change color, use the Black Arrow just like in InDesign, drag and select, then double click the T that appears in the Fill box,
lower left of tool box. Save the file with same name in same spot, it automatically updates in InDesign.

11
The End.
WEEK 14
INTERACTIVE PDF MAGAZINE INTERACTIVE. THE STEPS. FIRST SAVE THE REGULAR
Click and pull out the following palettes: Pages, SWF Preview, Hyperlinks, Bookmarks, Buttons and Forms and Media. Let them sit free for 5. MEDIA: which translates to VIDEOS. Go to YouTube.com find 2 videos relating to your subject. The videos can be placed in either a
.INDD VERSION OF THE
11/20-21
In previous versions of this lecture, students were taught to creative an interactive magazine using Adobe Flash tech that is built into a moment. 3. BOOKMARKS: Bookmarks let you add another level of story or on an ad. Once you find your video, go to the URL and add the letters SS right after the dot and before Y (www.SSyoutube.com/
InDesign. That method has ALWAYS proven problematic - things don’t work, in particular embedded videos, among other things. In whatever) This takes the video to savefrom.net and let’s you download an MP4 version. INTERACTIVE FILE

5.
You now have 6 floating palettes. Take their names and drag them onto the desktop arranged so you can see them all. (see image) Try not navigation to the document. Click on any box on the page you
order to continue progressing with the technology we’ve decided to change to interactive PDFs, which play in either Acrobat reader or full to touch other windows or these windows to each other as they collapse again making it confusing. wish the viewer to go to, click the Add a Bookmark button at It’s changed recently so look for this on the page which then makes this happen. Medium quality is fine.
Acrobat, or on the web as well. A few of the steps are different and I’ll give a clear step by step here which will reflect how I present the Pages is open because, well, it’s ALWAYS SUPPOSED TO BE. bottom of palette, then name your bookmark. The name should
material in the lecture as well. Follow along... reflect the page title or subject to make it easy to understand.
1. SWF PREVIEW: After each step or action, use SWF Preview to look at the results and make sure it works. You can look at the results in
FIRST THING - simply the window itself by choosing Preview: Document. In the example, the image of Crissie Tiegen was selected, the new

INTERACTIVE PDF MAGAZINE FILE>SAVE AS AND CHANGE THE NAME OF THE MAGAZINE FROM To test in actual Acrobat, select FILE>EXPORT and choose Adobe PDF (Interactive). Next time you test, just say Replace when asked. bookmark was added and named CRISSIE.

3.
(YOUR NAME)-MAGAZINE-12-2.INDD TO (YOUR NAME)-DESIGN-MAGAZINE-12-X.INDD

1.
In Acrobat, this will show up in the Bookmarks panel on the left
THEN CREATE A NEW PACKAGE WITH THIS SAME NAME. THIS WILL BE YOUR FINAL PACKAGE WITH EVERYTHING IN IT. side of the document.
CLOSE THE CURRENT FILE, FIND IT FLOATING FREE AND DELETE IT.
NOW OPEN THE (YOUR NAME)-DESIGN-MAGAZINE-12-X.INDD FILE FROM IN THE PACKAGE.

NEXT, CHOOSE FILE>SAVE AS AND RENAME THIS FILE:


(YOUR NAME)-INTERACTIVE-MAGAZINE-12-X.INDD
AND DO THIS DIRECTLY INTO THE FINAL PACKAGE FOLDER OF THE MAGAZINE.
THIS IS NOW GOING TO BE THE INTERACTIVE VERSION. BY SIMPLY RENAMING IT BECOMES A DIFFERENT FILE. NEXT SAVE AN .IDML
THE INTERACTIVE AND PRINT VERSIONS WILL BE IN THE FINAL PACKAGE OF THE MAGAZINE. VERSION JUST IN CASE
DO NOT REPACKAGE THE INTERACTIVE AND PRINT, THEY USE THE LINKS AND FONTS FROM THE FINAL PACKAGE IT HAS TO BE EDITED IN
AN OLDER VERSION OF
DO NOT REPACKAGE THE INTERACTIVE AND PRINT VERSIONS THE GENERATED MP4 ENDS UP IN THE
THEY GO INTO THE FINAL DESIGN MAGAZINE PACKAGE DOWNLOADS FOLDER INDESIGN
5 POINTS OFF THE TOP IF YOU DON’T DO AS BOSS ASKS
Drag the MP4 from Downloads into the Links folder of your
4. BUTTONS AND FORMS: We’re going to MAKE little navigation
OK so the new open file is called HERIA-INTERACTIVE-MAGAZINE-12-2.INDD. You will see this name at the top. The Interactive version IS current package.
buttons to go to Previous/Next pages. (See picture)
DIFFERENT FROM the regular design version. It will look like this: Click Command+D and find the MP4, Load the video into
I created a simple triangle with the pen tool and some guides so
the file as you would a picture. Then fit the video to the
it’s precise. I filled it with black and dropped the opacity to 50% so
box (Comm+Opt+Shft+C) then fit the box to the video
it’s not too ugly on ads in particular. Then...
(Comm+Opt+C). Use Comm+Shift, click, hold then resize to
Go to Button and Forms. Starting from the top, change the Type
adjust.
to BUTTON.
If you see your video in the Media palette, you’ve successfully
Click the + next to Actions and choose Go To Previous. Done.
imported the video. In the Media palette, press Play and wait until
Now Option+Drag to copy the Triangle button to the opposite NOW YOU EXPORT THE
you see a frame in the video you want as the box placeholder;
page. Control-click and choose
in Media go to Poster, choose Current Frame. Then below that FILE AS AN ADOBE PDF
2. HYPERLINKS: So the short version.(See Image) TRANSFORM>FLIP HORIZONTAL.
Make a Rectangle frame on the TOC over your story. In Hyperlinks In the Buttons and Forms palette, delete the Action (click the -)
change the Controller to SkinAllOver, which gives your video little (INTERACTIVE)
controls at the bottom of the window. Another nice touch is check

4.
palette, click little Create new Hyperlink button. In dialog box, and then click the + to add the Action>Go to Next.
in the box that says “Show controller on rollover”.
change pop down menu Link To>PAGE. Enter your page number in Select both shapes, click COMMAND-C. Double click the
the Page box, click OK. page numbers in the pages palette to go to next spread, click
Now hold down Option and click-drag box to copy it over next story EDIT>PASTE IN PLACE. Do this on each spread. Adjust the
entry in TOC. In Hyperlinks palette, double click on next <rectangle>, opacity/tint of the buttons to make sure they’re visible on
which is the shape/link. Change the page number to the next story whatever picture they’re pasted to.
page. D.U.N.
Check in SWF Preview>Preview:Document to make sure the
Notice the palette arrangement in the pic above.
buttons work. If it doesn’t look too ugly, put a button on the cover.
Now go to the top of the screen where you see the word
4. MEDIA: which translates to VIDEOS. Go to YouTube.com
ESSENTIALS.
find 2 videos relating to your subject. The videos can be placed
Click on it and choose INTERACTIVE FOR PDF.

2.
in either the story or on an ad. Once you find your video, go to
This will change the palettes on the right
the URL and add the letters SS right after the dot and before
to the interactive desktop for our purposes. THAT’S IT!
Y (www.SSyoutube.com/whatever) Go to YouTube, and in the
It looks like this:
address, right before the word youtube type in SS. It goes with INTERACTIVE
vid to savefrom.net and let’s you download an MP4 version. It’s
DONE!
NEXT WE FINISH THE PROCESS OFF BY
changed recently so look for this on the page which then makes
this happen. Medium quality is fine.

SAVING 3 VERSIONS OF THIS FILE


WEEK 15
DO IT YOURSELF VERSION:
PRINT. THE STEPS. Make sure you have the original parent version of your magazine If there’s a picture that crosses 2
open and NOT the interactive version. pages, paste it first , then deselect and

11/27-28 ******If you have the INTERACTIVE version of your magazine open, save and close it. reselect the image frame. Click hold
THIS IS WHAT YOUR
Now open the original DESIGN Magazine, the Parent as I said in class. I DO NOT want any of the Interactive elements present on the pages Now go File>New and create a new document. It will be: and drag left or right to crop the picture
of the Print version of your magazine****** -TABLOID (11x17) HORIZONTAL (LANDSCAPE) to the center of the page. Do the same FINAL PACKAGE FOLDER
-NO FACING PAGES again on the next page that has the SHOULD LOOK LIKE.
image crossing over again, but crop in
PRINT BOOKLET:
-EXACTLY HALF YOUR CURRENT
opposite direction. I’M PUTTING 2 VERSIONS:
MAGAZINE’S NUMBER OF PAGES, SO 8 PAGES
With the regular parent version of your magazine open, go File>Print Booklet. -.5 IN MARGINS A. IS WITH PRINT BOOKLET
PRINT MAGAZINE-DIY VERSION This menu opens. Click on Preview to see a preview of magazine paginated> -2 COLUMNS, NO GUTTER
-.125 IN BLEED ALL 4 SIDES
B. IS DIY VERSION

When you get to 8 and 9, they are the


middle pages and go together across
page 8 on new file. Then you go in and
change the page number on the right
to 9. Don’t forget to do the same to
smaller page numbers in the corners
as well
Click on Print Settings and follow through these windows you get from clicking each navigation word on the left, in order:

In General, go to top In Setup, choose Tabloid (11x17)


of screen and choose in Paper Size, orientation is second
PostScript File from the button, and Scale To Fit at the bottom. Now go Window, Arrange>Float All in Windows and
middle pop-out menu WARNING arrange your desktop as in the image to the left.

1 If the scale goes UNDER 100%, this


option will produce a SMALLER than
8.5x11 magazine. 2 After the middle pages, you begin

A.
pasting in pages 10-16 moving UP and
In Advanced, Now go to Pages palete of the magazine. Click page 1 filling in the empty sides on the tabloid
In Marks and Bleeds, In Output, make
in the Pages palette, then Shift-Click page 16 to select page. Make sure you change the page
PRINT BOOKLET
click the main button for sure the color says choose (High
Resolution) in all the pages. Now click the little control button at top numbers right upon pasting or you’ll
both which turns on all Composite CMYK
the Transparency right and find Override all Master Page Items and click forget.
the options (it’s on Composite Gray

3 4
Flattner Preset (don’t it. This releases all the big page number boxes and the
by default)
worry if it’s grayed little ones too. You have to do this to then change the
out. This one isn’t page numbers later in the new file.

5 THAT important)

Use the black arrow and click drag to select everything


What you should end up with is this in the Preview box once you click OK: on page 1. Then click Command+C (copy).
When finished this is what your new file
Now click the new magazine and click once on
If you don’t, or if any red appears around ANYWHERE in the Preview, should look like.
page 1 to make sure it’s targeted. Now click
something went wrong OR you can’t use this method on your laptop. Save it as magazine_PRINT.INDD
Command+Option+Shift+V (Paste in Place).
You have the option to save the file and try it on the iMacs at school. Then go File>Export. Choose Adobe
Page 1 gets pasted exactly in same location on same
PDF (Print) from the Format menu,
side of page. Continue to do this from Page 1 to Pages
OR click Save then in the second window

B.
8-9 from the old file to the new one.
choose High Quality Print or Press
Quality. Click ok and go see your
You can try my Do It Yourself version that I’m going to show on the next page. DIY PRINT VERSION
Your choice. PERFECT PDF. Send to printer.
WEEK 16
FINALS WEEK
DELIVERABLES:
PRINTED VERSION
FINISHED FINAL PACKAGE FOLDER
PRESENTATION OF INTERACTIVE VERSION

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