Due to issues out of my control, I was unable to make further InDesign guides before. Now, I’ve compiled all my InDesign learning into this one post, with step-by-step guides and screencaps. The end also has a few screencaps of what I’ve been able to create using this knowledge.
(They are titled by the notes I took on Google Documents. As such, their formatting may be a little inconsistent, as this took place over several weeks. This is only a minor issue, though, and can be remedied next time.)
Celia’s Second Lesson
- Type a word in all capitals, in a chunky font.
- Black Cursor -> Click the word/text box.
- Type -> Create outlines
- Click text -> File -> Place -> Image will now be inside text (can be used across the double-page)
By using ‘create outlines’ and the place tool, we can make any text contain an image inside. This has a unique effect and can be used for title spreads, as it is truly effective on enlarged capitals – as seen in the example above.
- Pen tool -> Arrow to swap fill for borders.
- Press and let go randomly -> press and make it a straight line
- Type -> Type on a path -> Select the path -> Start typing
This allows us to have text follow whatever lines we’ve drawn, instead of the typical left-to-right format. Using this in conjunction with the above technique can create visually interesting title spreads or other such effects that are aesthetically pleasing to the eye.
Celia’s Third Lesson
Using Adobe Photoshop, I was able to learn the basics of editing images. By pulling together a few images from the Internet, I could mesh and alter them for a unique look. Here I began experimenting with the Posterize tool for a vibrant effect. Later, I created a new layer and filled it with a random colour. By being on a new layer, the picture was kept, and the colour served as a makeshift filter. To record all of these changes, I opened the History tab. I could even go back to previous changes, as if I was pressing the undo button.
Then, I inserted this same image (without any of the experimental changes) into another picture. The two pictures were on separate layers, and I gave one a layer mask. This allowed me to take off parts of that picture, giving it a blurred, hazy effect. Then, I lowered the opacity on the layer.
Later on, I used a new image and toyed with the inverse-selection tool. By selecting a small square, activating the Feather tool and deleting the space around it, I had that small square but with blurred, faded edges.
I gave the picture (after undoing the changes earlier) a Gaussian Blur, then used the History Brush to remove some of the blur. Like the history tab being used for recording changes that may need to be reversed, the History Brush can actively and precisely return an altered image (or parts of it) back to it’s original state. With such a thick blur, this gave off the feeling of wiping a window.
After that, a few other tools were used. The Spot Healing Brush could have a ‘blurred line’ effect on the picture due to the surrounding blurriness, and I could give everything a sepia photo filter.
Celia’s Fourth Lesson
- Window -> Styles -> Paragraph Styles
- (As a reminder, paragraph formatting, space after, 3mm)
- New Paragraph Style -> Shortcut
- Highlight text -> Use shortcut
Paragraph Styles allows us to create unique ‘presets’ for our text. Letter spacing, font, size, colour and a multitude of other options can be tweaked to create the ideal style. By highlighting a section of text and selecting the newly created style, the highlighted text will automatically change.
- Window -> Pages
- Double click ‘A-Master’
- Text box -> Type -> Insert Special Character -> Markers -> Current Page Number
Master Pages allow us to create ‘preset’ pages, in a similar way to Paragraph Styles. We can insert markers that denote the current page’s number, and we can alter specific pages to override the master page’s effects, allowing us to select or modify that page’s elements.
If we were to place a text box into a master page, we wouldn’t be able to change that text in a normal page. But if we chose to override that normal page, we could select that text box and edit it.
Celia’s Fifth Lesson
There are two types of colour schemes that InDesign uses – RGB and CMYK. RGB stands for Red-Green-Blue and CMYK stands for Cyan-Magenta-Yellow-Key (Black). As we learnt, we found that colour has three properties with those being hue, saturation and value. The colour, how rich the colour is and how close to white/black it is, respectively.
Using Adobe’s colour wheel, we experimented with various colour schemes for our booklet. There were rules we could use such as triadic (evenly spaced between 3 colours), complementary (contrasting) and analogous (five all next to eachother), among others. These are a few I experimented with.
The scheme I chose for my booklet. While it focuses on the varying shades of purple, I was also able to include blue and red for added appeal.
There was too much purple and bright pink, here. It would be too same-y, and end up boring. Plus the vibrance may also cause eye strain.
An attempt at triadic colours. I didn’t mind the cyan or pink, but the yellow made it unappealing.
Too much emphasis on red. For the feel I was going for, I didn’t think red would be a good ‘main colour’ to use.
By using the variety of skills I learnt from Celia, I was able to grasp a few of the more basic functions using Adobe’s tutorials (such as how to sync up fonts from Adobe TypeKit) and create the booklet in the way I wanted it to. I’d rarely use the program again, but it was helpful to know, and also led to me getting Adobe Creative Cloud on my own personal computer.