Magazine Cover Redesign: Student Feedback

Magazine Cover Redesign: Student Feedback


well hey good morning everybody how you
doing and it’s a beautiful really sunny Brighton one day no Sun didn’t know it so good
so this coffee mug actually I’ve been drinking out of almost every morning for
the last 12 years or so this was a gift actually from an exchange student from
the Czech Republic and I love this thing I was kind of short night to head to
wake up bright and early to run my rig to the mechanic to get some work done on
the brakes and early making some tutorials
it’s a beautiful crazy sunny day here in Montana and for today’s tutorial what I
want to do is actually more of a Q&A so I’ve got a bunch of students in a
membership group you can check it out at Doug Mitchell calm and she sent me a
message on slack with magazine cover she’s working on – want some feedback so
what we’re gonna do is take a look at this magazine cover and look at some
ways that it’s working well and look at how I would approach the design myself
as well as some things that we could do to improve this overall so we’re gonna
go ahead and dive in alright so let’s go and take a look at this so here is the
cover that she sent and it’s a great start there’s a lot of things that I
think are working well and there’s also some things that we’re gonna definitely
want to improve on so we’re just gonna start top-down and the first thing that
I notice is there’s three things that are competing for your visual attention
the first is the masthead across the top the fatherly logo or what we call the
masthead and we’ve got that in red letters bold at the top then one thing
you wouldn’t really think about but this architecture this building here is very
unique and because of its size it’s really commanding a lot of attention on
the page and then we have the father and son here down below now as you probably
know anytime you have a purse or you know a face on the cover of
anything as humans our eyes tend to get drawn towards their faces we’re trying
to read into their eyes and trying to decipher as much information as we can
from the photo so we’ve got this big red text this big building and then we’ve
got faces all competing for your first attention so what’s a little bit
confusing with this cover is when we zoom in close and look at this thing you
can tell that it’s obviously been kind of cut out and placed in this image so
what I would do is make it much bigger and so let’s go ahead and look at some
other magazine covers for inspiration or jump up here in the Safari we got some
magazine covers all right so if we look at these there’s really a couple
approaches one is you’ve got some covers where the masthead goes above the image
and is always above the image like Time magazine down here always has the time
logo over the forehead of the people on the cover and you’ve got some magazines
here like Forbes where you have this cutout where the head pops in front of
it actually here’s one more time did that as well so it just kind of depends
on the look you’re going for but by doing something like that you’ll notice
most of these images are substantially larger on the cover and not quite so
small down here in the bottom okay so that’s one thing I would do is I’d bring
up the the main image much larger now to do that this image looks kind of grainy
so you definitely want to start with a good image to begin with now this is the
cover so you should be able to find high quality photos for the cover of whatever
you’re doing if you don’t have one you need to make sure you get one because
it’s the first impression you’re dealing with so what I’m gonna do is go ahead
and let’s just make a new I’m just gonna build over the top of this one so this
is just an image I brought into Photoshop so we’re just gonna build over
the top and let’s just pretend like let’s start with a better image so I’m
gonna come back here and I already did a search for father and son here at pixels
comm this is a good one we’ll explore where I’m just gonna download this one
we’ll do that and let me scroll down a little bit here’s another good one this
one’s awesome that’s got some character he’s smiling they’re having fun that’s
another thing too like what is the facial what is the story telling you on
the face what’s the facial expression so that’s really important as well the nice
thing about this one were their backs are to us
it makes it a little more ambiguous to where it could be anybody it might be
more relational to somebody as far as your your target demographic is able to
relate to that person let’s go ahead and scroll through here just a little bit
more now what I’m looking for here’s a good one although his eyes are kind of
closed it’s a little blurry let’s find another one here what I’m looking for
now is so the one that we have here it’s it’s a little more they’re side-by-side
the one that I downloaded they’re stacked vertical so that actually could
be good for the layout of this magazine let’s just see here we’ve got these two
you know we’ll go ahead and work with these for now all right so first things
first let’s go ahead and drag these images in here just to get them started
it’ll scale it up all right all right so we got that one in here and I’m just
gonna bring the other one in while we’re at it all right so you got some some
really good photos to work with now this one already works really well it’s got
some nice negative space around the edges where I could drop it in some text
and the one below it actually same thing it’s nice and dark and I actually like
this one better because the trees behind it have some darker and the areas that
we can drop some text in over the top this one is nice but there’s some really
hot spots down here where it’s kind of blown out so I would either want to
maybe cut him out or select it and darken the background but if we’re
trying to work with just a photo this one might get us there better so we’ve
got that now the next thing I want to look at is just the amount of fonts we
have on here so we’ve got a sans serif font up here we’ve got the main masthead
which is another font so there’s two fonts this one looks like it’s different
than this one so we’re gonna call it three fonts so we’ve got all these and
then we’ve got this font here four so it’s pretty busy with fonts so we want
to try and narrow that down and make sure that we only have you know two
three fonts max to try and keep it from being too busy the next thing that I see
is we’ve got this lowercase turned out right tracked out and so for me I would
typically try and keep your your lowercase letters with regular kerning
or tracking because we don’t want it to don’t know it just for me it just feels
like everything’s really stretched-out so let’s go ahead and pay
it this a little bit more all right so for the sake of working fast what I’m
gonna do is actually select the fatherly text let’s go ahead and sample this
color I’m actually the magic wand tool and I want to sample I’m gonna turn off
contiguous what that means is it’s any color that it sees in this entire layer
it doesn’t have to be touching all right so I’m gonna click on that and now
pretty much just the fatherly text is selected with a little bit down here in
this Jersey so now I’m going to hit the letter M to get my rectangular marquee
and hold on the option key to click and array you to remove the selection from
here so now I have just the fatherly text I’ve got a new blank layer up here
and I’m gonna hit the letter I to get my eyedropper tool and we’re gonna sample
this color oh I got a Ben right layer here we go I went back to all layers
sample that layer now we’ve got that maroon burgundy color and I’m going to
turn off this layer behind it just to make sure I’ve got other selections
cleaned up here we’ve got some extra pixels here so we’re just gonna remove
that for my selection hit option delete to fill with my foreground color and now
I’ve got this fatherly text right on top I know it’s it’s we’re working fast and
loose here but so now we’ve got this that we can work with and let’s go ahead
and bring in that image that we were gonna play with here I’ll drop this in
scale it up and maybe even crop quite a bit here throw this behind the masthead
now you’re gonna have to decide on as far as the text here it’s difficult to
see so if your publication always has the same color you might have to change
how you work with things but what I’m gonna do is it actually changes to be
white so I’m going to lock the pixels on this layer what that does is now I can
fill this with a foreground color of white option delete and it’s gonna fill
just any pixel data so by locking this right here it’s gonna lock transparent
pixels so that way you can’t fill anything that’s transparent I hope that
makes sense it’s a really great shortcut you can use for just about anything all
right so we got that there now I’m gonna throw a mask on this layer and let’s see
how Photoshop does I’m gonna actually try
going to select and we’re gonna go to select subject and just see how
Photoshop does if it can see this photo it does a pretty stinking good job so
we’re gonna go ahead and run with that selection and maybe clean it up a tiny
bit I made the letter Q to get my quick mask tool going hit let her be to get my
brush and let’s make sure we’re painting with a nice soft brush here we are
alright and I’m just gonna clean this up quick we don’t want to get too crazy
with our selection just right now just trying to get through this tutorial
let’s see here and actually I don’t even need to make sure that I only need to
make sure that this selection up here is good so let’s turn the quick mask mode
back off real quick and selecting hair especially on this background can get
real tricky so let’s turn this off and just kind of take a look at this you
know let’s go ahead and I’m just gonna add to the selection with my lasso tool
just to kind of get it a little bit better here get it close at least
alright just cleaning things up and I’m not too worried in this in this case
here’s the deal we’re just trying to make it mask behind the letters here so
realistically all I need to make sure that’s good is right where he would pop
in front of these letters so I don’t need to worry too much about the
selection but what I’m gonna do is come up here with my selection like my lasso
tool selected and click select and mask and now what I can do is paint over with
my refine brush let’s see a selection tool the refine edge brush and we’re
just going to try and let Photoshop work its magic here and we’re just trying to make it look
realistic right where those letters are so I’m not gonna get too picky about the
rest of this but we’re kind of getting it close just trying to make Photoshop
do most of the little heavy lifting here we’ll click okay I’ll call it good for
now and now I’m gonna do is jump cut this selection to a new layer actually
and I can bring this text behind that of the layer I should have worked with a
mask but I’m just I’m just trying to go fast here guys so what we’re gonna do is
just take a look at that and that actually did a pretty stinkin good job
of knocking that behind the text and what I like about this is it just creeps
up just a little bit beyond the letters but you can still read most of the text
it’s cropped well he’s looking into the letters here and it really engages the
viewer all right so now I’m gonna do is let’s just go ahead and look at the
original real quick and you can see that we’ve got a lot of different stories and
we could easily feature all of them but what I’m gonna do is just grab a couple
of them so we are parenting 101 and maybe we’ll just kind of play with some
sizing here and we’re just gonna do a regular sans-serif just I don’t know
we’ll figure something out here now instead of leaving this I’m just
going to make this all caps I’m going to cut this command X to cut
it drag down a copy of this text the reason why I’m doing this is because I
want to be able to have be able to quickly grab and select these so let’s
drop this down here I want a little more space on the
right-hand side here so I’m gonna do is select we’ve got this layer sitting on
top I’m gonna select this one and the original image below it and we’re just
gonna drag it over a little bit which is nice that we’ve got the selection and
the two layers sitting on top because now we can just move it and it’s gonna
knock out those letters wherever we drop it so I’m thinking we’re gonna scoot it
over just a little bit so that way we’ve got the left edge just barely you know
touching over here we’ve got a little bit of margin a little bit of space but
that gave me more space down the right-hand side to kind of work with
this here so let’s go and again I like to break my text into a couple layers
because then I can really refine my edges or find my edges refine my type in
a way that feels a little more natural just to grab whichever one that I want
and scale it into place without having to try and mess the whole line at a time
all right hope that makes sense guys it’s not even 7:00 yet I am I’m needing
more coffee here all right there we go that’s looking good that’s better that’s
cool all right so I like how this works fits in this gap here parenting 101
let’s see what else could we grab let’s go back to the original cover kids
mental health signs to look out for alright let’s drop that in here sorry we’re using the same font but I’m
gonna change so within the font family we’ve got some different weight so I’m
gonna change this to regular just to kind of change this up a bit but still
keep it within the same font family and I’m playing with the guide down the
right-hand side here the alignment just to make this all look like it belongs
together and maybe let’s add one more story to this so bond over sports fun
activities to do through kids so bond over sports is nice in this magazine
cover because we’ve actually got some sports happening here in the background
but in the image that I threw on this cover obviously there’s no sports but it
looks like they’re having a fun activity so what we’re gonna do is grab fun
activities to do with your kids and I’m just going to clone this all right so let’s see how this lines up
here all right I’m going to align this to the right kind of getting that flush
right design layout here and I’m gonna call that good for the sake of this
tutorial so actually it’s cancel that there all right so that is what we ended
up with for the design now what I want to point out here on this compared to
the original let’s go ahead and pull up the original real quick so again with
the original we had a lot of stuff going on we got some you know the colors this
yellow stands out but it doesn’t really borrow any color from the photo we’ve
got this maroon color on the top we’ve got this you know kind of a lot going on
and I think that it’s important to remember that you can really simplify
things and break it down to the base you know the very basics in this case
all of my fonts are white all my text is white and I’m really letting the image
pop through on this now I could if I wanted to maybe sample some color so for
example I see we’ve got this kids shorts you know maybe we try and borrow that
color let’s just see if it works if I sample from the image that’s not bad
so by sampling a color directly from the image it helps it tie in it gives you a
little bit of something to work with but everything still feels like it belongs
together and and makes it feel cohesive and and on purpose with this other cover
I feel like there’s you know I don’t see anywhere else in the image where this
yellow color comes from and it kind of it just kind of feels like there’s a lot
going on so I hope that helps you know overall really great approach just just
tightening up some things like those fonts and keeping everything literally
we have two fonts we’ve got the masthead and then we’ve got this main font here
in open sans we’re just using bold and I think we’re using light here just to to
make it stand out a little bit and that’s everything like that’s all we did
kept it really really simple I hope that helps I know a little bit scattered
today I’ve got some flies flying around my office I’ve got the Sun in my eyes
barely had any coffee yet but it’s really important to me to try
and get back to you to the students who are asking me those questions in that QA
don’t forget to check out the website at Derek Mitchell comm where you can check
out that vault membership if you want to join in and want to be able to get
direct access to me and be able to ask questions like this where I can get back
to you and don’t forget if you liked the video hit the like button down below
subscribe tap the bell all the things and stay
tuned for the next tutorial so tired

Cinematic Retouching Deep Dive: Exploring Photography with Mark Wallace

Cinematic Retouching Deep Dive: Exploring Photography with Mark Wallace


Hi everybody welcome to another episode of Exploring Photography right here on AdoramaTV, I’m Mark Wallace and in this episode we’re going to revisit some post-production I did in an episode a few weeks ago, because I sort of got into a little bit of trouble because I didn’t show what I did. So I made this, ah really interesting video about emotional portraiture but because we didn’t have enough time, I didn’t show all of the post-production and instead I just smashed it all together and showed this really quick video clip and a lot of people have written and said “hey what the heck? Can you slow that down and show us what you did step-by-step?” And so first let me just show you this clip that got me into all the trouble. These images look great, straight out of the camera but they look even better with a few Lightroom adjustments, I took them to the next level by jumping over to Photoshop and doing some skin retouching and then I took them over to the Nik software collection specifically Analog Efex Pro 2, to add some texture. Now while I was in Analog Efex Pro 2, I discovered that the images, because of the color contrast, well they just lend themselves to all kinds of fun and so once you shoot your images like this, try some post-production to see the different effects you can get by just using the presets in Analog Efex Pro 2, you can get some startling results and it’s free software so why not play. I created my own Custom Preset and here are my results. Alright well I sort of liked the clip because it was fast based and it had some groovy music but so many people have written to me and asked me to slow it down and show the steps. Now the steps involve Lightroom, Photoshop and Nik software, specifically Nik software’s where a lot of people wanted to know a little bit more because one of the issues with Nik software is its destructive. Once you make changes to an image it sticks and then you can’t go back and change it, except there is a way to make it non-destructive, where you can make changes to see if you like them or not and if not, to go back, reverse it and make small minor changes, but that requires a jump through Photoshop and so that’s what I’m going to show you. I’m going to go back and revisit all the retouching that I did on those images but I’m going to show you the step by step process, so you can apply this to your post-production. So let’s hop in, right now we’re going to be using a technique called round-tripping and this is going to allow us to repeat our process, so if we have future photo shoots who want to do this all over again. We can repeat everything we did in the past. It’s also going to allow us to do non-destructive editing, so if we change our mind about how we’ve done something, we can always go back and change things to the original file without doing any damage. This is a four step process. We will begin in Lightroom, we’ll do our color and tonality changes, then we’ll hop over into Photoshop. In Photoshop we’ll do some basic skin retouching and then take our image into Analog Efex Pro 2. In Analog Efex Pro we’ll use a preset that we can use over and over. We’ll do some custom tweaking, then we’ll go back into Photoshop to save our image, which will then take us back into Lightroom where we can do our final Tonal Corrections, Color Corrections, Cropping and adding advent yet. So let me show you how all of these steps work together, you’ll notice in our final edited images they start out as .DNG files, this is what comes out of my camera, but they end up as Photoshop files. That’s one of the by-products of the round-tripping that we’re going to go from Lightroom over to Photoshop, to Nik back to Photoshop and then back into Lightroom. So they start out as one file form, at the end as a different file format, but because of the way we’re doing this, that’s okay, it’s still non-destructive. We can go back in the future and fix everything up or change things if we want without damaging anything, so what I’m going to do here is; I’ve selected two images and these haven’t been retouched at all, so we’re going to take this first image, we’re going to do all of our processes, all of our four steps and we’re going to do that a little bit slowly, so you can see exactly what’s going on and then really, really rapidly, what we’re going to do is, we’re going to apply all that stuff to the second image, so you can see how we can repeat our process and once we have it set up once, we can do it over and over again very, very quickly. So let’s start with step one. We’re going to go into Lightroom’s develop module. Remember we need to do our Color and Tonality changes and so I’ve already spent a lot of time figuring out all the values that I’m going to be plugging in here, so I’m going to be going through this to save time pretty rapidly, but normally you would take some time to adjust things. The first thing we want to do is we want to change our Color Temperature and our Tonality. Remember we want this blue background to really play with the warm colors, the oranges and the yellows and the reds in Nikki’s hair and clothes. So what I’m going to do here is just to take this Color Temperature down to 3000 Kelvin and then I also know that there is a shift here in our tint and so I’m going to make that 24. Again this took me a little while to figure this out but there we have that blue, really starting to pop. Now what we need to do is, we need to fix our Tonality, so the exposure here, I’m going to take that down by a just over 1/3 stop so -0.35 then I’m going to adjust the blacks down to about 44. I usually start with the exposure and the blacks just to start getting contrast, to know where I need to fix things. Now that the blacks are down this far, we’re going to start to see our shadows becoming blocked up so I’m going to open up those shadows to about 34 which is just about opposite of what we did with the blacks, then our highlights need to be fixed just a little bit so we’re going to take those highlights up to about 31. Remember I’ve played with this over time, so normally I would take some time, to sort of, fiddle with this and see exactly what I want to do. The other thing I want to do is take the Clarity Slider, I’m going to bump that up to about 16, just a little bit more clarity something I wouldn’t normally do with the portrait, but these will you want them to be gritty and really sort of clear, so we’re going to do that here. My default Vibrance is set to plus 15 for this camera so normally you might have to increase that, but that’s nice and vibrant. The other thing we want to do, remember there’s a background here, this blue background, we really want to play with that. The nice thing is in our Saturation Slider here on the HSL we can take that and we can just take this blue slider, take it left or right and you can see, we’re just affecting that blue background, so I’m going to take that up to +38 to really make this blue background punchy. Okay we have done all we need to do in Lightroom. We have done our Color and Tonality fixes. Now we want to do some effects. We want to add some grain and some grit and even more clarity to this, so to do this, what we want to do is do it in a way that we can recreate it and make it non-destructive, so instead of going straight over into Analog Efex Pro 2, we’re going to go into Adobe Photoshop CC 2018, so I’m going to click on that and then this is going to open up in Photoshop. We’re going to give that a second to do that, okay now we’re in Photoshop here, what we can do here, so I’m going to fill this frame, I’m going to duplicate this background layer, so we can do our skin retouching, so I’m going to do command or control J. I’m going to rename this layer to Skin Retouch, okay, now I’m going to go in here, go into full size, normally I would take, you know, as much time as I needed to do all the skin retouching but we’re just going to do a few quick fixes here. I’m using my Healing Brush tool, maybe I’ll get rid of Nikki’s little nose ringy, thingy here just to show you some things. We’re not going to spend any time doing some real skin retouching but this is where you would do that. Okay let’s say that our skin retouching is finished. We’ve got that done, if we need to go back and change anything we’ve got a layer just for our skin retouching. What we need to do next is duplicate this Skin Retouch Layer, so I’m going to do again command or control J, rename this layer to Analog Efex. You can name this whatever you want but this is where Analog Efex Pro effects are going to be applied. So what we’re going to do now, make sure you have this layer selected, we’re going to go to step 3. We’re going to click on filter. We’re going to go to Nik collection Analog Efex Pro, so we’ll click on that. That is now going to open Analog Efex Pro and apply your last used effects or camera or whatever you have, so it’s not going to be exactly what we want, right off the bat. We’re going to have to do some changes and good for us because this doesn’t look great. I need to give you a warning really quickly. If you’re using Adobe Photoshop CC 2018 there is a glitch with Analog Efex Pro and the Nik collection and Adobe Photoshop CC 2018 where things don’t work the way they used to, so go down to your settings in Analog Efex Pro and you need to go here and change one thing and that is, after clicking okay, make sure you have this set to; “apply the flter effect to the current layer. That’s not the default but if you don’t do that, you might have a crash in your editing. You don’t want that, so make sure you go to settings after clicking okay, apply the filtered effect to the current layer, that’s why we duplicated the layer. That should fix that little glitch. Okay after you do that once, you’re all set, forever hopefully. Okay now, what we need to do now is we need to create a Preset that we can use over and over, and over again for all of the photos we want to look the same way, so what we’re going to do here is, we’re to go to cameras. We’re going to go click this little right arrow here and we’re going to go to camera kit. Now we’re going to get rid of all the stuff that’s over here already, so I’m going to get rid of Dirt and Scratches in Lens Vignette and Film Type, whatever you have selected just get rid of it, so all you have are the Basic Adjustments. Now for the look that I want to use for Nikki and this stuff what we’re using is Basic Adjustments and we’re going to be using some light leaks, so I’ll add that and we’re going to be using a Photo Plate okay, that is, those are the three things that we’re going to be using to make the effect that I want. so what we’re going to do here is, I’m going to turn off light leaks and Photo Plate. I’m going to go into our Basic Adjustments and I’m just going to set these to what I’ve already figured out here so detail extraction we’re going to have that at 16. Again you’re going to spend some time doing this to make it look exactly like you want it, so this might take you in reality an hour or more. So I’ve already done that, I’m just going to type in the values that I already have and so our saturation is at 9, you can see exactly what I’ve done here so that’s the Basic Adjustments that we’re going to use on this. Now I’m going to go into my Light Leaks and I am going to use this really dynamic Light Leak, this guy right here and we don’t want it to be so powerful, so we’re going to take that strength down to about 15% and then the other thing I’m going to do with this Light Leak is, I’m going to move it up over here, so it’s just very very subtle that looks good and then the last thing I’ve done here is, I’ve added a Photo Plate and the Photo Plate that I’m going to be using is a corroded Photo Plate, this guy right here and we’re going to set that string to about 53, that’s what gives us that really grungy look. Alright so now we can go, zoom this in 200%, you can see we’ve started getting that really grunge cool effect that we like, now that the basics are set up, I need to save this as a Preset and so over here on the right hand side you’ll see this little button that says Save. I’m going to click that and then I need to name this something so I’m going to name this Nikki Grungy, Nikki Grungy. You can name it whatever you want, then I’m going to click okay. Now all of these settings are set you can use them over and over, and over in the future and they’ll show up in our Custom Area over here and so you see now we have all these different things that I’ve named in the past. The one that is selected is this guy right here; Nikki Grungy and that’s all good, okay. We’re going to use Nikki Grungy on our, all of our future edits of this but one of the things I don’t like about this, is if we go into 100% you can see that this Photo Plate is on her face and so we’ve got texture on her face, I don’t want that and so what I can do here is go into the Photo Plate or whatever different effect that you’ve added and you can click this, this little Disclosure Triangle here to open up the control points, now I can add a control point so I’m going to click on that and go over here right on her face, click and so what I can do is the top slider, I can set the size of this so about that size and then I can say the texture strength so I want that to be zero so I want this to have none of that Photo Plate so I don’t want that texture on her face. If we zoom in you can see that it’s removed it from here. We still have a lot of it over on the edges, so what I need to do is add a bunch of different control points. That’s very, very simple to do. Once you have your first control point set let me go back out here. You can click alt or option right on the control point, drag it over and it copies it so you can just do this really very quickly. Maybe you can make one down here, that’s a little bit larger so I’ll increase the size of that, however take some time to put these all over and we’re not going to save these as part of the preset because your subject is not going to be in the same place or size in the frame and so you want to do this later on. Okay. we’re going to call that good, if we zoom in you can see that now the texture is not on her face but it is blending in on the side. That is great now all we need to do is click on OK and we have just successfully finished step 3. So we’ve gone from Lightroom to Photoshop, into the Nik collection now we’re round-tripping back into Photoshop. Now you see we have this Analog Efex Pro layer right here that we created. All we need to do now is save this, so command S, ctrl S to save. What that’s going to do is save our new Photoshop file into Lightroom and now we can do our 4th step. We can do our final color, and color and cropping, and all of that stuf, so once this is saved we’ll get right on that. Okay this is saved, I’m going to close this out of Photoshop, hop back over here into Lightroom and now you can see here is that file, so here’s the edit PSD. It creates that automatically, we want to do some final tonality changes, you can see here we’ve got all of our grungy effects and everything, I’m going to go into the develop module hit D, to get into the develop module and we’re going to do just our final fixes here, so the things that I want to do here is I want to first fix our, our tonality here, so the blacks we lost a little bit of that juiciness that I like, so I’m going to take that down to about -37, I’m going to take the Exposure up by about a third stop, just to make this a little bit punchier so that’s starting to be exactly where we want to go. I’m going to go back down here to our Hue Saturation and Luminance panel, I’m going to take the orange down just a little bit because we got a little bit orangie, when we did that processing and we’re going to take the yellow, we’re going to take that up, way up, we want that atomic blond kind of look which I really like, so you can play with this. That’s the fun of this kind of imagery, you can make it anything you want. The other thing we need to do, this was a Photoshop file and so it needs to have a little bit of sharpening, so what I’m going to do here is, I’m going to zoom in to 100% just so we can see exactly what we’re doing and then I’m going to sharpen this up to about 39. Again this is stuff that, I’ve already played with, so when you’re doing yours, you might take you a little bit longer to do it, and that looks pretty good, I think when we zoom out that looks pretty good. The other thing that we’re going to do here is we want to add a vignette, so I’m just going to go down here to my Effects panel. I’m going to take this vignette down to about -23, something like that, just burn in the edges a little bit. I’m going to leave everything else, all the defaults set to normal and there you go, we just went from start to finish and now what we want to do, is we want to repeat this process. Well the good thing is we’ve set everything up to be repeatable, so how do we do that? So here is our first file that we started with, this is our DNG file, so I’ll make these a little bit larger so you can see this. What we wanted to do is we want to take the Lightroom step 1, Tonality and Color changes and if, and copy and paste those over to this other .DNG file, so I just click on this, then command click that, then go down to the right hand side, sync settings, I’m going to check everything click synchronize, boom now that’s done, now I can right click, go over here to say edit in Photoshop CC 2018, that’s going to take us to our second step and jump us over now that we’re in Photoshop here, we’ll go and make this really nice. We’ll duplicate this, we will rename the skin “retouch”. Then we would normally go in and do all of our skin retouching. I don’t want to take too much time here, so I’ll just do one little skin retouch right there, okay, let’s call that done. Then what we’ll do is we will copy this layer, we’re going to call it Analog Efex Pro, great now what we’re going to do here is we’re going to go filter Nik collection Analog Efex Pro 2, we don’t have to do all the stuff that we did before because remember, we saved this as a Custom Preset, it’s a little recipe that we can use over and over, so what we’ll do is as soon as this loads in on our custom cameras over here, we’re going to go find Niki, Niki Grungy, there we go, BAM there’s our Niki Grungy Preset, so all that stuff we did before, it’s already there, all we need to do is we need to go into this Photo Plate, now she’s not in the same place that she was before and add our control point, we’re going to add this control point, take this down, make this a little bit larger, there it is and then we can go through very quickly and spend the time to get this right, so we take all that stuff off. I’m not going to spend all the time to do that but you can see where we’re going with this. Once we have that done you can click OK. That’s going to take us back into Photoshop. Now that we’re in Photoshop, I’ll double click this so it fits, all I do is click Save. That’s going to take us back over into Lightroom, that’s all saved, so when it closed that out, zip over here to Lightroom, here’s our Photoshop file from this, so what we’re going to do is we’re going to take this Photoshop file click on that command or ctrl click, then second, sync our settings. We’re going to say check all synchronize blam! Everything we did with that is done, so you can see that this is very, very quick. The other thing that I would normally do here is add a crop, so in the video I think I crop these to 16X9 to make them cinematic, so I might do that as well. There you go I want to apply that to this guy over here, command click, sync settings, synchronize BAM. Now they are synced. There you go. Those are two final processed images. Well I hope you’ve learned a few things in this episode, I think you’ll agree that it’s beneficial to have Lightroom and Photoshop because you can do some things that you can’t do when you have Lightroom all by itself. Thanks so much for joining me, I want to remind you to subscribe to AdoramaTV it’s absolutely free, that way you won’t miss a single episode, also check out the Adorama Learning Center and follow me on Instagram. Here’s my Instagram for you right here. Thanks so much and I will see you again next time.

Photoshop Tutorial: How to Make a Vintage, Pulp Fiction Magazine Cover

Photoshop Tutorial: How to Make a Vintage, Pulp Fiction Magazine Cover


Hi. This is Marty from Blue Lightning TV. I’m going to show you how to recreate a
pulp fiction magazine cover from the 1950s. I provided a
Photoshop template that you can download, so you can follow along. Its link is located in the video description or project files. In addition, I provided
links to all the fonts that we’ll be using in this tutorial. If you’re not sure how to install fonts,
watch my tutorial on how to do this. I provided that link, as well.
Click on the down arrow to open the elements of the template.
It includes the outside shape of the cover, the worn creases texture, the logo of the publisher
and the price of the magazine. I’ll temporarily hide the template folder and close it. Make the Base visible and active. Let’s zoom out of the document. If you’re using Windows, press Ctrl and the minus sign.
If you’re using a Mac, press Cmd and the minus sign. Open your Pen Tool and choose Path. If you’re on CS5 or earlier, the Path Tool is here.
Go near the top corner and left-click. Continue to click around
the outside creating a wider shape at the bottom-right and narrower shape at top-left.
Go back to the first point and when you see a small circle, left-click to close the path. Place your cursor on the path and right-click. Choose “Make Selection”. The Feather Radius is zero. Then, click OK. Press “Q” to make the selection into a quickmask.
Go to Filter, Blur and Gaussian Blur. Blur it 50 pixels and click OK. Press “Q” again to revert it back into a selection.
Click on your foreground color and type in 0 C 1 F 5 3. Then, click OK or press Enter or Return. Fill the
selection with the foreground color by pressing Alt or Option + Delete. Then, delete the selection by pressing Ctrl or Cmd + D. To view your document at 100%, press Ctrl or Cmd + 1. Click on the New Layer icon to make a new layer. We’ll fill it with black. To do this, go to Edit and Fill. Click on the arrow and choose Black. Then, click OK. Go to Filter, Render and Clouds. Change the Blend Mode to “Color Dodge”. If your image has a bright area like this, the end result will look better if it’s
replaced with other areas. To do this, we’ll use the “Clone Stamp Tool”. Choose a medium-size and a Hardness of 0%. Make the Opacity 50%. Go to another area and press Alt on Windows
or Option on a Mac and left-click
to pick up that area of your image. Then, brush over the bright area.
Merge these two layers by pressing Ctrl or Cmd + E.
We’re ready to add text. Open your Horizontal Type Tool and click “True Crimes”,
which is one of the fonts I provided. Choose a font size of 50 points, Sharp and Center Alignment. Click on the color box and pick White. Then, click OK. Type out the title of your story. To adjust the space between your lines
of text, highlight the lines and go to Window and Character. The Character panel will open. Click over the “Leading” icon
and drag your cursor to the left or right to bring the lines of text closer or
further apart. To make a word larger or smaller,
highlight the word and increase or decrease its point size. I’ll do the same for the bottom word. To adjust the space or “kerning” between
two characters, click between the characters
and press and hold Alt or Option,
as you press the right or left arrows. Continue to adjust the kerning
and leading of your title until you’re happy. Next, we’ll add a stroke and a drop shadow. Click the thumbnail of the text layer
and click the “fx” icon. Choose “Stroke”. Make the Size: 6 pixels and the Position: Outside. Click Drop Shadow. Make the Opacity: 50%…the Distance: 36 pixels and the Size: 2 pixels. Then, click OK. Next, we’ll re-position and angle it
using the Transform Tool. Press Ctrl or Cmd + T. To reposition it, click inside and move it. Go to the middle on the right side
of the Transform. Press and hold Ctrl + Shift + Alt on Windows or Cmd + Shift + Option on a Mac and
when you see a vertical, double-arrow, drag it up until you’re happy with the angle. Then, press Enter or Return. If you want
to change the color of your text, click on the color box and pick a color. I’ll type in F F D 800. Then, click OK or press Enter or Return. Let’s make the template folder visible
to make sure our title is positioned where we want it. I’ll move it up to make room for the rest of
the elements. To move your text,
press “v” on your keyboard. Next, we’ll add a name for the author. Press “T” to open your Type Tool
and click on your document. Choose a font. I’m using “Brush Script Standard”, which I provided its link to. I’ll make the Size: 16 points, Left Alignment and the Color is White. Type out a name for the author. To re-position it, open your Move Tool and move it. To angle it, open your Transform Tool, go to a corner and when you see a curved, double-arrow,
rotate it counterclockwise. To make sure it’s the same angle as the
title, move it to the bottom edge and rotate it
until the angles are the same. Move it into position
and press Enter or Return. Next, we’ll add the tagline. Press “T” open your Type Tool
and click on your document. I’m using “Bebas Neue”,
which I provided a link to. I’ll make the Size:18 points and the Leading: 20 points. Click the color box and pick a color. I’m typing 4 F A 9 B 3. Click the Center Text icon and type out your tagline. Open your Move Tool to re-position it. I’d like to italicize the text,
so a click on the Faux Italic icon. Click on the “fx” icon and choose Stroke. Make the Size: 2 pixels and click OK.
We’re ready to add retro clip-art, but first, let’s place all the text into a folder. Shift-click on the large “T” on the bottom
text layer to highlight all the text. Then, press Ctrl or Cmd + G. Let’s name it, “Text”. Click on the New Layer icon to make a new layer. We’ll fill it with white by pressing Shift plus the F5 key and choosing White. Click off the eyeballs of all the other
layers to hide them. Press “T” open your Type Tool
and click on your document. Open “Horror Dingbats II The Victims”, which I provided the link to. Make the Size 300 points and make the color Black. Click the “Caps Lock” key on your keyboard. Each letter is a
different clip art illustration. I like this one for my cover,
which is the letter “E”. Ctrl-click or Cmd-click on the “T”
to make a selection of the shape of the clip art. Click the New Layer icon
to make a new layer and hide the clip art text. Press “d” on your keyboard to make your
foreground and background colors black and white, respectively. To fill the
selection with the foreground color, press Alt or Option + Delete. Invert the selection by pressing Ctrl+ Shift + I on Windows or Cmd + Shift + I on a Mac. Then, hide the selection
by pressing Ctrl or Cmd + H. Click the foreground color and pick a color for the skin. I’m picking F F B 0 B 0. Then, click OK. Open the Paint Bucket Tool and click on the face to fill it in with
the color. To fill in the areas of the skin that the paint bucket tool didn’t fill in, Open your Pencil Tool and choose a
relatively small, point size with a Hardness of 100%. Paint over those areas. Click on the foreground color and pick another color for a different
area of the clip art. Continue until you’ve painted in all the
colors you want. Press Ctrl or Cmd + D to delete
the selection of the clip art that we hid. earlier. Drag both of the layers to the trash, since we don’t need them anymore.
Make all the layers visible and drag the clip art below the text. Open your Transform Tool and drag down. Go to the top, left corner and when you
see a diagonal, double- arrow, press and hold Shift as you drag it in. Then, press Enter or Return. The next steps will be to pixelate the
background and clip art into color halftones. Hide the top, two layers. Go to Image and Image Size. Change the Pixels to Percent and make
sure the chain link is highlighted, which links the Width
and the Height together. Type in 300 in either the Width or the Height. I’ll show you the reason later why
we’re enlarging it this amount. Click OK. To move it on your screen, press the Space bar as you drag the image. Go to Filter, Pixelate and Color Halftone. The Radius amount
determines the size of the pixels of the color halftone. “4” is the smallest radius size we’re allowed. The Channels
are already set at their default amounts. Click OK. Make the Base layer active and press Ctrl or Cmd + F
to repeat the color halftone Press Ctrl + Alt + I on Windows or Cmd + Option + I on a Mac to open its Image Size. Type in 33% and click OK. If we applied the color halftone filter
without enlarging our image 300%, the result would look like this.
The color halftone pixel radius is still “4”, but when we applied it to
the original size of the image, the color halftone pixels are way too large. To see the final image,
make all the layers visible. This is Marty from Blue Lightning TV.
Thanks for watching!

Develop a Negative Film at Home with Photoshop!

Develop a Negative Film at Home with Photoshop!


If you have a lot of old negatives laying
around somewhere in your cupboard or your old photo albums just like so. What a better way to kill time rather than
trying to develop them in Photoshop? Doesn’t that sound like a good experiment? It actually is. And the great news is, it’s possible. However, the quality of the image that comes
out of these negatives depends upon three things. Number one – lighting. How you light these negatives when you take
a picture of them. Number two, of course – the lens. How much can the lens magnify this film? So if you have a macro lens, that would be
the best. And number three, obviously – the quality
of the film. Now here comes the important question – how
do we take a picture of this film? Simple, make the screen of your phone white
or run a widescreen video and then keep the film in front of it and simply take a picture. Make sure not any other light in the room
is falling on this film and then take a picture. It would be best if it’s a dark room. However, whoops, mother’s calling, I gotta
pick it up. Now when you take a picture, keep the film
away from the screen. You know why? Let me show you. Here’s the picture of the film touching the
screen. It looks all right. However, when you zoom in, have a look, look
at these pixels and these banding. They are not from the film, they are from
the phone, they are from the light, because they’re so close that each pixel of the light
is going to show up. However, when you do keep a gap, what happens
is when you focus on the film, this gets blurred. And that’s what I did in the second photo. This is too much DIY, have a look at this. I just kept a container on this side, another
container on the other side and placed the film on top of it just to create a gap and
then took a photo of it. You see? There is none of that banding. And all these greens that you see, that’s
just because the ISO of the camera was too high and I was too lazy to set up a tripod
and do a long exposure. Anyway, that’s how you take a photo. Now again, if you had a macro lens, you could
have made it even bigger. However, I just had to take it with my 24-70
because I don’t have that kind of macro money. Once you take the picture, the rest of the
magic will happen in Photoshop. So without any further ado, let’s get started. So here we are back in the magical world of
Photoshop and you can go ahead and download this photo, of course, you can download this
15 year old photo by checking the links in the description. Maybe it’s a 16 year old photo, I don’t even
know, but I look pretty small in there, and fat too. So what is a negative? It is actually a negative. What do we have to do? Make it positive. And how do we make that positive? By simply inverting it. So, let’s create an Inversion Adjustment layer. Click on the Adjustment layer icon and then
choose Invert. It does look much better. Now, we need to correct the color, take away
the blues and all of that can happen with Curves. So click on the Adjustment layer icon and
then choose Curves. Now in here, what color in the scene or any
of these scenes should have been grey or neutral? Figure that out. So in my opinion, of course, his shirt should
have been grey. So select the middle eyedropper, click on
that one and just click on his shirt and have a look. The colors have been improved. You can also try clicking on different areas
to see what looks best for you. Now do keep in mind, this is totally non-destructive. We can adjust this at any point of time. And also, this is art, you don’t have to get
it absolutely accurate. You just have to make it look attractive. These boatmen look nice. All we have to do is to increase some contrast
in here. So take this slider from the left to the right. All right. You can also hold the Alt key or the Option
key just when you begin to see these artifacts in the image. That means the details are going away from
the dark areas. Similarly, let’s do the same for the bright
areas. All right, let’s stop right there. And then you can work the Curves and maybe
increase the Contrast a little bit. Just like this. So, if you want to adjust and edit the colors
further, you can go to the different channels – Red, Green or Blue, and make manual adjustments. However, to make Curves visually simpler,
there’s one more Adjustment layer and that is called Color Balance. Click on the Adjustment layer icon and then
choose Color Balance, just right there. Now do keep in mind Color Balance is just
a simplified version of Curves. Anything you can do in Color Balance can be
done with Curves. Check out this video if you want to know more
about it. It’s just that Color Balance makes it simpler. So we want to target the mid tones. So select the Midtones and then just add a
little more Yellow to it, probably just keep it the way it is, probably in the shadows,
you want to take away the greens. So let’s go to the Shadows and just add Magenta
to it. Magenta is the opposite of Green. And a little bit Yellow, probably some Red
or the opposite of it. You can take all the time in the world to
adjust these colors. Once you’re happy with the colors, all you
got to do is to just crop it out. Now for different images, you might have to
adjust everything differently. Have a look, this is me and my mother and
probably all of these photos were taken by my father. Anyway, once you are happy with all of this
just crop it. So select the Rectangular Marquee tool or
any tool of your choice. I’m going to make a square, sorry, a rectangle
right there, press C for the Crop tool, hit Enter or Return..boom. There you go. Of course, we need to crop it properly, and
you can do that. You get the idea. So that’s how we can develop a negative very
easily with Photoshop. Here’s the before, here’s the after. And here is the final image. If you want even better result, get a macro
lens, or simply give it to the developers, developing stores. That would be cheaper than buying a macro
lens. Anyway, this was a fun experiment. I hope you enjoyed it and if you did, make
sure to give us a like and also don’t forget to subscribe and not just subscribe, ring
the bell so that you, my friend, don’t miss any other future tips, tricks or tutorials. I would like to take this moment to thank
all these nice and amazing people for supporting this channel on Patreon and helping keep PiXimperfect
free for everybody forever. Thanks so much for watching. I’ll see you guys in my next one. Till then stay tuned and make sure that you
keep creating.

How I select my best images

How I select my best images


You might have noticed that I shoot a lot. I mean, I take a lot of pictures. and if you are anything like me, you know that going through hundreds or even thousands of pictures from a trip to select the best ones can be a very daunting task but fear not, because over time I’ve developed a process that is relatively fast and painless to select my best images and I wanted to share it with you in this video I use Lightroom CC for this but you can use any software that allows you to organize your photos in albums or folders or anything like that you can even use regular folders in your hard drive The idea is very, very simple. But before I even start going through the images I like to wait. Some times it’s just a few days, sometimes it’s a much longer time. For example, I only recently went through the images that I made well over a year ago in South Dakota at the Badlands National Park The reason why I wait is because images take some effort and time to make And some of them require a lot of time and a lot of effort Maybe we had to drive really far away, maybe we had to go on a hard hike Things like that that might trick us into thinking that the images are better than they really are The goal here is to look at our own images the way a stranger would look at them as much as we can, of course the reason is because everyone is going to look at them that way if we are lucky enough to have anyone looking at them, but if we do have someone looking at them they are going to look at them that way only you know what it took to make that image, the effort and the time that it took I believe that if we can look at our images that way we are going to be better at selecting the best ones ok, so once we are not attached to them anymore, it’s time to start selecting the photographs the way I do this is, instead of making a selection from the huge, very big set of original images, I like to narrow them down in a series of steps, and after each of those steps I have fewer and fewer images until I end up having just a handful of images hopefully the best ones I have several folders that represent each of those steps. I call them #0, #1, #2, #3… you get the idea I have 4, but you can have as many as you need let me show how this would work with a quick example of some images that I took at the Great Sand Dunes Ntl Park in Colorado as you can see I have these 7 that are very similar to each other the reason why I have so many of the same composition is because the light kept changing if you watched the video you might remember there were some clouds that were moving really quick and that were creating a lot of patterns on the sand so I kept taking more photos because I liked this composition a lot and it was changing really quick all of them are in the folder called #0, that’s the first step I’ve already made the selection here but what I’d do I would look at them, as you can see they already have flags, rejected and picked I’ve already gone through these ones, but that’s what I’d do From these 7, I chose 4 those are the ones that I like the most I select them and move them to the next step that is folder #1 I remove them from folder #0 and the ones that I don’t like, I just delete them, so they are gone those 4 go to the next step in the next step, I’ll narrow those 4 down even further hopefully getting 3, 2, or even just 1 to the next step and this is not always an easy decision to make I don’t dwell on this, I don’t spend a lot of time at least in the first steps of the process I’m very quick and if I have to move 4 or 5 or 6 images that are very similar to each other to the next step, I will because I’ll have more time and many fewer images to select from in the next few steps the goal here is to move quickly and narrow those photographs down from hundreds to just dozens or even fewer than that as you can see the final step of the process is a folder that I call “to publish” every image that makes it that far is going to make it to my website, I consider my website to be the main repository for my work, it’s where I publish all of them I post images on Instagram, Twitter and here on YouTube but most of those haven’t gone through this whole process, it’s just a quick selection that I do just to share more in real time my work I work further on those images, I edit them a little bit more some of them will never make it to my website My website is the final goal here. And the prints, of course. This is basically it, how I go from a lot of photographs… for example this most recent road trip I don’t have the exact number but it was somewhere between 2,000 and 2,500 photos that I took I’m down now to 1,000 photos, that will go down to probably 100 or 200 in the next step and hopefully I’ll end up with 50-60 images from 3 weeks of shooting across the Southwest and that’s how I do it, how I go from a lot of pictures to just a handful of them without going crazy I’d love to hear from you, if you shoot a lot, how do handle that? How do you select the best images? Do you do something similar? You just go insane every time you have to do it? This is it, I hope you found this video helpful Thank you so much for watching, and see you in the next one!

Advanced Modeling Techniques using Camera Projection in After Effects

Advanced Modeling Techniques using Camera Projection in After Effects


hi guys welcome to another projection 3d
video tutorial today we will study some advanced modeling techniques we will use
different tricks and methods that will help you achieve the desired result fast
and easy so let’s start first of all let’s project this lonely house press
find camera and adjust it helper gridlines will help you Orient alright now let’s create a projection
make two copies and press ok double click projection scene 1 so let’s
create a ground plane to generate the position of the house generate position of the front wall and
create a plane from two points second position okay great now let’s create a plane
using generate plane from two points option reduce it a little and adjust it okay guys now as you already know we
must draw a mask to get a front wall great now let’s extrude and see what
happens select the mask change extrude erection and press create
surface as you can see we’ve got a rough model
and as you already know we’ll have to create some animated masks to clean it
up but this method is actually takes a long while and it’s very boring so we’ll
do something else so now I’ll show you another technique so remove this extrude
surface because you don’t need it anymore
duplicate mask surface by pressing control D now drag it to the back wall
of the house great adjust the mask all right let’s check the result okay now select both layers and open
mask modeler tool click create surface great we have a
clean model now we only need to close the front hall remove this layer we
don’t need it anymore and leave this one it will be the front face as you see the
house model is ready so there is no need to create any masks you can group these
parts but first let’s duplicate this one we needed to create another part off the
house now select and press group great all right let’s see it let’s just
fix this last part now go back to projection scene 1 select
duplicated layer and move it back a little since the right side wall of the
house is a bit behind the wrong wall now drag to the right so that the surface
covers that part of the house delete the mask should draw a new one you okay so let’s check it
well done almost ready we just need to create this small surface now so
generate position points and create a plane you now draw a mask you okay looks like our projection is ready let’s go ahead and animate and see what
we have oh yes don’t forget to add a surface for
the background you pre-render as you can see this method is very fast
and it really simplifies all your tasks a great deal modeling can be applied same way on the
car that we projected than the main tutorial just duplicate this layer and
drag it back now edit the mask but do it carefully
don’t move the vertices too far from their original area you that’s it now select both layers and
click create surface oh yes and increase the mask offset
value up to one or two and it’s done remove this layer and enable this one
now select these layers and press group using this method you can create a clean
model and there’ll be no need to use animated masks but this method does not
work in all the scenes not in this scene for example I used the cylindrical surface to create
a Coliseum a cylindrical surface consists of many polygons and we can
mask h of them separately inside a composition so therefore we should
create animated masks here in the main composition nevertheless this modeling
method eliminates the need to create animated masks 90% of the time so now
that you know this new technique let’s complicate the task
let’s model a house with a chimney and balconies so breasts fine camera match
it turn on the right side off the helper grid it’ll help you orient you alright that’s enough now look at the
lines the lines coincide with the image lines
so it looks like we’ve adjusted the camera correctly now let’s adjust the
horizon height great select camera and image and click
create projection make two copies now double click projection scene two we
should create a ground plane to generate the position of the house it looks like the green stuff doesn’t
let you see the orientation line of the house so I guess you can draw a line in
your mind okay let’s generate a second position so go ahead and draw a line in
your mind and this is where our second point should be okay
select both controllers and press generate plane from points now let’s
draw a mask to get a front wall off the house all right let’s do this now that we have the front wall of the
house we can extrude and get the rest of the walls so select the mask open
extrude tool and press create surface okay we just need to scale it a little
along the z-axis all right the walls are ready so let’s
go up to the roof we have a point of contact between the walls and the roof
so let’s generate a position in here had a plane primitive now we should copy the
orientation of the house and the scene and paste it on the primitive so that it
has the same orientation as the house ok well done now I’ll open the Anchor Point
editor and move the primitive without touching the Anchor Point find the right
point great now that we have the front wall properly oriented we can rotate it
90 degrees and get the orientation of the side wall and also the roof so let’s
do that well done let’s reduce and adjust our plane move it to the proper place you okay now we need to tilt it to the right you okay cool we now have a part off the
roof duplicated and change Anchor Point position don’t forget to uncheck this
box to move the anchor point not the object rotate the new one to the right
tilt great our roof is now ready let’s switch
to custom view to see what we just did as you can see with a great job go back
to active camera now we need to create a chimney first let’s generate a position for it so had a cube primitive coffee the
houses orientation and paste it on the cube now we need to place the cube in
the correct position whoops I forgot to check represent only Anchor Point thing
return anchor point to the center now find the right point this seems to
be the right place now you need to reduce in it adjust the primitive disable scaling on all axes and adjust
the scale for each axis separately alright it’s done uncheck this and
change anchor point position this is the point of contact between the wall and
the top of the chimney let’s create a plane primitive right here as you
already know we need to copy walls orientation and paste it on the plane as with the house here we also need to
rotate at 90 degrees great now reduce the primitive and place it to the right position move it a little to the left now rotate and adjust the scale you okay copy it and let’s make the other
side you well done our chimneys ready to time to make a balcony let’s go ahead
and generate position for it and add a cue primitive copy the whole orientation and paste it
on the cube then place the cube to the proper
position via anchor point editor all right now adjust it a little bit you looks like some rotation needed okay cool looks good let’s switch to custom view to see
what’s happening Wow looks like we did a great job they’re still lower balconies but I
think you already know how to deal with them
so this is how the house looks in the main composition as you can see using
this technique you can do modeling of any complexity now we can select all
parts of the house and group them into one object and give it a name now let’s move on to the last stage of
our tutorial and create a full scene using different tools and techniques so
drag your image to the timeline and press find camera use 28 millimeters now
match it actually I think 15 millimeters was used in this scene but using this
camera I noticed that distant objects are very far away that’s why during
animation it feels like only the rivers moving we should see a beautiful vector
movement so I’ll use 28 millimeters you know sometimes you shouldn’t play by the
rules if you want to get a beautifully rendered animation okay
our cameras ready so select layers and press create projection and make three
copies double click projection scene 3 and
create a ground plane let’s start with the building go ahead
and generate a position for it now create a queue primitive and place it to
the right position using anchor point editor now we should find the building
orientation and space so scale it and said X rotation to minus five rotate along y-axis set Y rotation 223
great this is what we need let’s adjust the scale along all axes now uncheck and reposition anchor point
create a plane primitive in that point set X orientation to zero okay now we
need to move the plane without tossing the anchor point so I’ll mark that
option and do it now a copy cubes orientation and paste
it on the plane primitive I’ll just put 90 degrees on y-axis let’s calculate 23
minus 90 that equals minus 67 so set that great now reduce the scale and it’s ready now we need to move
anchor point to the table to create the positional point or the roof and create
a plane on that position so I’ll move the plane over here copy
buildings orientation and paste it on the plane
like so okay now we need to reduce and tilt it a little bit you good job guys now let’s create the side
of the roof so reposition anchor point and create another play zero orientation move it to the right
position through anchor point editor now copy the building’s site part
orientation and paste it on the plate well done now let’s reduce and tilt it
you great we’re almost have all the parts of
our building let’s create the last missing part we
should move anchor point for that then create a plane and adjust it like
we did before copier orientation and pasted on the
plane reduce it that’s it now we have all the parts okay now we need to draw a mask along
the contours off the roof so let’s do that you all right done increase shadowmap
resolution to get the best quality okay let’s check it it’s good now for
the second part let’s mask it you cool and the last one you that’s it we’re done with our building
now let’s select all the parts and group them into one object check it awesome right and so the
building models ready let’s move on to the far riverbank first we need to
generate position points then select both controllers and create
a plane using generate plane from points option cool reduce it check this box and move the layer using
anchor point editor reduce along x-axis all right let’s see it from the custom
view yes everything seems to be in order now we just need to mask it you congratulations the riverbanks ready now
let’s get to a tree and a bush over there first let’s create a bush so
generate the position of the bush and now import this image called left bush yet move it to the left a little also rotate okay looks perfect now generate position
for the tree so I’ll import this image called tree I’ll scale and adjust it okay guys looks like we need to adjust
the position of the anchor point since it’s in the wrong place like so and move
the tree to the correct position scale it again you great that’s just perfect all right this
part is ready let’s see what we have so far alright now let’s make a bridge let’s start by generating a position for
it generate a second point okay now create a plane using these
points now using anchor point editor go ahead and reposition the plane adjust
the scale let’s see from a custom view whether or not of a primitive plane was
created in the right place that’s right the bridge will start right from the
shore and now as you may have guessed we
should draw a mask along the contours off the bridge so let’s do that you and it’s done now open extrude tool set negative value and click create
surface whoops don’t forget to select the mask move anchor point to the lower left
corner but don’t forget to uncheck reposition only anchor point open the
scale parameter and scale created surface using z-axis if the bridge model
doesn’t match the picture then it has the wrong orientation and needs to be
fixed so we need to rotate it along y-axis as you can see with this orientation the
bridge model matches the image so what will we do then then we’ll remove this model fix the
plane orientation when the mask and extrude again move the anchor point to
the lower left corner and rotate nine degrees along y-axis now we need to fix
the mask you great now the plane have a right
orientation so select the mask and press create
surface scale it along z-axis well that’s strange it doesn’t quite
match as you can see probably should have rotated at 10 degrees yes that’s it
let’s delete this and rotate it 10 degrees fix it up a little perfect now select the mask mark front
face and back face and press create surface move Anchor Point and scale
alongside axis you finally now it’s just what we need okay now let’s create a tree switch the
top view and move back the plane that we’ve created for or the bridge and we
need to generate the position off the tree behind the bridge go back to acts
of view and generate position good clothes extrude tool but don’t need
it anymore and import image call bridge tree double-click the tree
just the anchor point position okay now the trees in the right place so
let’s scale and adjust it maybe we just need to rotate it a little you maybe just a little bit more doesn’t
matter actually you can leave it like that now let’s make a position for our
lamp but it looks like we moved back our plane we’ve created for the bridge don’t
worry we’ll create another one in a second so here we have generate plane
from bounding box option click it and choose front alright good now let’s
generate lamp position impart the lamp cool scale it let’s see how it looks well done the scene just looks better
and better all right guys let’s create the right bank of the river we’ll do it
with mask modeler so select our ground layer generate position and create solid
on that again generate physician
create a solid do the same thing again and just one more time alright done now using these layers
let’s create a river bank so select the furthest one and start drawing a mask
along the contour off the shore as you know to make sure mass modeler
works correctly all masks and all layers must have the same number of vertices so
if you don’t want to count you can just copy the mask and paste it on another
layer adjust the mask okay good again copy the mask and paste
it on another layer adjusted and do the same thing one last time okay well done we did it now select all
layers and open mask modeler if you won you can mark show masks to
see how it looks press create surface let’s see the
result in the main composition oh that’s just great you okay now we can delete those layers we
don’t need them anymore right select this and generate position
for the second lamp import image called lamp – and scale it now let’s generate a position for our
bush an imporant image called right bush just it you okay good let’s see what it looks like looks great okay now let’s put our
project in order select the building cut it go to projection scene – and
paste it alright let’s correct the composition
sequence okay it’s alright now now select the furthest riverbank the
tree and the bush and move them to projection scene one this is just a helpful error we can get
rid of it this is the bridge this one we don’t need okay now select the right bank of the
river and the bridge and also move them to projection scene one this one all the other layers except for the
bottom one you can move to projection see and to good
now let’s just create a background go to top view scale the bottom layer along
x-axis okay let’s see it uncheck bottom check back press okay move back the created layer we need to scale it great now go to the main composition and let’s animate the camera you okay pre-render ah we’ve forgot to replace projection
images see that building behind a tree restorer
in Photoshop also replace projection image of
projection scene 3 now press 0 to pre-render again you well down guys scene is complete now all
there’s left to do is to correct the reflection of the water but this isn’t
what this tutorial is about here we study modeling maybe later I’ll record a
tutorial about how to animate water all right okay that’s enough for today
I hope this tutorial was useful for you and with its help you perfected your
modeling skills thanks for watching we’ll see you next time

High vs Low. How CAMERA elevation can influence a WILDLIFE PHOTOGRAPHY image. The Chobe River.

High vs Low. How CAMERA elevation can influence a WILDLIFE PHOTOGRAPHY image. The Chobe River.


Hi! I am Janine from Pangolin Photo Safaris. I am on the Chobe River with you today. I want to see, together with you,
how low can we go? Have a look at what difference it makes to just change your angle a few feet. We are going to start off from our swivelling chair shooting this hippo lying low in the water. He has a gorgeous grey heron sitting on his back. I am going to increase my f-stop to f/8.0,
just to make sure that when I focus, either on the bird, or the hippo, that
both are going to be in focus. I am also going to underexpose just a little bit to make sure I don’t get any get any highlight alerts on the grey heron. If the hippo turns out a little bit dark, I can easily pull the shadows back in
post-production editing. So, let’s have a look from the chair. Nice! The hippo looks a little bit dark, but at least I didn’t blow out my bird. I am going to tighten my gimbal, take my camera, and get all the way down to the ground…. …and do some camera yoga!! And see what difference this makes? You will see my horizon often slides
even further into the background, and my foreground gives me a really beautiful shallow depth of field. This is as upfront and personal as I can get with this hippo. Let’s have a look how it looks from standing all the way up high. I can even stand on the nose of the boat and see how high I can go. This is more of a spectator angle. I don’t change any of my settings. I only change my location. You guys tell me which one of the three
angles you like the best? Leave me a comment down below. I would like to hear from you. Have a look, when you shoot wildlife, what works best for you. Don’t forget to subscribe. If you enjoyed this video, press the bell
button to get notifications. Thanks for joining me. Bye bye!

ID PART 04 Maitriser INDESIGN en 48h chrono Mise en page ADOBE niveau pro à la portée de tous (0h46)

ID PART 04 Maitriser INDESIGN en 48h chrono Mise en page ADOBE niveau pro à la portée de tous (0h46)


this document at the typographical level it is quite valid we say that the grey is correct, i. e. when you look at the blocks from a distance one overview of the text blocks on n’a not really the impression of seeing white cracks that appear in these It’s quite unique grey man, that’s because we’ve been working on what we call the justification we made sure that indesign and more flexibility when it has to glue text on the left and right of the column normally indesign does not know how to do vary in origin than the spacing between the words but we told him, here you can. also vary the spacing between the letters you can also change the width a little bit characters and that’s how we get has a typographic grey valid for the typographical level is better than what which is design makes it possible to make in standard is what we’re going to do here to to go further is to make sure that from one column to another from one column to another the other the text lines either in the extension of each other then we’re fine with it. It’s only useful not to much but to that little detail ridiculous added to many others details makes the difference between a word document to have a good document in design that gives a feeling of quality to the average reader who watches it who doesn’t know much about it, but he There’s still a feeling of quality when they see the document or if you are dealing with professionals who are watching the document and will tell my masses it is Pretty much typographically it was done. as it takes to get to the point where make sure that the text lines or in the continuation of one of the other at the same level in all columns you will have to use a this one called a base line grey then first this basic ningde grid I’m going to to give it a value but the value it will be determined by this which is called the body of the text so if you go to the text menu the taipei menu takes you to the par of paragraph style style you see that we have a style of paragraphs that is called body text and is between body brackets why but because the body of the text is the name I have chosen to give this style the paragraph c the body of the text is so that’s what we call the text we most often meets in a document the main text therefore in general when you start doing a document is con we do the things of logical way we start first with adjust the body of the text text main then only after at the front will start making the subtitles on titles etc. but it’s a first thing is then in English it’s called body text which is why I put between body brackets so every paragraphs of this document currently use the body style of the text normally if with the text tool you probe at different locations you see that it doesn’t change that’s always body of the text that is activated if you click anywhere in the text and you do a check ensures the pc how you got on the pimp it select all text all text all text especially the document I remind you that we’re in a flow document continuous so it’s really the text cool from one block to another thanks to the chaining that you have visualized while at the time by clicking with the black arrow on a block you saw the lines because you asked for display extra show the way the chaining of text here is the style of the paragraph is selected it is not grey it remains blue you’re selected that means that all that is selected there currently use this style paragraph is perfect when she’s is there the line spacing 2 of the text there and well to see it there are two ways to do you can if you want to go in the palace of character including kneip character menu text character and you have shown no character and when you click in a paragraph you and now the spacing is 21.6 times its 120 of 18.7 in brackets to indicate that it is in design that has calculated interline spacing spacing between two lines it made 120% of the value only of character 18 here so 21.6 that’s what you have to remember another one solution would have been to take the arrow black click next to everything next to the pages nothing is selected is selected went to provide information on the paragraph style in double clicking on it good it is also possible to make a click right and to have it modified at that time then you didn’t need necessarily to click next to the page to deactivate everything but I’m going to will double click on it gg click to on the side of the pages to disable everything so I’m not working on anything. on a particular page element and in this basic character format you have if he’s finished with what’s also indicated in the style of course finds everything that is in the palaces of character and paragraph That includes everything, so 21.6 points. it’s our interest in texts. right now and we’re going to say that we’re fixed on it, it’s okay, we’re not going to change later on so we’ll be able to go manage the baseline grid then the baseline grid will be make it appear in the grey display menu and therefore locates its display menus I assumes in English if I remember well grid end smartguide undoubtedly and you have baseline grid something so in English schaub baseline grid you confirm ok so the baseline grid does not can’t see when you’re at a certain distance from pages because there is threshold we say to ourselves and that would be that in the preferences we say so much that we’re not a zoom until a certain amount of time zoom factor on the page on your pages barely showing the grid, but if you or but stop on the wheels you see the baseline grid is then the idea is to make sure that between each line here is a value of 21.6 points which is not the case Well, we’re going to do that now. We’re going to do that. do that, we’re going to go to the preferences of a design you go to the preferences editing menu since you Are on a PC here I’m on a pimp I’m on a pimp Go to the menu they tell me at a preference and we’re going to go fix the grids so we’re in the process of set up the grids, so I went to in the preferences regarding the grids you have here the grid of base line good incidentally good for you see you can change the color with which she appears it may be useful if you have at the bottom of the page some images that are blue your grey blue Clearly it’s not going to show up too much at the beginning. Here is just the beginning of the grid it is at 12.7 won’t take much care of that. What interests us is the step here so we talked about how much 26.21 1.6 traveling not even rated 21.6 is that what we said that in this place if that it is the threshold to view the grid so we don’t take too much care of these good ones. possibility to display the grates in front of the elements the images for example, that would be there a certain the grid will appear in front and not behind it, but right now it’s check the grids will be behind it is not very serious our text blocks there in a way are transparent there is no white background on the background of our text block so the Grid we’re going to get it. here you click on ok you have a grid that has the same age spacing as the age the text that happened to be right on time on my column here on the right but on the left column the text do not have you Right on it. Oh, well, we have something that Maybe ugly enough it’s ugly. ligature we’ll delete that too. maybe ligatures while we’re at it. It has nothing to do with it, but I’m in the process of to see that my y when they are followed of one when they follow a f the point of the and disappears once the ligature will have to be I’m also thinking about changing that because I don’t like it too much, but it could be great if you like it then what you’re going to do now before compère de tous and register the document you can save it in the file you received in the file and you’re going to give it a name in the assembly folder that you received want to change your clothes the number That’s it, so that’s it. We’ll make sure that the text those who use the style paragraph body of the text it will be stick on the baseline grid because I was saying that by chance I have my text here that stick on the but if I go up a little bit in the column see that the paragraph previous no well it’s quite all right logical because there’s something that disrupts anyway is the inter-paragraph spacing I have settled and I can and I can and I can make a bigger pub if I’m the one who’s doing it. decides and it necessarily does it all by the air at level 2 of the text that does not fall off the lines so we’re going to do that, we’ll click next to all of them. nothing is activated and we’re going to go double click on the body style of the text so I was just talking to you about the spacing between paragraphs that is obviously done not by inserting an empty paragraph I don’t have paragraph tags empty where there are spaces between the paragraphs his saddle and mara that do this we try to avoid in any case make it look like we’re not, and I gutter and this is the spacing between the paragraphs it is regulated by the withdrawal spacing it’s here by the way it’s at 3 mm here’s that, by the way. so something else I told you about. ligatures you saw there are some One more voice is the one you have shown I don’t think it’s great that are attached to it like that to the f that precedes so it is in this format of basic character it is here we uncheck ligature and if I check the preview box I should notice that directly behind these are the little dots d y appear when they are preceded by of a f knows this, what are also called ffi because yes, when you have two f’s that are after the other as in the word effective they are also ligated if you let’s check all that stuff off. It was ancient typographical legacies and it also depends on the audience to whom you is addressed and the kind you want to give to the documents so I was there why I was there to make sure that the lines of text are stuck on the grid of baseline and since the grid of a German baseline was beating lineage that the text should work then it’s going to happen in withdrawal spacing we just went there just a few days ago ten seconds I told you that the spacing between paragraphs is where it’s happening and here you have aligned on the grid no line right now but you’re going to say that all lines why is there the option first line is especially for the securities have ensured that the first line of a title its line on the grid but this is all of everyone’s lines. the paragraphs that will be aligned with the grid is here and what’s going on comes by when you look back at the miracle one the text lines are in the same level in the extension one on the other hand and this is a document that is serious about typography there are people who pay attention to that last but not least in the world of graphic design then I’ll tell you the general public if they There is a feeling about the quality of the document but he’s not going to say ah, well the ligatures have been removed quite a bit to maintain the lines of text are a extension of each other by column to column but no that’s the general public who don’t pay attention to that but despite everything, he feels that there’s something of quality in the document it’s not a word document so stupidly so, so your space after paragraph but when you change it, it’s not going to work. to modify much necessarily therefore here it is in the options box on stylus paragraph you have of course the preview box that is checked we are All right, well, at the preview box, okay, so let’s do it. will observe a little bit what’s going on. now that the text is forced to be put on the grid if I increase I I’m looking at this place. there if I increase the space after paragraph nothing changes as a result indesign bug not generally blogs are not located as you know between the screen and the back of the chair so a at some point I will increase and the line to whoever starts here with the word manga in my case will come next if it doesn’t crash because my balloon beach is coming up and that’s always worrying before that, okay, so when I from 7 mm to 8 mm and puts the text skips a line b it makes sense we with adjustment of the spas centres paragraph necessarily less hungry from the moment where we asked that the text its line on a grid so here you can do it. to leave it at three was fine, actually it’s not 3000 c + 3 mm these 21 7 x 2 finally Here it is, it’s my three. It can stay. so that finally what you need is understand that the part where the time is paste the text on a league ri of the base line necessarily the setting between spa centers paragraph centers it is less hungry then what we’re doing to do here is so we explain to you even though you’re not very happy yet. far in indesign we explain how to use functionalities that allow you to give a professional look to a document is to make a long document with images and text is very flexible in the level of its layout I can delete text images up I go back can add text so it’s That’s the point here. We’re not in the process of make you professionals in the field of layout 1 is the goal is the goal is to get close to a document pro easily thanks to the little tips that you have here that we give you for the time being then we won’t validate the decals y menuge window calq and I will rename limestone I’m going to call it main text here is the main text I will lock to make sure you don’t work on him by mistake and I’m going to create a new layer them that I will call floating images new layer floating images why that but you will immediately understand so here you are, you’re in the process of work on the image layer floating you have to click it on it to select the other call which is locked main text it contains the main text of course if I take the eye out of the main text disappears from the display then on the floating images layer we will create them an image block so you can take the diagonal. here and you will make an image block of the width of a column in any case not no more than the width of a column we’re going to do even less I’m going to even here do a little less Whatever it sticks, it sticks, so there’s the magnetism so made tip top the same width shouldn’t be that wide. is actually overflowing anyway, so that’s it. by convention in the world of the printer a rectangle with diagonal it told us it’s fine. contain an image is useful especially when you have graphic charters and starting models in magazines We can see it directly from the several centuries back one printer in the Middle Ages with the had it their little computers no I’m laughing he drew on sheets of paper their layout projects with rectangles to diagonal Okay, well, this block could have gone through. from one column to another regardless of the Anyway, this block will contain an image and I wouldn’t want the image to get superimpose on the texts we will no longer see the text so what we’re going to do is that we’re going to activate the dressing so in the window menu you will search for text packaging so in the windsor menu you searched in the english version of indesign text rap so the text wrapping palette has arrived and while you have your block has selected it with the black arrow you must engage this It’s quite telling, of course, we see. that rather than the text taking place under the images it will be around the images that’s what we’re doing and so so you have the image block that has no more texts below him so if I move it, like, go up there. Here’s the sentence there ends below. of the image block every time it gets updated. It’s logical. It’s a little slow. It’s a little slow. my computer is a little bit like my computer too. Mule is not a race animal so sometimes sometimes the text is close to the image it depends on where I place it the image sometimes it’s the text of the above which is close to the image sometimes it’s the text underneath, well, then you will be able to move the text a little further away from the top and bottom of the image in indicating for example here in vain indicates and possibly 3 and 3 for the top and bottom here’s the key tabulation is normally the text should be a yes to the point. That’s fine because I have a wide enough gutter I overflowed three to the left and the right also so it won’t require any problem but at times that could be a problem if I do a which is wider than the gutter the space between the columns so what I forgot to do I’m going to to do it here is to break it. chain here I will make a dressing different in left and right I will leave 0 but it’s above and underneath I’m going to put 3 eventually I can even increase again Let’s see if I put 6 and 6 here we go. there will certainly be systematically from the text that will be not too close to the image in the column up and down See this is the small margin value agrees to put this area there this line that appeared quite the value of margin agrees to put on the block it’s a dressing walk, so this block will contain an image and I would like to still automate the layout, i.e. that I’m going to make the image resize in the block and to always with this block of images selected I will go to the menu adjustment objects so it must be object adjust adjustment something like this and since the block has not still of image all this is inaccessible on the other hand I can go down to the block adjustment option plan this what’s going to happen when an image will arrive in the dock so it’s extreme options’ something like that and then here at a you’re just going to ask for clean fremm yarn antonelli fill the block proportionally that means that the image will fill the block while keeping its proportions so she’s eventually going to be overwhelmed by the top and bottom or by the left the right and it will be necessary to make small manual adjustments but there will already be a job that’s going to be done by a design normally this is indeed the case in the English version of indesign sepa object adjustment of its objectives eating and you have the texts fitting freemotion this thing like this braine fitting shot Well, anyway, here it is, it’s set to that the images fill the block is filled resize to be the largest possible in the block Here we go, we’ll save the document. it’s always safer even if the design saves all five minutes well then this block I’m going to possibly the rooster make a copy of it on the side because I often go so I’m even going to put it on in the template so that it can be will be found on all pages on the side so you’re going to select it make a copy so edit copy copy control it is of course you go in the template double click on the double-page template that is there for you should see the two pages of the template check I’m always suspicious because make sure that it is indicated at the bottom at left that you are in the process of work in the template at and master in the English version you are well in the template because there are some who click when I say double-click and then it’s a disaster there and then We’re gonna stick it in the middle. of the window that is open so a anywhere it doesn’t seem right, but it doesn’t matter because in a way my purpose was to put on the side there There he is on the side, that means that on all the pages now when I go to any of the pages of the document I double click on l g on the side a block that is accessible and not accessible why I like it when it doesn’t work in General, it’s always nice, yes, it is. you have to unlock it, they should also appear and I don’t see it Well, yes, he won’t appear. if it’s not unlocked, I’ll be there. not unlock it if I don’t see it. so maybe I’ll go back to the template he still gave her to a little bit their little color of melts there and we still don’t see it That’s great. That’s great. Yeah, yeah, yeah, yeah, yeah, good point, I’ll see you. remember the thing now, indeed. they have to touch a very small one little the page even touch it as if it were a That and we’ll certainly see it. Yes. it’s a vicious little thing. here it is there available indeed well done saved me the trouble of having to search for five minutes for what was not fine because I remembered more than it worked like that jealous commit myself to the modification of the color of the assembly table etc. that is dead is misdirected good bbc well in the more you participate in the course and you find the best solutions actually everything It was done on purpose. I knew the answers more fears but no I laughing, I’m making you walk. obviously okay so we’ll go get a picture we’re going to go to their house on the web so I’m going to bing because obviously the button display the image in high definition has disappeared from google it needs to install extensions for the making it reappear is boring while that in bing he’s still there and that works in much the same way as I do never thought I was going to do the advertising of microsoft products to some moments but everything happens so here I’m going to type in the name of a thing for example, with a good sauce. It’s still good that stuff there and I’m going type between quotation marks public domain but you didn’t have to do it. but I’m showing you that if I want to find images that I have the right to use I have a I have more of chance to do that, of course, you have also the creative ones like the filters creative commons that are available in the filters of when we’re in the images part you can type other thing if you want me to, I typed that up. because here’s the game I like the good one. the right food you laugh but it’s eaten in some of them. country then here is the image then at the level of of the filtering but the filtering appears already at my place if it doesn’t look like it. at home you obviously have to click on the word filters here the small funnel I usually put it the other way around. on the head but here is the size of image I’m going to ask for large, good pictures. so he puts the size directly on me. Here’s the thing to be careful though. so you have to be careful with that if you will put the image in small on the page of course an image of 615 pixels on 409 like this one could go through but if you plan to implement it bigger still, it’s important to the m to take images with a better definition we call it the definition so the question we sometimes ask but do you have to take images in 300 pixels by all but of course it is mandatory if you find images in 72 pixels per thumb on the web you will never be the printed matter is bullshit That’s not true. Who cares about the resolution? you have 72 pixel images per inch it’s going to be fine, no, it’s me. laughs a little bit because I know that in secondary education It’s still been over 15 years since That’s not true, but we keep saying take images at 300 pixels per inch adapt the photoshop doors before adapting them to be used in indesign foutais de la foolishness it’s been fifteen years since adobe said that we can take rvb images already even if you want to print and in addition the resolution is not important why you’re going to see a little more away so we’re going to click on an image here and you have the little something extra here that normally should allow you to work at you it can appear directly is because I have a resolution screen and 6 for the demonstration which is quite low I’m in a thousand 400 pixels on 900 1440 on 900 it is likely that you have a definition better screen on your screen there and you see directly the button display the image so display the image so it’s the high definition image That’s what mocks in google. now it’s this button that allows to display images in high definition when I click with the magnifying glass I see it’s not too bad, of course. It’s still animal photography. and it’s blurry because the bug move, but it’s still great like photo then right click save the dark image or save it in the folder you save it in the assembly file today the question I’m being asked is it necessary make a folder images blah blah blah blah blah banon wanted to record it will be good for At the end when we’re done, you’ll make a assembly file of your document a design that will do everything gives everything only all files as required now of course if you have any hundreds of images to put in a undesignated document It can be useful to have a little bit of hierarchy and to settle things in folders and sub-folders but good Okay, so we’ll go check out indesign. and we’re going to go to our page that contains the block that we’re going to try to import the image into it so the image is here to come the block and the age I do an imported file therefore with command of the controls of the I’ll look there the image no need to check the options import it’s not like it’s like it’s a multipage pdf I have to choose where I want to go must choose which page I want bring no it’s just a stupid image tam logically it would be better to import a photoshop image but we can still change that later on. why not to make the non-destructive image modification that are imported into the layout so here it looks like it has functioned the image has been resized when I click with the black arrow on the central reticle I see light blue lines that are the limits of the image I also see at the above that the image has been resized in my case but I didn’t have you says he’s making a block of a certain dimension I did not impose the dimension so each one has a result different in my case it is at 22 106 is different in your country, it’s not from there you can press the button and with the shift key press the shift key you can repositioning the image is therefore the small manual adjustments that I can make for you talking, we let go of the mouse button then the shift key I will save the document so let’s take a look at the question I’m asking. asks you Is it a female squirrel or a bad one? No, I’m not laughing at anything to see. Who cares? it’s the end that measures so here’s what we’re gonna do. select the image with the black arrow so I’m going to have to have the O.R. anyway. Here’s the blog that works. I’ll do it. selected I click next to it I come back click on it Yes, it is the block that is selected yes because earlier you clicked on the crosshairs I was others in the process of modifying the content of the block the image itself but if there I want to click on the block I have to click next to it then click on the block finally you know the principle is you are not new to indesign let’s have a look in the window menu information I have never used this image so I’m in the process of uncover so it just so happens that here you have the information palette yes also you have the same thing in the palette of links could help him not the unties one menu window link molly window link window is it’s even better it’s even better if when your image there is highlighted in the link palette you deploy the information here well here you are going to to have information to which surprise then what do we have and b first we learn that this bug is sitting on a branch I’m glad to hear it’s from jpeg format it is on page 38 c of the rvbc not serious even if you want to print at the moment where we will generate the pdf we will export it in cmjn than it cmjn but already there are a lot of people who tell you what they’re telling you tell you you must now of image in cmjn in indesign if it’s for printing and well these People here it’s falling they don’t even know that dcng there are dozens of them so they tell you to tell you to do it. to stage jean but he’s got you doesn’t even specify which one is so we have does a layout here and when we go export the pdf cmjn we will choose the cmjn depending on the type of paper and printing mechanics is what that it will be gravure offset from the something else as a technique Here’s the printer telling you that. He’s telling you that. advises you it’s called a press profile or a standard export pdf for the pressure so rvb is not a problem at all, it’s not a mistake these days in the 1990s was a mistake, but we’re still in the 2020s so we have to Whatever the state is, it means it’s okay. the image he finds it that’s the size of the image on the hard disk and the tiny that’s the profile of the document of the image it’s a little complicated the profiles it is for experts and what is what we see here holds this image and in 72 pixels per inch so some people will tell you we’ll tell you cannot use this image to print if you need 300 pixels per inch except that since it is reduced to 22% the pixels settle on each other the other risks increase and we are at I’m here at 326 you have some something different then for printing at a offset printer we say that 300 is what it takes but for impressions At the top of the range, we can say that That’s 400,450 you’re in class. Get a little closer to that, it’s okay, so if I’m at 250 instead of 300. It’s okay. for inkjet printing 150 pixels per inch is enough so That’s what you understood. principle why the resolution doesn’t matter because we’re saying again mentioned images in indesign and its densifies pixels if yes on aux dimensions nephew down saleh densifies so that’s what matters, that’s what it is. will be in the pdf besides in pdf on will even ask at the time of export to bring it down to 300 like that is nickel it’s going to require less calculation to the printer’s machines I’m talking about machines les replays raftery match processor the machines that are used to make the tram age have you some questions great good you still have your image There on the side you see it, we’re going to go there. unlock uppercase control and you can click on her and I might go make a copy while I’m at it, I’ll make a copy. will do to control its controls v here I will work on this version there well I put on the right there you saw okay. so I’m going to quickly go get another image let’s be crazy then what would go well with this small delicious dish breads other squirrel certainly record this bug in the same case here you go and you can import it from teeth in the block that is currently selected I will bring this see the extraordinary superb extraordinary at some point you’ll see when we makes titles or decorations of the decorative colour paving stones in a setting in page it can be interesting to go with the pipe is taken from the colors that are found in the images that are on the page is like that it happens one magical thing is that the layout has look good right away because you have made titles or blocks that have a color that is one of those incredible images but this is a different story at least that’s what we’re going to do here. is that we’re going to glue it up and do differently because the problem of the image I put there is that if the text- moves to the page previous that goes to the next page the image it will always remain on that page there yes it would not have passed on the previous page because I am on the first one we agree, but the text could move from the page if I attach a paragraph to the logical beginning let’s imagine that the text talks about squirrels and I’m starting to put them together a text that has nothing to do with the image of in the wrong place it does not follow the text you understand the problem so what I showed here is a way of feathers that you have experimented during the first part of the court the fundamental part of the implementation page but we’re going to do some flow now. continuous with text and images so here’s the tool to take. text and insert the text cursor is a place where you want to put the image so I’m going to put rather towards the beginning of a column and I’m gonna cut right off a paragraph in two, so Oh, yeah, I don’t have access to that because the pallet we talked about copying the layer of main text is locked I will unlock it, of course. so I was just saying that I was will click at the beginning of the sentence by example here is the cursor that is at the beginning of a sentence and touching back trolley so the big key entered on the keyboard once twice, so I find myself with an empty paragraph incredible I saved the document you can never be too careful I don’t want it to crash, you’ve got your image that it has always been accessible because the call of the image of a layer at all is not locked you can select the image you want will do an x-check to cut it off and then you’re going to put the cursor text on your empty paragraph and you are going to do a check-up, so there he is. sometimes happens sometimes it happens sometimes that the image overflows on the text above and in this case you have to go to the steel pallet 2 paragraph and it is necessary to apply the paragraph style to the image standard, by the way, made it not known worse in the style palette paragraph however you have the cursor that blinks there on the right of the image you apply to this paragraph which contains a desired image to apply the beacon she’s there she’s there all the time. the sail wanted to apply the standard paragraph style Well, then if you’re out of the paragraph of the image by clicking in the text to come back to it is not going to be super simple you have to click at the end of one of the previous paragraph and with the key that goes to the right on the keyboard You’re going to have to go down there, I’m coming. to move the cursor to the left of the image I am in the paragraph of the image still right arrow I’m with the cursor to the right of the image anyway I am in the paragraph that contains the picture you have seen the system since the image and at the same width as the column could be able to put the cursor it’s not always easy so you have to click on the last one paragraph there I could have crilly clicked on the following paragraph of course and go up with the left arrow logical means the same thing so here I am going to create a new one. paragraph style that I will call that I’m going to call image in the unverified flow well verified that here it is not indicated according to a of styles it must be indicated according to no nun style otherwise you do some style parenting and you don’t have understand what happens to you if you don’t not master it here are images in the flow is the name I give to this paragraph that contains an image that means that later on if I want to school and other images but it’s going to be pretty easy, I’m gonna have to go. for example on another page here is on our page I’ll have to go make an empty paragraph I’m going to have to apply the paragraph style called images whose flow and then I will stick an image block on there with a image in it is the fact of having a stylus paragraph for it will go to me allow to manage the front manspace and after the images for all the images of the document that would be in the flow obviously it is the principle of the style is to change a lot of things at the same time then to check that it works and is well in the flow you can go back to the first one page you can select a whole page paragraph and yes when you triple click normally his selection at some point it must be select any paragraph but it doesn’t look good. walk here so I select everything with the fan tag by gaffe when you select things don’t forget not the paragraph end tags otherwise it’s going to drag on. so if I delete this paragraph there the image will inevitably rise again sees the logical is the principle I cancel the deletion at their decent or so if they take the envy of resize 7 floating images the image of the squirrel is the sphere wider all over the world on the double column here and of course well seen what happened and my second squirrel moved to the right column because the image on the left I did its bigger block I’m doing more little ones, here I go again, bigger ones, here I go Well, of course it’s the block that’s expands after you have to ask adjustment objects fill the block proportionally n’objecte fitting proportional frame thread is like that the image of the first scourer elsewhere filled his block and that’s not it. prohibits having floating images it can bring more than diversity. to the documents but I would advise you to do it after when you put all your images in the stream and everything your text you can go and place some floating images have no starting from the first pages and going to to the last ones, so here we are. technically it registers your document

ID PART 11 Maitriser INDESIGN en 48h chrono Mise en page ADOBE niveau pro à la portée de tous (0h45)

ID PART 11 Maitriser INDESIGN en 48h chrono Mise en page ADOBE niveau pro à la portée de tous (0h45)


so you open up documents in design that you have found in the zip you downloaded so it’s an indesign document for the version 2018 so you have version 2018 that should open without any problem I double click on the hand whose palette of tools to pass but as in all adobe software pass the document makes the largest screen possible on the screen is the double click on the hand on the tool ma in the tool palette so you may notice that there are some weird things about me you’re going to say yes you’re a teacher and you’re necessarily weird, but no. something else in the movement in the pallet character for example or in the palette paragraph menu text character text text paragraph there are things in my menus here here is where it is also in the paragraph palace so what is it for those who know it’s Japanese it’s in relationship with Japanese characters so here’s the principle is because in this document there are characters Japanese we’re not going to work on them. now, but you may have noticed that in different places there are to text that appears here in pink it’s because they’re glyphs Japanese and you have to do a little bit of work to make them appear correctly it comes from wikipedia well Sure, here it is in different places. there are different Japanese glyphs is so one of the first steps and to make the design in Japanese you aren’t going to be able to do it because your design is limited, this is the case of to say it is blocked and unfortunately but it’s not a big deal. I’ll show you. still how it gets on your design aa you at home it will be possible do in the application manager in the application manager in the preferences in the preferences you have the part where you can indicate in which language do you want the applications are generally installed we just choose French and English so that depending on the job we do, we can puts applications in French or in English but of course you have the part in Japanese here and you can even install all languages Asian if you want and as soon as you choose that when you come back in the manager’s ap part you will be informed that the applications are installed then as they already are, but it’s just the new Japanese version that you have chosen which is a test to install It’s going fast. It’s not an installation. total of the application can not be learned dozens of minutes is just the lan the language that is being downloaded here is you also have the possibility of course to go manage this and post the other versions because it’s not necessarily for the latest version you want to install things is It could be for versions of previous I don’t know if you knew but by Anyway, here it is in the manager. of adobe application it is always possible to install old ones software versions and that can be cohabit with the newer version and vice versa new cohabit with old ones Of course, it makes more sense to say that. so why would we want do this for example because we have bought a very expensive extension that works for a 2010 version is by example of a design and I have the version 2018 I have the 2019 version but I don’t have desire to buy back the extension that costs 500 euros each time you do this the update which more than 150 euros so I keep launching a 2010 version is to size for my special ex-future ex-future here is That’s why sometimes we would have desire to go and have old ones software versions so it’s character in Japanese. It’s not a big deal right now. doesn’t take care of it, but what we do is going to do it’s a table of contents automatic so what do we have in this document we have headlines in some places we have subtitles in other places you see them from the subtitles we’re going to same power we’re even going to be able to add of course we won’t see much for now but at least we’re going to be able still started the table of contents with the two major titles that exist in this document and the two subtitles it’s only going to allow us to see the table of contents principle automated in a design so we’re going to go to a palace of pages menu window page wind up hedges page in the English version you have there so in the pages palette we’ll add two pages at the beginning so two pages you can go to the tapas menu both pages inserted pages we will add pages so two pages attention don’t go too fast do not click too fast from pages at the beginning of the document and they will use no template they will not use the old template not wanting to use it to have the double columns of text in these two pages so here are two pages at the beginning of the document without template hockey here they are, probably because that I have the Japanese version installed so now the vertical lines I’m going to make them disappear. by going to the grey display menu and markers and hide the line grid from base you can do that too, small. display menu display grey display and marker grids end or drew love that’s it in English gates ok and then you can disengaged the display of the baseline baseline grid druid baseline grid hyde madrid and here we are, then we’re going to record documents therefore in the file of today you can register documents in design by changing the name so here’s the principle is that we’re going create on the page 39 for example we will go to the page 39 we’re going to create a text block on the margin area has it so you take it the texter tool you will create a block text it will just be temporary to the masters we’ll put it on the side when it will no longer be used here is a text block that sticks to the margins as you see when you take the black arrow we see that green margin normally if It’s not the case you move it so you may have a little something like me. area below and above it is text packaging is because this block has just received an object style the object style that I think is normally intended for images that are in the text flow m we’re going to go see now in the style window menu style of objects the windows ties objects at your place it will be in the middle of the menu That’s it, then. Well, they’re actually navigate that it is the block of this text standard but modified we may be able to to tell him without it, so it looks like it’s still manages to get it removed text wrapping so it was through the window palette at Visp text menu window text window text rap there is had something here that was engaged now since I put the bloody style for this block there is no has much more to ask us problem then we’ll put the cursor text in the block and we will set up the appearance of the table of contents First of all, we may do the title of the table of contents so if you want to type some materials you type contender or contained or in in this edition or something like that. Whatever we do, we’re going to type. the three little points that will follow It’s of course halt points it’s a full-fledged nature all three small dots Halt, it makes all three of you suspension points Here I am saving I am moving on the screen with the alt key since I’m with the text cursor and to have the hand it’s the alt key I select all this and I’ll select it format to give it an appearance and if you don’t get the nickel look of the First time it doesn’t matter because we will make it a style that will allow you to to modify later without any problem so here you will choose a font of character then let’s see what we have here well no matter what in fact face issa of importance if because in my case I have an accented letter and not all policies are provided for to write French with accents on the letters so there are some of them police who have only been in existence until until only for English so that’s it. will cause problems no matter what I first chose this police age grew up here and then there’s something important. so that the title there is a nice look. is to switch to optics instead of of metrics here and it changes a little spacing between letters so that the words on the chip side block it goes then this title there we will do a style while we’re at it. so we go to paragraph styles here you must have the cursor that does not anywhere in the title so in design is that we’re working on something. this paragraph you have the hashtag at the place of the swan at the end of the paragraph but as soon as there are lines that go follow you will see that instead of the hashtag will really be a sign of end of paragraph therefore consider that yes for indesign the hashtag the sign hash here indicates that there is a line whose English version size menu aps paragraph times we have the cursor blinking here we’re going in the palette menu here we go request new stylus paragraph and you can will indicate tdm table of contents is the title name of the tdm is all here the styles that will be used for the table of the subjects since I’m telling you reminds us that we are in the process of designing the appearance of the table of contents all the styles that will be used for the table play materials to recognize them easily I’ll start systematically by tdm pull space spaces like that you do after when You want to go home it’s just a suggestion that I do like this Now there’s maybe that’s it. We can. also indicated tea ctv love comes santa do what they want and write in English anything is possible according to no style has applied well the style at the selection yes why not so that as soon as the style is created by the paragraph it will be applied to This paragraph you click on ok and here we have the tdm style so in the pallet steel paragraph 2 paragraph in the steel 2 paragraph pallet it is possible to make files when you have a lot of styles two paragraphs in a document they can to be put together by file but now we’re going to getting out of it I think it’s a little document it will go to save the document always from time to time it’s always better under a different name so you keep the progress I puts the text cursor at the end of the paragraph I press the carriage return key so end of paragraph finally paragraph paragraph next here I go to the paragraph following and now I’m going to type a sentence in the style first-level titles, something like that. like this, while you’re at it, you’re at it. can copy and paste this and make a next paragraph here we glue and obviously it’s going to be the titles of second level, i. e. the headlines and subheadings in this case and the next job will be fine. sure to format that to give it to them the aspect we want them to have in the table of contents again if we does not come across the ideal aspect of the first It doesn’t matter because we’re going to create two-paragraph styles that go from to allow us to change all that by the following so here I will select the first first type of first type to enter here in one of the subjects we’re talking about entering the table and thus build the principle screen design will search for them sentences of all the small lines underneath title of the document even if we have tens of hundreds and he’s going to make you himself the table of contents of course those who know world it’s the same principle, so you all have selected including the end tag of paragraph and you will give a aspect to that so at the top level character level used Let’s see if the haddock garamond is installed at your place ok teenagers Garamond pro regular tells you something thing It’s not there you have regular you you love garamond pro regular la regular variant but it’s not bad so on font size level on can possibly set it to 24 to the moment is 24 She’s in optics. She’s god. I’m going to play on space afterwards because that obviously there’s a problem so text menu paragraph as a text menu paragraph as a with the cursor that’s not anywhere else in the line so I’m in the process of work on this paragraph I will go and see here and the space after paragraph is a little big here I am will set them to zero for now at 0 is fine so we don’t play with it styles since it has not yet done so in style for that we’re really in paragraph and character palettes that can be considered as pallets to design a style but once that the style is created we modify the things by style more by the pallets there unless you use the function redefine the style but good so I select the paragraph following here I will also give it to him a style there, I mean a character. adobe garamond borba try to bolt why not adobe garamond bold bold I’m going to m in 18 of character size in the paragraph palette I will go to reduce the space in front of the yachts, which is a space before that was settling I’m going to reset so I may have to go rules and space after the style of type of first level medium level let’s go do this right now so for the second level the space before and 2 0 space after we’re going to zeroing is also good for the first level title I like it in Now I’m coming back will be hostile there. that I’m in the process of developing of the first level title I’m going to go put some space Here’s 2 mm. It could be that at delete the following paragraph All right, I’ll show you again for here, kid. the style of second-level guys I I’m out loving garamond pro bold pro It’s a choice, but maybe I’ll change that after 18 points for style previous of the first level types I I’m made of adobe garamond pro regular 24 points so it’s not g and the most in terms of space for the ty style first level I have a front space of 10 and a space to nearly 2 for the style of the titles of second level I have a space before 2 0 is a species near zero, that’s it. so I’m going to shift the titles the entries in the table of contents that concerns second-level securities I’m going to move them to the right of which you have here a function that allows you to put a margin on the left so just click anywhere in the paragraph is to increase the margin here’s for example tweet why not well so there’s going to be numbers obviously in the head of the materials the page numbers we will make sure that that it is the same that they have the same aspect whatever the entry into the table and material so the entries of the table of contents which concerns both first levels and is the one that concerns the second level types will have the same number appearance I don’t have desire to have different numbers so we’re going to work it out, so we’re going to do it. will you’re going to put a space after here you will type a number for example here’s seventeen why not prefer 27 years as a kurt cobain go let’s go 27 Are you kidding? It doesn’t matter. and you’re going to give an aspect to this number one aspect therefore but in particular to the color it fades from the color it can to have a different color we’re going to go in the color window color chart menu window color menu is chair and yes, I’m practicing talking. Dutch so don’t be surprised it’s very useful so what am I going to say yes to character color level yes I do will go put a color edge I It’s red here, that’s how it will be. to be modified later on of course where I can put a special color on it that way. would be even better to create a color special for the udder the characters must be tabler matière donc allezz-y dans le menu beyond the new color chart you will find new colors can subway a baby while you’re at it. since the document can be used to be displayed on a screen so let’s not hesitate not and at level 2 of the name then I give was to uncheck those named according to the chromatic value and I will have it indicated that it is the number of the tdm here it’s a color that will be used for the tdm numbers ok here you go Well, we have pretty much everything he we have pretty much everything we need to make the table of contents automatically we have the title of the table of contents we have the style of the first receipts is not yet a little paragraph we’re gonna have to do it. we have the style of the second floor entrances so the titles above the subtitles below or to the look of the Number’s not bad. It’s a good start. you do not forget to register a from time to time the document so we’re going to create the styles that will serve us well to generate the table in a way that materials automatically so the character palette and the palette paragraph no longer serve me the pollution if not more what interests me it is the palette of styles of paragraph I will put the cursor here text in the paragraph of the titles of first level anywhere and I’ll create the style new paragraph style do not go too fast do not click too fast on Okay, so I’ll call it tdm title. first level attention here it will be necessary to indicate according to no forum nun I think in the English version because otherwise we creates parents style task and it is so much the better What it says is that it’s not style paragraph our style programs so be careful with the styles of parenting if you do not disable is not That you won’t understand what you’re happens when you are going to modify a style it will change another one because race it goes in a children’s style ok so I now click in the title following Here I am working on we go there again if the paragraph tdm use as a second level be careful here too, we disable the parenting okay so it was a little fast for you but the principle is the same the first thing the click is in the first level title and do the title style first level title it was the principle here it’s the same we click in the second second level title we go to the palette menu here new if the paragraph is called that tdm title second level title we remove this if we go to the style paragraph and click Sure, it’s okay, so it’s about generate paragraph styles on a generated 3 styles two paragraphs with 7 this word cups this model of the table of the materials actually it’s not the real one. table of contents of in design we are in the process of developing the look and feel of the table of contents Well, the titles are in a mess here. but it doesn’t matter, we’ll put them back. in order after if you want to see I have first level title which below of securities those of second level in the the palette if paragraphs leave Don’t worry, it’s better not to start try to move them from place to place by having the text cursor that is somewhere in the text obviously you have a number you may have given a special aspect or not at all in in any case you will select one or more two characters of this number and make it a style of character then and there is a lot of beginners in design who don’t don’t really understand the difference between a style of character and a style paragraph comes from another source have fun making character silos when I tell them to make pens paragraph in ten years it’s the same thing but not a style of character is when you want that in a paragraph there is certainly a character there which is displayed differently in italics in bold in one font or in color well, that’s the principle of the character studio is a style in the style is a word in the paragraph or a letter or or a few words that are displayed differently in the paragraph it overrides the settings of the paragraph in a way so right now you have to go into the palette character styles after having selected one of your characters there it don’t just click don’t just click don’t just click click in paragraph with the cursor blinking and you really need to select the character you are going to use in the menu of the styles palette of new character style of character and we’re going to call him number in the tdm you’re going to say but we’ve already done something like this. but yes, it was the name of the color. used there and elsewhere we find it here in the color of character see the character color in fact there are a color called for the tdm numbers may therefore you understand in this style of character it there’s a color called for the workshop numbers but everything is normal all is well no stress you click on ok and you have created a character style it is there so when you have character styles in a document things can happen weird like this I’m showing you a because often we scream scandalously indesign bugs and so here’s a kind of indesign bug I click anywhere I get checked to on the computer how you got on the pimp I apply the character style number in the tdm and I click next to everything and so here I am often called and called said but indesign bug it’s weird I have a paragraph style here I have a style of paragraph I click in there and in my paragraph style when I double click on body of the text body and I’ll see the color of the characters is black and yet my text appears in pink why indesign bugs but bugs as you know, are often located between the chair backrest and the screen and the problem is simply that we have involved the character style especially the paragraph so right now I’m doing how you got on the pimp. control on the PC I will remove the character style so big trap of a design for beginners who think that Something’s not right. He can’t see. where the color comes from or whatever it is or which is applied to their style of paragraph except that it comes from the style of character that has been applied to all it’s normally not applied a character style especially at 6.2 character that applies to some words so for example like these see her okay except he hasn’t been planned for that, but it’s been planned for numbers in the table of materials your favorites the principle like I’m cancelling it, that’s okay, so you guys save your document is ever more cautious and we will put aside our block that has us used to develop the look of the the table of contents on the first page here the block there you can take it and put it on its side and that’s it. I put them on the side there it goes more help me in principle I click next to it of him nothing is selected we’re going to select them generate the table of contents menu page table of contents in passing you see that it is indicated here at the bottom of the style of table of contents you are not going to use this but we can have several tables of contents in one place document a table of contents for the photograph for photo credits credits photographer a table of the materials for the ester content will ester in the english version of the design anthem is so the menu is out and you have table when you try something like this then you have the title of the table of materials you put what you want not necessarily what you typed earlier it was just to put to the point of the styles earlier wanted to apply the tdm title style of the tdm so here we’re going to have to decide in this list what will appear in the table of contents but first it’s the headlines you have a headline style that is called grand title is the headlines that are currently pink in the very flashy document screwed up I think they’re pink big title you’re going to add this to the list added then we’ll also add the other one second level title style caution it is not tdm title of second level It’s really ugly the paragraphs in the document that use the title style second-level hence the interest of well named styles that are intended for the materials because otherwise you will be going to confusing so it’s not helping you It’s really title second level here. added so you have more here options deploy options by clicking on the dashboard button in the English version so what do we have here when you click on the word big As we can see, it is the first one material size level and title second level is the second level great level so everything is already fine correct see we define what is the hierarchy in the table of contents you must have the titles the most headlines and then you have the money titles then for the headlines here If you keep this, it’s going to be there. disaster style of hot entries especially not that in the table of contents headlines appear as a headline that is going to screw it up. they must appear using the tdm style small first level then here as a second level title the the automatic table of contents will search the contents of the titles of the second level in the document and it must be apply in the table of contents absolutely the second title style level If you even keep up the style, it’s gonna go wrong. it is absolutely necessary to apply the tdm style second level title you click on ok you have the cursor who is in charge of texts you will click on the top left of the right finally on the margin there you click the table of contents arises and here we are, of course, we don’t have still many titles in the document but it then works at the level of from the style of the block I go in the styles of objects I take this from you. graphic presentation of text blocks standard with the alt key He doesn’t want to. It’s nice. Ah, if it works, I’ll go back to 100. It’s fine. I got rid of ty walking of dressing that was useless here Does everyone see the thing the title of the table of contents different entries then the numbers on didn’t take care of it, you see what is happening right now when the number indicates that on which page this is located title there it takes this aspect there the same one thing that the title and when the numbers here indicate on which page is on it has been registered differently airlock has suffered the style paragraph of the entry so here’s what we’re gonna do. You’re gonna in the menu the high value content so menu page page tables of contents and we will handle for each of these two entries we will take care of the number you Go see it’s going to be pretty fast. I start with a headline number of page after the entrance but yes it is on the right from the entry it’s a good style of numbers of pages is where you will indicate the style of character you have provided number in the tdm if you want could do the same. something as a second level title it’s after the entrance so turn right since we have text that goes from left to right right in this case is number in the tdm know there are plenty of places in the world where the text goes to the other meaning but in this case when one says after the entrance means he’s is to the right of the entrance while we’re at it, we’re gonna do something thing here for each of his each of his inputs we’re going to replace the tabulation you select the tab sign here we’re going to replace it with a right withdrawal tabulation it wants to say that the number will be chased away on as far right as possible in the block genre starts for this entry 6 titles second level I select the tabulation tag I replaces it with a tabulation of right-hand withdrawal Here’s to the point, you see that in a table of contents there is possibility of sort the entries in a way that alphabetical so not their order of appearance in the document but the Alphabetical round it can be used but we don’t put that thing down here. because we want a table of the subjects chronological not alphabetical you click on ok the table of the materials were updated hockey etc. Here we have the numbers that are being chased away. on the right thanks to the tags here of right withdrawal tabulation then technically it is possible to put what are called points d link guide eat guide forget that the term exact now not small dots that connects the last last words of the entry with the number to guide the Look, it’s possible to do it. We’ll do it. not do it now. now you’ve noticed that there are A problem. All my numbers are fine. pink they undergo the style of character who is that’s why they all become pink on the other hand they are different they have A different aspect there are some of them who are tall and babol diyala who are small and bold and well click to side of everything and you go into the menu character style palette size pcaa character style text menu character character style you have clicked on Next to everything nothing is activated we’re going to remote control and things you’re going to double click on number in the tdm and in this style that we called numbers of from the mountains specified that the color of the characters should and pink we’re gonna have to go further, we’re gonna must also specify that the basic character will have a certain amount of font of character a certain greece is certain size and well, I’m going to go. adobe garamond pro greece regular by example size 18 you normally have the little box preview that you will be able to check and you’ll see that they all go through it by garamond pro regular 18 see so it doesn’t happen in the table of contents that’s why I will make a table of contents is not so easy that I’m laughing a little bit in saying that you have difficulties to get there, but it’s not so much it’s obvious that it made a table of automatic materials in indesign so I remind you that laon for solve the problem of numbers that are that was different we went modify the character style that is used by the numbers in the table of the materials we went to put specified the police greece the size but I could have put anything on. others as police like Greece that There’s no grease other than that. as size as character color so I could make a difference. Here it works it’s ugly but it’s ugly walking 10 if you want to review the fonts of course you put the cursor in the font here with the up keys and down on the keyboard wanted to switch to review or look behind what it is gives with our preview box which is checked you will be able to watch directly up and down arrow I pass review of sailing policies so if you’re able to do that again. That’s great. That’s great. is that you should test it too? in the document created full of paragraphs and perhaps apply them to them a small paragraph with few words for them apply the style the style the style of second level title paragraphs and regenerate the table of contents once You did that. Select the block. of the table of contents is requested menu page update table of materials you will see that all your subtitles may appear that in visa it will even create new ones pages because the table of contents will be taller than to hold on to a single page in this kit happened is that you have click with the black arrow you have selected the block of the head of the materials and in the style palette of character you applied the style of character especially but that’s what it is. I was talking about earlier, we’re not doesn’t understand where the problem comes from, so here it is probably enough to redo the menu page update the table of contents and that’s the problem solved, so it’s the mistake I explained everything to the time and it happens, it’s true that it often happens when we select block and click on the style of character we do not necessarily have selected all the text and click on AIDS character is when you is working on a block here is an update to the table of contents Okay. Okay. so from then on I told you at start the style you give to the table of contents entries does not have significant why, but because even without having to select the table of contents I click next to it all nothing is selected I will be able to go to the steel pallet 2 double paragraph click on first level titles with the preview box ticks to modify them and the appearance of falla la characters police the aesthetic dimension ok I double click on titles tdm title of the second level so I’m in the process of to remotely control the appearance of the table materials by styles here I am in the process of modifying tdm title second level so standards normally if he wants to modify something is this which must be change these things the second level here I will do it to pass in regular for example and in Here’s to sixteen why not I had back to tdm title first level title and to modify them well, well, that’s the kind of thing, but very well in bolt why not that so I’m totally reversing what I had planned. at the beginning the first level titles are taking off from when they were in regular time the second level types are regular while they were in flight from finally you see that you can once you have the table of contents is generated at the modify styles and therefore modify the appearance of your table of contents same for the numbers of course but this time it’s going to be the style of character and we’ve already done it all at time to change them, that’s the style of character number in the tdm we look at what it looks like with the preview box check mark we look at what it looks like in real time behind here Okay, that’s not bad, I think you guys are ready to do things already not too visually bad when you have a lot more entries it’ll look good and don’t be surprised not that a design generates pages for you alone to contain the rest of the table of contents is because in preferences we have in the preferences we have something that’s activated. here in the preferences smart rifle text size or something as it was triggered.

ID PART 19 Maitriser INDESIGN en 48h chrono Mise en page ADOBE niveau pro à la portée de tous (0h47)

ID PART 19 Maitriser INDESIGN en 48h chrono Mise en page ADOBE niveau pro à la portée de tous (0h47)


so that’s not bad, we put a picture which still occupies a large part of the time from the page here here we will have some text but you really have to take advantage if you have the opportunity to print at a printer’s it is necessary to make the funds lost it is to say that here I will and tender like dirty image outside the limits of the page that’s how it is well outside the limits of the page in fact the printer will print 3 mm a year within the limits of the page and then it will cut the page on a shaping of the document so that’s what we call the fund. lost, that is to say, we make them go images beyond the edge of the page that is here in black so the image doesn’t go still to the edge you have two solutions or you grow it is by double-click and as we saw either you ask indesign for the hall at grow in the block by making menus adjustment objects fill the block proportionally subject to adjustments fill the block proportionally and here is the image enlarged the block in switching to display preview high in below is the shortcut cw by the way we don’t even need to click it’s the shortcut w you can see what that it will give the document will look like to this and this is you can see in the books and in the magazines contrary to what is passes when you make an impression on a colour photocopier or a printer you have the possibility to visit a printer to make the images go to the edge of the pages you can of course also print your posters at home on inkjet in addition to on a paper larger than the size of the displayed and then cut yourself off from the collectors Of course, it’s a trick anyway. visual to give a side professional before document I am in overview display it is not prohibited in and in display support received from going double click on the image with the black arrow to try to enlarge then you may have noticed that when you move the handle quickly you only see the result when you release the mouse button if you click on the handle you are waiting for a a little bit and you move you have a real-time view of what it looks like so that’s the little trick you need to do. leave a little time undesign of preview the image so if you click and move directly the handle is only when you release the mouse button that you see what it looks like if you click you keep a whole a little bit for a second and then you move you have it in real time even in real time thing when we move it I push more no key I move but I have clicked I waited a little while and the canoe moves it’s real time. perfect what is the resolution effective of this image in indesign is this valid for an outing on a tablet it will take 144 pixels per inch here I’m at 126 for sure. that at a printer’s she’ll be a little fuzzy but it can be improved in photoshop photoshop to a system of intelligent pixel multiplication and we is going to ask to improve this. you also have an image that by force to be enlarged as it was going to be, she’s well below 300 pixels per Inch it’s okay, you got it. Okay, we’re going to open it in photoshop and try to improve it Here, don’t forget to register. the document from time to time does not we shouldn’t lose that normally good. indesign saves all five of you minutes the and in the event of a crash it’ll get you at least your five last minutes of work I’m going to check in the preferences here Don’t do it. I’ll just check. in the management preferences of the files at the level of this is not here If this is the place, that’s the place. recovery file good it is somewhere else than indicated every how many minutes they do it recover with I find I don’t know if it is adjustable as in photoshop by the way, here’s a design anyhow from the beginning since the beginning. the first version in 99 in case of a crash, recovers the file and that’s a good thing. Okay then you have an image whose image resolution is too low to be used at this dimension on the page anyway it’s my case well we can try with photoshop and it doesn’t won’t work a miracle, but we can try. to improve the image by multiplying the pixels if you need to absolutely use this image to this dimension there on the page so here you go in the palette. of the links you have your image that it has selected on your page so you can see very well where it is the image It’s that one, okay if we click on side in the document the link is no longer put highlighted it is no longer selected but if you click on the block there we can see very well that it is this one. so you’re going to ask in the menu of the link palette you will ask not to edit the original because it is a jpeg file and photoshop is probably not set to the computer so that the jpeg files opens in louis is more like setting to blow it into the software of the computer so he’s going to I need to clarify with which software I want to open this jpeg image so edit modified with so on the menu of the link palette modify link with it has all software that is able to open jpeg images they are listed all those who are on the computer so I’m going to open it with photoshop here here you open it with photoshop photoshop should open alone and open the image so you don’t have the list when you make a modified right click with is at the very bottom is what you have the other words had then gone into the other is specified in this should give you to bring into the program file of the computer and you specify that you want to open it with photoshop in in this case you will have to navigate to the the computer or other solution you open photoshop next to a design and you open this image in photoshop and it will still work man that you will open this file there in photoshop you know the name since he has indicated the ats so if you haven’t arrived open it in photoshop of course you open photoshop you make files will open here, it is in version French here you do open flaw here eyes open and you will look where there is your file so as it was pointed out to me of course it is possible to say that the jpeg images automatically opens in photoshop is what we call the setting of the creator software is to say it’s a setting in windows it will be necessary to indicate that the jpeg and of one on the pimp also that Egypt must open up in this or that software but I’m not going to explain it here, but in any case, here’s how or where other you managed to open your jpeg image in photoshop so here we are in photoshop you Come on, people, go for the pimp on the Mac people do it, touch f on the PC you do not need to press the f key it’s just to display the full image screen but you had already been on the pc in full screen because the pc works that way, do you have you have the possibility with the bar spacing to move the image like that In my opinion, no, you’re going to have to. the f key even on windows to be able to make its bar of spacing move the submerging the window is still convenient in photoshop and I think that on windows you still have to press the f x y key to get there confirm there I will double click on the magnifying glass in the photoshop tools palette which brings the image to 100% scale then 100% scale means what does it mean nothing to do with the image size if we bonus it means that every pixel of the image is displayed serene point screen when you double click on the icon of the magnifying glass in the tool palette of photoshop it makes the scale 100%. each point of the image is displayed will be the entry screen point of course the image is made up of pixels such as you know that, so it’s the best one. way of really judging quality of the image when you run away from it on a screen in photoshop there at 100% scale if you are with the image which is 50% 66% displayed you do not have a reliable display so we’re going to multiply the pixels in this image using photoshop images menu image size of course indesign also means multiplying the pixels when exporting pdf you can to convey the image that they were in 124 pixels per inch resolution 124 la increase to 300 at the time export of pdf but photoshop on it will do better so menu images size of the image then the image size box to me came very big because that it actually resizes itself is what it is. its normal size but I can put it on like this in the top left corner learn it from his little part down there on the right and enlarge it It’s not forbidden, so here you are. resampling that is engaged you have here the way to multiply the pixels then in the last ones versions of photoshop we have kept the details 2.0 otherwise you will have to choose to keep the details is in any case a method of enlarging images which proposes a cursor that will be especially useful for removing artifacts the small pixel lumps on the united surfaces and so we won’t have any here in my opinion because it’s especially when we have grown up with images that contain industrial objects such as cars typically when we grew up when you multiply the pixels the surface is cleaned with the cursor here I’ll leave it on 0 there noise reduction then we will modify what we’re going to try to change the resolution why because we’re going to try to keep the centimetres of the image as they are indicated there in the image file that used by a design if we modified the cm here it would have to reposition the image in indesign by modifying only the resolution an image repositioning will not be necessary you understand I understand will not change the size to centimeters of an image just exchanged it just the density of the pixels then at the place of 72 here we can eventually type I will try to type 180 why not 180 this that’s going to make me an image that passes with a size of 12 5 mega in my case is the size of the file opened in photoshop not necessarily the size of the jpeg file on hard disk because now it’s compressed at least the size files opened in photoshop I goes from 12 to 78 so yes it multiplies still a lot of pixels number the resolution the image is increased if I keep the same number of centimetres and that I increase the pixel density I multiplies the pixels that’s how I densify the pixels over a distance of 2.54 cm is by multiplying them here with photoshop but necessarily there are more pixels in the picture so let’s see what I’m going to do. here zoom in with photoshop shortcuts space bar control on the pc halt space bar to zoom in rear spacing bar control on the pc or comment on the mac bar spacing command then there would be may still need to increase a little bit the noise reduction slider on will see how it goes. is it going to make us feel anything valuable thing the image already had many grains in did it because in my opinion it was already a reframing yes we can increase the reduction of the noise it will remove some grain but in this case it didn’t know extraordinary but in any case here we are has multiplied the pixels so if you want to see the front and then just position yourself on the here to press the button there smile and you see how it was before and after pixel multiplication This is what it looks like, so I click I keep pushing his forwards, I let him go. Smiling button is after so you have to still set the cursor to have something not too bad. so here’s the photoshop is still the tool for multiplying pixels the most efficient tool I click on ok I will save the image this hard disk under the same name in the same jpeg format so I do recorded files saved files here is the quality 12 12 maximum 12 12 it is All right, so you’re doing files. registered you go back to indesign there is no need to leave photoshop if you have a powerful enough computer should do the trick. do it and has already updated itself normally when faced with sections it depends on me as I had asked to open the image at the beginning of ten years ago does the update, however, if you you opened it in parallel with a design you should have a small point of exclamation here somewhere that you says that the image must be updated it will have to be clicked on the double arrow here the double arrow there to actually update the image in indesign so if you did it by opening the image in photoshop by doing files open in photoshop indesign doesn’t know that you made the setting at day finally that you have modified the image I mean, he doesn’t know if he’s must do it himself all this updated, that’s it. that you have your little point of yellow exclamation the man in a triangle you click on it it makes the update you should see that the image changes and here I went back to 3,116 earlier I was at 124 pixels everywhere I am now at 316 is so it’s one of the ways of multiply pixels when you need them to use a really large image in the layout and unfortunately she’s not she’s not enough specific we can artificially in photoshop was going to fix it, so that’s it. since your computers are a little bit weak left photoshop because otherwise it’s going to slow down a little bit at work and in indesign so here I am going to continue the work layout on this page I’m going to switch to display here normal in indesign and I’m going to put of the text of the text of the text two columns of text on the left page a column on the right page so It’s going to be pretty easy. I’m going here. Deleted. Yes, we’ll do it like that. delete these rectangles there too that expand what’s left may be going to be but text columns Here is deleted here, so that’s it. that’s it. look like the layout of these pages there are images on the side here of the text here text here here an image that overflows Here it is, so it’s not great, but it’s still better than in word for now, that’s what it takes. understand in the design the implementation of the page I know very flexible we can do what we want is that’s the difference by to have is that the positioning of text images it’s really very flexible so that’s it. we’re going to put fake text just to see what it looks like, you’re gonna take the text tool and click on the block to transform it into text blocks when you did that so with the textent tool you will fill in the block there is the cursor there that blinks who blinks wait for us to fill out you’re going to do a right click fill with the text of substitution of wifi wire for text balancers Here we haven’t worked on it yet. typography we’ll settle for the text that arrives there the basic text there typography la choose the character interlining dimension it will be for later I do the same thing for the right column there right click so of course a certain time of layout then it will be replaced by real text but in the meantime we can still started with fake text like this so please don’t try to read because it’s fake Latin and in addition it’s really disgusting what they’re doing were telling it’s not for children. so don’t read it. then the pink color on the background of the blocks they were used only for see the block but now that it’s full of texts we see that it is a block that in this place there therefore the color pink I’ll delete it I’ll delete it select for example the two blocks so that the two blocks that are there georges includes at least partially the two blocks they have the same background that appears there if he had different funds and we will have a question mark is not serious it will be the same principle we will delete the background you must have the background box in the tool palette the background box that is in the foreground you will click on the diagonal here to remove the pink color from the body this grandmother who’s here now, that’s right. you have to be precise in your graphics, it’s important in addition we like the grandmothers graphics in general She runs the office. We’re still a little in the theme wolves hyenas Cougars are a little bit the same thing I laughs so you have something that already looks like a document a little more professional well that lacks a lot of things such as the numbering of the pages full of things from the titles of the spaces between paragraphs there are a lot of things that are missing. heard it went a little diversified even from one page to another you can feel that he There’s a structure that’s the idea that’s the idea. that throughout the document we need to which is a structure behind which is common but despite everything from one page to another it we need diversity, these dirty secrets. a good layout document for the structure as an hour all the time document but at the same time from one page to the other one about diversity. Okay, so I’m continued javert passed here in display standard so all w if you want or then this icon ap it so you can see well the structure the construction of the document and then I’m going to put a title above it in a block just for the title, it’s a way to do, but first we’re gonna have to I’m going to lower the handle of the center of each of these two blocks here so when you asked for fill it in with false text it fills up as much as possible but there’s not gonna be any more at this place. for all shown you are going to have a little red cross here that will appear to indicate that there is text that fate of the block It obviously doesn’t matter. since in this way false text here so I’ll show you I’ll take the handle. I’m lowering her life now, that’s a gutter indicated by the markings so just under the gutter which is a spacing between blocks is referred to as horizontal or vertical gutter underneath the gutter I have the beginning of the block that’s here and the red cross indicating that yes necessarily there is text that only appears now to do in this case there it is necessary delete from the block text you have to do the font smaller finally there are plenty of solutions said it’s That’s what it tells you here a mistake that means that there is excess text in a block we will create a second one mistake is so gay then let’s go I take the other block, I lower it until Here’s to two mistakes to it becomes enjoyable Okay, so we have room to do another one. title here I’ll take the text tool creates a block for the text so you see that our pink starting rectangle that are useful to us in starting the layout but after that you can move the blocks according to the markings on the passing landmarks that said that the gutters between these rectangles original so you can, so that’s what we did. there repositioned the height of a blog it’s not forbidden is totally recreated a new block is what I’m doing. do here text tools and yes I could create a diagonal block and click inside with dirty little text would transform into text blocks but I can also take the tool directly texter ferrain click drag like that here I will select that the arrow black the block so you can see where it is is then attention I delete for show you that I think if you click on the margin with the text tool without moving, it might make you feel like you’re not moving. blocks yes no no it doesn’t do it here that works so be careful to make sure you don’t 7.1 click drag here because sometimes with the text tool when you click on a margin to make a block its text block factory on the entire page wasn’t the case here apparently that was not the perfect, so that’s it. text look that’s there and you’re going to click title in so text tools yes that flashes in it you type a title Anything’s fine with two n savannah where only one n has to your question it is necessary to verify there are verifiers orthographic hassle okay then we’ll be able to get this text obviously it’s a title and it doesn’t do don’t rewrite the Bible so we’ll be able to modify it for the modify there are two solutions either I selects the block and I had to modify in the character wound the dimension and so on either I select with the text tool the text like that and I even raised it thing about character I’m going to talk about it modify what’s the point of doing it like this? with the text tool selected the text is when you want to modify a part text that in a block but here in this block there is only this text there so at the instead of selecting it like that and to see it in negative and not really see what I’m doing, I’ll select the earlier the block you see the logic if I want to modify all the text that is found in an OR I better select the block with the arrow black so that the text is always seen correct it is not going negative like when I select with the text tool then you go to the text menu at orly 30 hype character here’s the pale and temperamental one you’re going to be able to modify the dimension if you want it to be the faster you change here, the faster you can change the key capitalization goes faster Let’s see go from 10 to 10 it’s always the same principle in all software adobe So, huh? time when you do text in indesign and especially titles it is necessary pay attention to the spacing between the characters then looked at my text here that degraded three large gaps I don’t know don’t know if you feel it because it’s the work of graphic designers who have done graphic design probably sees it between b and e the spacing is too much great between the pe also one can be between the places also so there is a character spacing problem there are possibility to modify it manually but you can also ask a life to solve the problem for us and it’s done in the palette of character so not only have I asked to text here at 40 points but I will also go ask him to to switch to optical swimming creation, i. e. that rather than have a beast spacing regular mathematical between the characters I’m going to ask him to go adjust the spacing passing through here himself in optics look at my title we see the word foal as soon as I switch to optics you saw that the top came closer of the same thing between the b le for that matter it didn’t show on the screen I iron on metric you have an approach between the character a peer-to-peer approach called it pays to have an approach of a father who’s not good if you switch to optics is right away better Oh, yeah, by the way. it is stated here that the language and English because I’m in the english version of indesign I actually made my operating system in English on finish the file manager by English and so in design is in English when I launch it’s because you are on machines where you have no choice in your indesign and in English so I adapted my computer here to make it work in English so in the language preferences of de my computer here I made sure that English be the language of the operating system when I have their seine design frozen in English and he necessarily considers that the text English is not good because for the word breaks for corrections spelling It won’t be good, I have to specify that it’s French, so I refuse. precise French you will see that it’s still close enough precise since you have French and French you have Canadian French Well, here I’m going to do French. French because we are not in Quebec even if of course the French are the ones Quebecers live a little bit of the same how they’re gonna drive their kids to the school is on the ground like the rest of the world is a little wink to those who who know Quebec Look what that means, go 100. québécois ok the size of the character because everything did not appear I will use the text tool and modify them well known as yes to all three of them small points here it is done by alc prince and not three little dots that are follow This is typography in all the software it works as it should if you make three points it’s the three-point character you are not forced to put his hand in the way I was explaining it because it’s not always known so I’m going to hunt the foals in the savannah no I laugh I laugh I will hunt what follows the cursor here in the following line so I’m going to put the cursor here. will force you to go to the next line That’s like in world. That’s capital letter carriage return so I’m going to show you my little virtual keyboard here to chase the text to the line following that’s how it works in most of them. of the layout software is the shift key and carriage return Why don’t I call it that? enter key because in indesign the enter key, that’s right, and this to one of the additional features it will work not if you use the enter key of the number pad for example I don’t think so. that it’ll work, so I have added something here by doing capital letter carriage return I added something here why it’s called carriage return by the way, you know. why the carriage return key because acrimonious return in English it tells you nothing in fact in the betting software in page as indesign you have things that come from the it’s very traditionalist and here we are on a standard typewriter. imagined writing mechanical as one would was using it 30 years ago of years you have this little paw that makes it possible to make return the writing head to the beginning of the sheet and at the same time who does skip a line, so that’s the return. trolley and when you press the key carriage return in indesign is what that you get it goes to the line following but if I made a carriage return special I chased away the text that was after the cursor in upper case carriage return tuning even this one little thing here is that someone knows what it is, it’s a ghost of the past gutenberg mobile characters I show you this is a tool that the typographers used to compose characters we will look for characters mobile lead and finally alloy alloy rather because bute also rocked his revolution is the alloy we’re going to look for moving characters they will align them with this composter and then all this is put together in blocks we still talks about blocks in software current everything is now abu block typographic obviously it is to backwards since it’s going to print So that’s the thing you see. in a design is that’s actually that. a reference to this composter this thing you see there back and pomace in what it’s something you have known for a long time you see this in almost all software from layout and you have never understood why what it was is this kind of weird x that’s when you want to make classifying layouts but what we Actually, we don’t put too much colors now still too much is for children if it is a catalogue for an amusement park for a visit of how we do it call it a zoo where you can can do two things a little more fun and a little more bad taste, so but That’s Lyon. Let’s go. we will select our block with the black arrow and we’ll put a background on it. so let’s not forget to record when even from time to time the document finally he wakes up changing the name is well so I keep the progress and if I screw up completely, I’d have to go to the minus the version before that ah yes because that we can screw up on the level of choice aesthetic and do horrible things and then we regret and then to come back easily to the version before having registered document regularly under a different name is fine, so here’s the deal. you have selected your block of titles with the black arrow you’re not going to put a color on it. by double clicking here we really have an interest in indesign in use the color chart the pallet either chair the color palette so does not not the way to choose photoshop so the colors don’t use no plus the palette or their window menus or their color the un phone is color colors colors it would be mistake it would work in a first one time but they really had you interest in using menu phone is color or in the color charts why because the color chart the colors that are in there. if you apply them to several objects in the layout there is a link between color and objects in changing the color in the color chart that will change the color of all objects and that’s interesting when you want to make a quick change of atmosphere in a whole document of dozens of pages it will only work this link between the color and objects that use the color it will only work if it is in the color chart so here is the menu windows color swatches you will possibly be able to choose of course another color than that, so it’s a document that was originally intended for the impression but despite everything I have decided to use rvb images in it and I even created in some places rvb colors It’s not a problem if you know people who work in the printing industry since the 1990s 1980s if they have not updated their knowledge they will tell you you should never use images rvb or rvb colors in a document layout that will be printed It’s been fifteen years since adobe said that you can and it’s even better so we’re going to create a rvb color here you go to the menu of the pallet swatches you choose a new color here and you do it in rvb it will be better you will be able to make very bright colors if you Want it’s not mandatory. Look at this. for example beautiful body pink this grandmother if I want to print it in cmjn it will be dull you’re going to say, but what’s the point of put on a bright pink color like that because this grandmother if it’s going to get a little rotten like that in the printout, but yes. but that’s okay because at our when you make a document indesign he also goes out to techniques better printing there is the pressure so colors at the printer’s there’s the inkjet output there’s tablet display on screen computer on smartphone all this can to make you the bright color that the printing only in four colours at the printer can’t make you so Here’s a little bit of an explanation here. why it’s better to work hard in rvb so here I liked a color that’s there on the bottom of the blocks I can still modify it by double clicking on it in the color chart it’s not a issue what we can do too and who is very interesting if it helps you is when you use the colors when you put a color on an element in a layout a design is to use one of the colors that are on the page for example I show you this I take the pipette that is here this one see behind this pipe is themes of colours You have another people I’ll give you watch an image there for example this color there is put on the block if I want to be able to choose others colors I am an object to push the alt key and power and I can go so that and more and more colors so that’s the pipette that’s there. allows for great trick if you want to put colors in a layout You don’t know what it is for sure. that it’s bound to go well with the page if the color comes from the photo so it’s the pipette with the alt key. we have to force which one stays in mode of sampling because the pipette will be collected but also to be applied but here with the key alt I force him to stay in mode samples Well, then, do you this color is one of the colors I use will try with the pipette because here’s how to really choose a color a little different so okay, great green here that I’ve been search in the background delémont the image of my wolf she’s not in the color chart I said it’s better if she’s in the bomb color chart at what you’re going to do at that moment you go you have the possibility of double click on the color sample here and ask for added color to the matching color chart and here she is. There, okay, so there’s a connection. between the color and the objects that are going to use this color if you want to use it change all the colors at once this color throughout the document it will be possible if it is used by several objects several texts it will be possible well we will give a rounded to the block it is selected with the black arrow You’re gonna reposition me. correctly because it has moved little Here’s the important thing that sticks to the margins and outstanding why because then we if we resize if we resize if we modify the layout a little bit the page width it will only help us if the blocks that their Father, it’s important, so the block is selected aaron object menus I can’t see there and it’s an honor dynamic means what it doesn’t mean say he’s going to do the salsa dance when it comes to dynamism in computer graphics means that once that we put it in it will still be editable you just have to go back to that place. it will be editable so I’m going to choose here the channel and here That means it’s going to put it on the four corners is not broken if I click on it it breaks but I didn’t have to break it, I clicked it again. is not broken I’m going to put heroes like that on rounded like this, here they are, we see them there. rounding value can be changed or not just anywhere since its chains of way when I modify anywhere that modifies all that modifies the four corners these are dynamic rounds I checked the preview box of course for see him behind in real time okay and so we can go back as many times that we want in there. to modify it works so it’s pretty ugly, it’s been a little bit of a’60s. but as I was telling you about publications for children tips nice why not we can do a little bit in bad taste like that so I notice that I have on my rectangle a black outline that I will remove I selects the game rectangle but the box contours in the diagonal foreground here we are, we’re not going to do anything both a background and art a black outline That would be really bad. That’s fine. look like a geography syllabus of secondary schools you can’t push yes to the does yes to school publications you know, it was going to be publications. school geography environmental study This is all a tasteless fair. in this type of case and cases of cartridges are called cartridges in which we have the text that appears Well, I’ll show you that technically. it’s possible to do it, but at the same time time I’m telling you, be careful with that. depends on the audience yesterday usually when we’re talking to adults and we want that this is a serious matter, we’re going to rather keep things sober with the funds white typography we’re not going to to start putting titles is then underlined the headlines by the way, it doesn’t happen does more than that, it’s still been twenty years. that we no longer do underlining of title but that’s what we do will speak again Okay, you managed to do that, so watch the suite open your eyes or thrown in the eye and we’re going to give you look you’re going to do after I’m going to do a series of operations here, so in the character palette I will modify the spacing here here you are See, it was in brackets. than angel before I change and now it’s not between parentheses is in parentheses for indicate that it is the terrine y age by age lack of a design 120% of the height characters but I’m decreasing here first thing secondly, don’t make people look at open your eyes I select the block it has a background that’s there we know it, but I wants to change the color of the characters Yes, it’s true, I can select them. with this and it’s modified except that they will appear in negative how I See what I’m doing. I don’t know, so I’m keeps the selected block with the black arrow and it must go up to the edge not perfect here I keep around that that’s not a good fit, so I’m keeps the selected block that the black arrow and I will indicate here Here, here, I’m not working on the block the colors here does not influence the block but it will influence the text to inside the block and from there to choose the color of the text so here’s either create my own or not. but in this case I’m going to put the color of the white paper it will not be worse off Well, that was the second thing, so the color of the text so I have to modify first the interlining here is forget and and change the color of the text by indicating that I’m working on the text and I saw directly what it was like give and now I’m going to do the centering in both directions and for the center and horizontally I’m going to have to use the menu paragraph palette text paragraph size paragraph size paragraph No, thank you. the little z2 indesign is here so I center it is necessary that the block is selected otherwise it doesn’t work I center horizontally Well, that means that every one of them left and right side of the text I have the same space as what in principle if I have not started has been mortgaged here for put margins and paragraphs of the others and it now works on vertical centering is not going to happen on the work of the text but on the block text for this it is necessary to work on the text block I will go to menus text block option objects and That’s where I can say, here you go. the text must be in the centre or at the bottom but in this case I’m going to do at center to center of the block so vertically he placed himself in the center at pretty much it’s true that there’s a little more of space above, although whatever it is. the height of the capitals that counts that can be modified in the options of blocks of text where I just went, it’s obvious also modifies this so its object menus text block options well and I have requested center alignment is ok it’s okay in the baseline options that we regulate here the way things are done occur in the direction of the line from above Anyway, it’s getting a little too much. complicated, so go ahead and do it. It’s done. It’s looking at what it looks like. by activating the preview by clicking on Next to all of them, he’s not a part of the text is specifically to give it a different dimension from the Still, it brings a little variety. remember that you should not hesitate to bring a little variety to things Otherwise, it’s ugly. this is the kind of thing like the top line is 28 points away from the line below is at 36 that kind of thing. who sees here it looks a little more like something correct Well, it still bothers me that I have the impression that there is a little too low I still selected the block and in the text block options control b on the pc against commands b on the pimp I’m not going to play on it that I’m showed you earlier I showed you rather go play on no it doesn’t will not work on a rounded block I Forget it, it’ll be very complicated. for now