*Transcription Disclaimer: the following transcription was automatically generated, and may have errors, or lack context.*
Kladi from Printmysoul:
Welcome everybody.
Alex Lazaris:
We are back with day two of Kladi doing some really incredible InDesign work. I'm super excited. I had so much fun yesterday with all the fun polls that we were doing and just chat was going crazy. I think we had a really great conversation. I learned a ton yesterday. Also I have already started redoing all of my workspaces because of Kladi. So stick around today for more of of these kind of tips and tricks and learning best practices. We're going to have a really good time. But first chat. Tell us where you're from, where you're tuning in from. I'm on the west coast and it's 12:00 p.m. And Kladi is in the UK and it's 08:00 p.m.. So thank you for staying awake. Hello Kladi. Tell us about yourself and tell us what you're working on today.
Kladi from Printmysoul:
Hello Alex, thank you so much for the wonderful intro. I also had a ton of fun yesterday. And hi to everybody. Ival nice to see you in the chat and hi to Keita and everybody else that is joining us. As you said, I am based in Manchester, UK, although an Italian designer. We have a little bit of an Italian Greek thing going on. Yes represent. Absolutely. So as you probably know if you were following from yesterday and if not that's not a problem. If today you're joining for the first time, we're going to be working on a digital document in InDesign. And in fact I got something ready for those of you who are jumping in straight today. There is a little starter file that you can download from my website and I might just jump on that real quick. It's imclady.com freebies. If you head to the resources pages and you'll see that it's exactly the same title that you see on today's. Little image here on Behance is creating a digital document using InDesign. If you click on the Get Started file you'll be directed into a dropbox and from there you can download your starter file. Now of course the starter file doesn't have all the information and all the assets that we have here, but don't worry, you can use your own. Feel free to use any sort of color, any sort of document. As we said yesterday we are working with the topic of this digital document is the De Rose meditation method. I should probably have their website there. They're an amazing bunch of women located in London that teach the DeRose method, which is a very ancient yoga. And again, I'm not a specialist. I know there should be someone in Chat from the DeRose method probably because they were excited about having their magazine done here at Adobe Live. But as I said, they're probably the best person to ask about the method itself. I practice it myself is breath work meditation and also the very traditional yoga for high performances. So it's a wonderful way to stay fit in your mind and in your body. But today we're going to be focusing on staying fit with our interactive features in InDesign, which is a super cool way of creating documents, publishing them online and making sure that everything works. And in fact, Alex actually solved a problem from yesterday because it was really bugging me and I was like, I need to understand why that is not working. Do you remember that we had our wonderful Pub interactivity preview that wasn't working?
Alex Lazaris:
Yeah.
Kladi from Printmysoul:
So that was all my fault. That wasn't the computer fault. That wasn't InDesign. I own it. It was me. And the good part, though, is that I figured out what I was doing wrong. And as I say all the time, that's the beauty of Adobe Live. It's the real, you know, everybody, no matter how long you've been practicing for mistakes, happens. I don't know everything at all. I learned so much here. Me and Alex yesterday, we're going back and forward on different tips. I learned something about Behance. And by the way, just a very quick recap of what we've done yesterday. Of course, the video is going to be available just down here on if you're watching from Behance. And if you're not, make sure to head there so you can join us also in the chat. If you scroll down, you'll be able to watch the preview. And when we done yesterday, we created library dedicated to the Rose method. And we brought in the assets, we brought in some colors in Photoshop. And also we started to create a navigation here. We created some button to navigate the page back and forward. We also talked about grids layout and how to use paragraph style and next styles. I'm going to go back into the paragraph style today because yesterday I was just really rushing at the end and I was really excited to showcase the next paragraph. But we're going to talk a little bit more about paragraph styles and how to create a different way of creating them. We are also going to have a little detour in Photoshop in order to create a GIF because the beauty your favorite. You like gifts?
Alex Lazaris:
I love gifts.
Kladi from Printmysoul:
Gifts and memes.
Alex Lazaris:
How do you say gift? Do you say GIF or GIF? Well, you say GIF, right?
Kladi from Printmysoul:
Please don't.
Alex Lazaris:
All right, Paul, Val, we need a poll. Gifs or gifs? What do you think? Chat? I know Val will give us two options, maybe three. I'll probably get banned again today. Yeah, we need to find another we.
Kladi from Printmysoul:
Need to find another one. I say depending completely on my mood and what I'm talking with. So I might say GIF, I think.
Alex Lazaris:
No, I say you definitely said it GIF originally and I didn't want to taint it with the GIF.
Kladi from Printmysoul:
GIF, GIF, GIF. That was it. That was that.
Alex Lazaris:
I say GIF as well. I'm never doing GIF. Who says GIF? Not right? GIF.
Kladi from Printmysoul:
We'll see on the poll.
Alex Lazaris:
Yeah, exactly.
Kladi from Printmysoul:
And thank you, Val, for putting out all those poll. We're always really excited to see what everybody says during the poll.
Alex Lazaris:
Val is taking a protest. She says she's never going to make another poll again because of yesterday's results.
Kladi from Printmysoul:
No, Val, please. We love the polls.
Alex Lazaris:
I guess Memes won officially in the.
Kladi from Printmysoul:
Recount, but we didn't have Eminem, so I'm not sure about that. That wasn't fair.
Alex Lazaris:
That's true.
Kladi from Printmysoul:
Yes. I'm going to go back into what is going to be the final document, and I'm going to go ahead and check our EPUB Interactivity preview. By the way, another thing that we did yesterday is learn how to create a dedicated workspace in order to accelerate your workflow with these amazing apps. So if you do not find the panels that I'm going to be using today, remember, all the panels available in the credit cloud apps leave under the menu on the top call window. So once you choose Window on the top, you'll be able to see all the different panels there. So if I ever mentioned something that you see on my screen, which is not on yours, then just head to the window menu and make sure that it's ticked. Sometimes they can be hidden under different panels, so you can just untick them and tick it again. That's totally fine. They'll bring the panel up. Or when you see a little arrow, that means that there are nested panels within one single. So, for example, under color, you find gradient swatches. Now I'm curious what the giggle is about. I'm not going to let you go giggling without sharing.
Alex Lazaris:
Val made the poll, and if you're over at YouTube, like Kladi said, come on over to be handsome. You can hang out with us. You can answer these polls real time, ask us questions, all those great things. Essentially, the two options are for this. How do you pronounce GIF? I pronounce it correctly or ban Alex? I guess both are correct, but currently the results are kind of skewed.
Kladi from Printmysoul:
Oh, gosh, I look forward to see what the final result would be.
Alex Lazaris:
Me too.
Kladi from Printmysoul:
Anyway, so regarding the Epublication Interactivity is located under the interactive effects. So if you had to window interactive and then be able to have this panel here, and of course, because we are previewing our document, don't be shy and make sure to stretch that panel so you have a nice and broad view of your document. Remember that play and pause a Stop icon. In this case, signify load preview and clear preview. So it's not super intuitive, but once you know what they're for, they're super easy. So every time that you press Play, the preview loads up and you'll be able to display the pages as you see it's taking just a second to load everything. We learned also how to embed HTML code within the document in order to display video, create master pages. Yesterday was very, I think, fun filled content. There. But most importantly, I was struggling very much into using our botanier and moving from one next page to the other, which now is happening flawlessly just because. And that was like a very silly oversight from my side. I'm just going to go ahead and zoom in and maybe Adobe InDesign Gods, we should make this icon bigger. Just saying. Just because I missed them. So on the bottom right of your EPUB Interactive preview, there are two icons which are very important. One of them is a set preview spread mode, which that's exactly the settings that I had yesterday by doing so, every time that you land on a specific page and you load the preview, the preview, the EPUB Interactive preview window is going to load that exact page. And that's why I couldn't move from one page to the other because basically I was asking InDesign just to show me one single page, and then I pretended to move within different pages. So I was like, no, that's not happening. So all we had to do was to click on the document mode and by doing so, we're going to be able to shuffle between the different pages and most importantly, use our wonderful navigation button, which are there and working just fine. So if you can see, we can just navigate from one page to the other. So here we have the GIF as well that we're going to be creating today, featuring the amazing Bruno from the Deros Method Soho in London. And here we are. So let's get started. So this is the final document. I'm going to jump back real quick in where we left yesterday. Yesterday we were learning how to split one single Rectangle Frame Tool, which is the perfect tool to create placeholder for your images into multiple images. And that's exactly where we left it at. I don't know if we have the results of the poll.
Alex Lazaris:
We do. We do indeed. And I was chuckling earlier because it was all saying 100% Ban Alex originally, but now it looks like I'm not getting banned. I've been saved. Thank you, Chat. It's 56% to I pronounce it right and 44% to ban Alex. So I'm saved by probably just a couple of votes, and I appreciate you all. Thank you so much.
Kladi from Printmysoul:
So no jif zero.
Alex Lazaris:
It says I pronounce it right, which depending on whatever Val says goes, I guess. I think that's the loaded one. I think she just automatically won this one. But I'm assuming that everybody just says GIF, not GIF.
Kladi from Printmysoul:
Okay, I'm glad.
Alex Lazaris:
Yeah. Everybody wins in this one.
Kladi from Printmysoul:
Everybody wins. It sounds great. I like it. I like that. Right, real quick, one thing that I said yesterday, I want to repeat today, if by whatever reason, you cannot see these views. So if you don't see your grids, if you use the Rectangle Frame tool, which by the way, is located here on the toolbar, once you use it, so you click, you select the Rectangle Frame Tool. Then you click and drag to create your placeholder. We use the left and right arrow to split and add different frames within the same larger frame that we created. So if for whatever reason you do not see this preview is because sorry, if you don't see that the grid is because you went into preview mode. So if your document looks like that, do not panic. All you got to do is to press the letter W in your keyboard. It happens so many times, even when you I don't know if you ever tried to do a review of your document, that's something else that always comes up. Remember when you press the W key and you enter that preview mode, that's meant to show a pretty much cleaner version of the document. So you'll be able, if your director comes in or if your clients come in, you'll be able right away to jump into a cleaner version that basically hides everything that is outside the trim. So can you see this little text that I have here sitting on the pasteboard? Once I press the W key, it goes away and everything else also is still there. And you'll be able to edit it and select it as you can see, buddy's, it then just to give a better, as the word says, preview of your document.
Alex Lazaris:
I love doing that as well because I tuck so much stuff off the trim just to be like that's. Just typically my process is working off of Artboard so much that there's a lot of copy that gets moved around there. And I like to hide it with.
Kladi from Printmysoul:
W. Yeah, it's nice and it's super cool because they've introduced it into Illustrator as well. I think it was last year. So that was really cool.
Alex Lazaris:
Nothing could save my Illustrator files, though.
Kladi from Printmysoul:
And by the way, if you're looking on how to access it in Illustrator, I think it's under the View panel, I believe. Right on. So let's start to bring in some photos and see how we can use those placeholder one, the placeholder are there. All we have to do is to select the images which we have dragged and dropped inside our library, just because we're going to keep organized and we want to make sure that all the assets related to this document are together. And what we have to do right now is just to match the name to the description. So we have Bruno and look what happens here. Once I click, I'm going to do it again using Eleanora image. Once I click on the image, there is a plus icon. And then once I bring it into the document, the image is previewed and loaded on top of my selector. So I'm just going to go ahead and zoom in on my screen so you can see it better. It's just my normal black arrow, which is the normal selection tool. Sorry. And the image is basically just there waiting to be placed somewhere and there are different way in which you can place it. You do not need a frame to place your image. In fact, if I wanted just to place your image anywhere in the document, all I have to do is to click and drag in order to place it on the size that I in, a specific size if I wanted to do so. You can also press Command Z or Control Z. If you're working on Window to undo the action and go back in the loader, you can click once and in this case, the image will be placed at its original size. Or let's go back once more. Just press on top of the frame and in this case, the image will be embedded within the rectangle frame. So I'm going to keep doing so just real quick. With all the other images, we have the lovely Issa as well. And I think we're missing Seba. Let me find this photo. Here it is. So what happened? Now the images look like they have a different size. So the whole point of having these beautiful and organized frames was to make sure that all the images looked the same. But at the moment, because they have different size, they're not really taking advantage of all that space and all that estate that was within the frame. So all I have to do now and you can do that by selecting each single frame at the time, just by clicking on it. Or you can also work on multiple frame at the same time by clicking and dragging over the different frame. We're going to use the Supermagic shortcut which is Shift option command e. That's Shift Alt CTRL e. If you're working on Windows and automatically your image is going to be scaled to fill the frame. Now, in this occasion for Seba, for example, you can see that there is an image which is fitting in terms of height, but it didn't have enough width to fill the entire frame. Not a problem. All we have to do is to click on this little overlay, making sure that we are selecting the image and not the frame. And I'm going to zoom in for you to see the difference into that. So if I select the frame, you'll see that we have this outer bounding box which is there in red. Well, if I click on the internal thumbnail, we have a lighter color, usually the same color of your guides. So in this case it's cyan. And now we can move the image inside the frame or we can also and I'm using just my trackpad here pan, kind of like zoom out to make it bigger. Or you can simply use any corner of the bounding box. And don't forget to hold the Shift key in this case to make sure that you transform it and resize it. Proportionally. And if you wish to keep it also centered, you can use the Option or Alt key. So as you can see, if I select Option and Alt by dragging one of the corners of this bounding box, is going to be resized, but also keep this center and keep its proportions as well. If you have a track, but just kind of like pinch it in and pinch it out like you will do.
Alex Lazaris:
On your phone, I love that you can do that with the trackpad. It just makes it so seamless, especially when you're flying around the artboards. So whenever you're laying out these types of layouts with people, teams, even if the photo fits, do you try to keep everybody's head sizes? About the.
Kladi from Printmysoul:
Know depends on the photo that I have. Probably if everything looks like the photo of the two guys, Bruno and you know what I do? I tend to use the grid also for the photo. We're going to look at that in just a second. We're going to go ahead and talk about that Director Paolo in just a second there. And we're going to see that in that case, we're going to use the actual grid to really work out where the positioning is. And that's what I will usually do, even in terms of matching the height. So we can see here with Bruno that the height kind of hit this grid. So that's what I will do. Although we have such a contrast with Eleanor's photos, so because we do have an element that breaks the rhythm in such a noticeable way, I'll try to keep everybody flexible. So go big or go home, I think is usually you can either do it whole or I think in this case, if I try to match everybody and then Eleanora really stands out, I just think that it just created contrast in a place where the pages look as homogeneous as possible. But what is your workflow?
Alex Lazaris:
Like you said, I guess it really just depends on the image quality, right? If Eleanora's photo is actually really high res, I would probably try to bump it up, but if it's kind of.
Kladi from Printmysoul:
A low res, we're losing.
Alex Lazaris:
It exactly where you start getting pixelated, it's not worth it. So you're kind of just trying to work with the tools that you're kind of given. And Anika says, the trackpad makes me think I'm ambidextrous. Maybe I am now. Yes, that's it. I do the trackpad mouse combo all the time. I'm like a Jedi.
Kladi from Printmysoul:
Super cool. And talking about what you're saying in terms of resolution, if you're in doubt, and if you just have imported your image inside the actual frame. So if you're not sure of the original size of the image, what I will do is, again, go back to the photo that you're not sure in this case is Ellie, and just simply click once inside the document and you'll see that it will be placed at the original size. So we already see that we already been stretching it quite a bit. We don't want to go any further because remember, with Photos and with Rasterized images, the more we stretch it, the more we tend to bring them out of their original size, the more pixelated effect we want. And we don't really want that because that doesn't look professional, doesn't look like we are keen in looking at details. But that's what we do when we create our work. I'm just going to keep us flexible. Probably something that I would have done, and I have it here in my notes as a possible to do, is to play a little bit with levels in Photoshop to kind of make these black and white pictures kind of in the same level of white and black. Because you can tell that some of this photo, like for example, Eleanora's photo and Issa photo, have a lot of contrast. They almost look like they've been taken in studio, while Sebastian photos is definitely an outdoor photo. So there is more exposure, there are more grays, less contrast. So maybe we can play with a little bit of the photo if we do have time at the end in Photoshop, that's something that I will definitely do if I was working to the final product. So I'd rather focus a little bit more into InDesign at the moment, but hopefully we're going to get time to do that as well. So something else that I wanted to do here is that now that we're starting to bring some content inside the page, yesterday, we were just playing a little bit with Grids and with the navigation. We can see that. We have this lovely 20 pixel gutter, which again is the space between the row and the column that allow us to have some breathing space between the image. So when we go into the preview mode, we do have that space that allow us to organize our content and make sense of what belongs to what and just give it a little bit of space. Although because we did have the margin just on top, so the images are sitting right on the margin and also the navigation is sitting on the margin, they kind of like get squished together and I really don't like not having that kind of breathing space. It looks very cramped. And what am I doing here? Am I controlling that? It almost looks like that the navigation is controlling a carousel on top of the photos. So we really want to make sure that we use what the psychology of Gestalt calls the law of proximity. Elements that are close together belong to the same group. And in this case, the arrows of the navigation and the photos do not belong together. We want to make sure that we do keep that space. I can see you giggling. I'm getting know, I want to know.
Alex Lazaris:
My comment about feeling like a Jedi and she loves her Siths. And then it became a whole she was like, oh, he's A.
Kladi from Printmysoul:
You need to keep me updated here.
Alex Lazaris:
I'm sorry. I'll do better make sure you're coming into Chat, hanging out with us from YouTube and elsewhere. Come on over.
Kladi from Printmysoul:
Yes. So, as I said, we're trying to build some space in between the images and the navigation, really trying to make use of that proximity in terms of keeping the two arrows of the navigation away from the images. And how do we do that? Well, we're going to jump back into our Masters. So we're going to head into the pages and as you can see here, I'm going to zoom in into the pages. You can see the Master number A is applied to this page, and I can see that because the letter A overlays the thumbnail inside the page panel. So I'm going to go ahead and double click on this panel and then again press the W key to see what's going on. In terms of margin, I'm happy with my grid and I don't want to touch that, but what I can do in this case is head back into my margin and columns and we know that all the margin were 119. Oh, really? I thought we had 100 everywhere. That's surprising.
Alex Lazaris:
I didn't do I might have done it.
Kladi from Printmysoul:
Let's have a look. Let's have a look at what happens there. So it looks like everything was set to 119 instead of 120. Sorry, instead of 100. So there must have been a little bit of me chatting and doing other things, but it doesn't matter, I'm just going to cancel this and go back. I was just a little bit taken by surprise, but the status quo. But the whole point of what I'm saying here, we know that there is a 20 pixel gutter in between the other rest of the images. So all I have to do here is to add the 20, give that a little bit of the 20 pixel space here. So all I'm going to do is to add the 20. So in this case, in my mind, I was going to bring the 100 pixel margin. And if you were working, based on what I was saying and know what I was doing, probably you will have to bring the margin to 120. In this case, I'm going to bring the margin to 139 and make sure to also unlock unlink the margin. So you will leave all the other ones exactly to what they were. So I think it was 119.
Alex Lazaris:
Was that your left is 199.
Kladi from Printmysoul:
Oh, that's what happened. Thank you. I was like, Is that wrong? Here it is. So, by adding the 20 pixel on the top margin, we allow to have a little bit of the breathing space on the navigation, which still sits within the margin that first we had considered before. But then when we head back into our images. We now know where the 20 pixel sits. And all I have to do is to bring my images down. And as you can see, we'll have a nice proportionate breathing space within the images and also within the navigation. So it's going to look nice and organized. And something else that I wanted to do here is to show you how to add some Hyperlinks because that's the beauty of work in an interactive way. So what I'm going to do first is I know that I'm going to add some Instagram. I know that all these amazing instructors have their Instagram going, and I'm going to take them from, hopefully the team page inside their website. Let's see. I'm just going to do Alice. It's not available. Right? Let's try someone else.
Alex Lazaris:
Looks like you got banned.
Kladi from Printmysoul:
Got banned. Cannot enter an Instagram anymore.
Alex Lazaris:
Oh, no.
Kladi from Printmysoul:
What happened? What happened? A lot of yoga in my Instagram. Let's see if that's happening.
Alex Lazaris:
Well, you can still use the link, though, for what you're trying to do, right?
Kladi from Printmysoul:
Yes, I just want to make sure is that my link not working or we don't know. I think I follow them anyway. So let's see if we put here it is. So we found Bruno independently with our own superpower, and we know that that's his link. So what we're going to do here is to head back to our document and what we're going to do is just press the letter T to activate our type tool and then click and drag to create another text box here. And then I'm just going to put Follow me on Instagram and then can spell that's for sure. Follow me on Instagram. Of course, you can write whatever you want, and then you can either select the entire sentence or just the word. Or if you want, you can just use the icon as well. For example, just the Instagram icon. If you want to make it very minimal, you don't want any text. But in this case, we can perhaps use the entire sentence as a call to action. And then you can simply right click on it and select Hyperlink and then select New Hyperlink, and the New Hyperlink dialog box will pop up from here.
Alex Lazaris:
How crazy do you get with your Hyperlink styling?
Kladi from Printmysoul:
Depends. Again, on the document. I'm very keen in not using more than two colors or three colors in my documents, unless it's something extremely creative. But I'm a big lover of black and white, so how crazy I go. Perhaps we'll be just putting in bold or maybe like black. But in this case, I think that we can leverage the blue of the actual branding because usually links are in the color blue. It's important to say also that there is a character style which already comes as a default in InDesign. And as you can see, in fact, under the character style, there is already. An hyperlink style. This is not something that I created. It comes as a default. Once you create an hyperlink will already be there. All I have to do is press Command V to make sure that the URL goes exactly to the correct instagram and then I can press OK. And as you can see, the character style is applied. If you want to change it, all you have to do is to right click on it, head back to the hyperlink. Maybe we have to select it first so we make sure that we take care of this hyperlink, select Edit Hyperlink and then under the character style, we can click on the down pointing arrow. In order to create a new character style, simply click New Character style. And from here we're going to be able to select, for example, a different color. And in fact, I'm going to go ahead and select the blue which belongs to the branding, just like so. And of course, you can create many more character styles. Character styles, of course, are different for paragraph styles. They are in fact override which are applied and dependent on a paragraph style. So you must apply first a paragraph style to then override it with a character style. In fact, I always say like a character style is like a young sister or like a son or a daughter of the paragraph style. And it comes very handy when you want to highlight a specific area of the text that will help you to keep, for example, a body copy all set with the same type setting, but to bring to light specific. Call to action, like a website or maybe some keywords that you really want to make that you want to stand out on your document. When done, click on okay.
Alex Lazaris:
For me, I always struggle with hyperlink designs because often on a website it's easy. You got buttons and styles and all that stuff for that. But then I always worry about burying a hyperlink somewhere and not having people understand. Oh, that's clickable. So I typically just do like the default hyperlink style for links. Just so it's very clear it's a button.
Kladi from Printmysoul:
Click on it not I think that's safe. That's a very safe option. Or we're going to see we're going to move into playing with colors in just a second. We're going to try to change our work and try to play with a darker background. If we went back to our guidelines, let's see if I actually have it opened in here. If not, we're going to doesn't look like they're open. We're going to bring it back from our document. We had a distribution of colors inside the Brandy guidelines and let's see if I find it here real quick. Oh, there is an update to be installed for Acrobat. Here it is. That was fast. Brilliant. So these guidelines were provided by the clients. Again, if you do not have this guideline strongly recommend to invite your clients to commission you to build them for them. They are very important. It's very key to understand the do and don'ts, but most importantly the applications and the extensions of how to play with the logo in different instances, especially in real life product locations. I think that's a super cool way of understanding what branding is. Because branding is not only about the logo. There is I believe it's bodrelar. I don't want to just I'm probably going to say the wrong name and spell it wrong but he's a French painter with the famous inner pipe peep. So this is not a pipe painting. I don't know if you know what I'm talking about.
Alex Lazaris:
I'm just like I don't but I'm fascinated.
Kladi from Printmysoul:
Let's see. I'll find it when we do the artist spotlight, I have a little presentation of the branding where I have it like for the Nike logo. So basically I have the light, the Nike logo and you say the painting says this is not a brand. So the brand is not the logo. That's your concept that I'm trying to convey the branding, it goes beyond the logo and it talks about the actions of a business much more they talk much louder than the logo itself. The logo is just a symbol that represents what the business stands for. Right. So we're talking about color. As I say, the distribution of the white was much less compared to the blue. So if I really want to keep faithful to what the branding guidelines were and the suggestion in terms of proportion of color, I think it would better to deliver a presentation which has a blue background just because so far it looks like that the white is still the prominent color having a white background. And we're going to learn how to quickly then change the color of the type as well. So in that case maybe we will have to change the color of the link.
Alex Lazaris:
Wow. Val found it already. This is not a pipe.
Kladi from Printmysoul:
Oh, you find it?
Alex Lazaris:
She found it in Chat.
Kladi from Printmysoul:
Oh go Val. She's a rock star. I'm going to have a little water break.
Alex Lazaris:
Yeah, it's a pipe. A smoking pipe.
Kladi from Printmysoul:
But the old point is that it's not a pipe.
Alex Lazaris:
I'm not even going to try to pronounce that in French.
Kladi from Printmysoul:
But I'll find the one with the Nike. I think it makes a little bit more sense when we talk about branding. Something else that you might want to know in terms of hyperlinks is that there is a dedicated panel regarding the hyperlinks which gives you very good information. And if you go here there is most importantly a status which is something that you want to check before you publish your document. And in this case it's nice and green that tell us that InDesign has already checked the destination. If we click on it, boom, it bring us right away to the right place which is fantastic. It's working and that's what we want in our document. Also, what you can do here is let me make sure that I collapse this panel again. You can go ahead, select and press the option key in order to make a copy of the text. Hold shift to keep the same height. So you keep it like we're going to go ahead and move it around while we create a copy. And even if we duplicated the text, we can independently change the link. So I'm not aware of what Eleanora Instagram is, but I'm just going to use mine just for the sake of the example. All we have to do here is to right click on the link, select the text, right click on the link, and from the dialog box, I'm going to go ahead and change it. I'm just going to use mine. I am claudi and click on OK. And as you can see, as much as we have created duplicate of the link, now there are two different link. And once we head to the hyperlink button, that have two different links, but once we click on the second one, it's going to take us independently into my Instagram page. So even if we copy a link, we were able to independently change the content of the link itself. And that's, I think, very important because it allows you to work faster. You can duplicate. So if you create some style or stylized text, you don't have to do that over and over again. All you got to do is to just simply change the content on the link. And now let's go real quick and talk about the frame because I just remembered that I wanted to do something. If you were here with us yesterday, you probably remember that we were talking about the Behance mood boards. One trend that we found, and at least I found, is still really cool, although it's pretty I will say overused lately, is having that sort of rounded window effect for the image. What do you think about it, Alex? Are you a fan?
Alex Lazaris:
I personally did a Behance stream or an Adobe Live stream where I did a bunch of Arches and through dimension. So I like arches. Arches are pretty cool.
Kladi from Printmysoul:
I think that are you telling me that you invented it?
Alex Lazaris:
I was the first one to do Arches. I mean, my people, the Greeks.
Kladi from Printmysoul:
It comes with the columns. So the columns and the Arches and the Romans, they didn't know nothing about it.
Alex Lazaris:
Still Arches? No. But yeah, absolutely. I think certain things are really trendy in how you use them, but I think sometimes like the arch thing, right? I think a lot of certain aesthetic trends are leveraging it, but I think the way that you're leveraging it is a different take on it. And while you might be seeing it in different mediums or brands and things like that, bringing your spin to it is new and refreshing and a new way of doing it.
Kladi from Printmysoul:
Yeah. And I also think that they're just really aesthetically pleasing, so they're just beautiful to have. And sorry, I am the kind of person that if I have now two of the links, I might have to have all of four of them just because otherwise my eyes have that little stubbing feeling that something is missing.
Alex Lazaris:
No, you're good. So you're thinking about doing the arches for crops for these images, correct?
Kladi from Printmysoul:
Yes.
Alex Lazaris:
I think that also has a really nice synergy with the shape of the head, and so it also creates a nice framing device. So, yeah, let's do it. Why not?
Kladi from Printmysoul:
Oh, I like that, sort of. And also, I think it's got a lot to do with yoga and the curvature of the positioning that we're going to be seeing in the other gift.
Alex Lazaris:
That you've got going as well.
Kladi from Printmysoul:
Yes, we're going to tie it everything together.
Alex Lazaris:
Ivana is here. Hello, Ivana. Welcome.
Kladi from Printmysoul:
Nice to see you. So if you're not familiar with InDesign, that's something that I will probably usually do in Illustrator. Anything that is shape based is usually Illustrator. Here we still have the pencil tool or the pen tool, which can be very useful if you want to draw a shape. You can always use the shape as a mask by simply selecting and pasting an image inside it. And that will work like a clipping mask. Although why bother making our life complicated when we do have these beautiful corners that we're going to come in to help? So, first of all, if you're thinking to use and activate the edit corners by clicking on the little right square and then using this corner here by creating the rounded corners, this is not perhaps the way that I will go with this. But what I will do is to, first of all, click and drag and select all the images, because that's the beauty of working with different frames. You can still edit it like just we did before when we were fitting the images inside the frame. We did it just once, and that applied the command applied to all the frame that were selected. We can do the same in terms of playing with the corners and with the shapes of the frame. All I have to do here remember, we separated our panels depending on the use of the panel. So here we have the document settings, the content, and the styling. So under the styling, the Properties panel is the one that we're going to be looking for. And of course, the Properties panel adapts and shows all the different options related to the tools or the different object that we selected while working on a document. Therefore, in this case, because we are working on a frame, we have the corner coming up. If you are working with another element or perhaps just a stroke or a shape, you might not have corner active. So if you don't see it, that's the only reason. But once you select your rectangle frame, we'll be able to click on the corners. Now you can go ahead and edit the corners by using this general setting, although settings, although these will apply to the four corners. So what we want to do here is to click on the word corner and then make sure to unlink the corners so we can start to have different settings. And I'm going to go ahead and look and zoom in so you can see that there is a little blue square that tell us which corner are we tackling in terms of setting here in the field. So the first thing that I want to do with the top corner so both the top left and the top right corner, I'm going to go ahead and select rounded for both of those. So we know we're starting to create just that little rounded of the arch. And then you can go ahead and start to bring in in the corner as much as you want. I think like 220 the setting, correct setting here and then you want to make sure that you do exactly the same from the other side and boom, we did it in like 3 seconds. We managed to take advantage of our frames and change real quick the shape of our image and I'm going to zoom out so we can see it properly, just like so. And of course, feel free once you do that to reposition your image. Remember not to drag around the frame. What we do want to go ahead and select the image inside. In this case, perhaps maybe you want to zoom in a little and then bring it down just so we make sure that we don't lose the top of the image. Also here with Eleanora, maybe we want to bring her in a little bit more because she's sitting too much on the side. So want to just make sure that we don't cut don't chop her head. Here it is, just like so. And maybe with Bruno also we make a little bit a bigger again, I'm just going to use my trackpad to pan and bring it down. Nothing he says. Looking wonderful. Just going to leave it there. So, real quick here, we've been able just in few clicks to modify all four images thanks to our corner widgets located into the Properties panel.
Alex Lazaris:
I think this gives a really nice opening up of the space as well, so you get a little bit more of that. We talked about it yesterday, contrast white space, making sure that your eye can kind of breathe a little bit and by having the rounded corners when I said they'll pair well with the heads but then also it drives the eye down visually from both the person's headshots down into their actual BIOS. And so you kind of have these really nice columns that your eye just naturally gravitates from top to bottom and wants to read about each person great design work.
Kladi from Printmysoul:
I completely agree. One thing that is not making me happy at the moment though, is the styling of the paragraph. Because as much as we have so much breathing space around, the text looks really squished together while we do have some space. As I said yesterday, I was just super thrilled to show off how to use the next styles. But now we can go ahead and start to work a little bit more and just maybe take a little bit of a better look of the dialog box of the paragraph styles. So we're going to go ahead and create a heading in just a second so I can show you how to create a new paragraph styles from scratch. And I'm going to take my time while doing that today, but in this case, I'm just going to go ahead and show you how to edit one first. So to make sure that we know if there is a paragraph style or not going on in our document, first thing that you want to do is to have the paragraph style panel coming up. If you do not find it, remember, it's going to be under the window menu, nested under styles. So again, window styles. And here you'll find the paragraph styles. And we know that we have a note, body and name. Again, if you want to really be organized here, going to bring first the name, then the body copy and then the note. And that's the hierarchy of the actual paragraphs themselves because we have first the name, then the description, and then this little note. So the first thing that I have to do and you do not need to select any text and actually be very mindful, because if you do select a text and you end up clicking on one of the paragraph style, the entire text contained inside the text frame will be reverted into the particular paragraph style that you've selected. So I'm going to press command all the time that happens. Control Z if you are on Windows to make sure to go back. And we're going to click anywhere around your pasteboard to make sure that nothing is selected. And we're going to double click on the name paragraph style in order to open the paragraph style options window. Now make sure the preview is ticked. This is going to allow you to see the changes taking place live while you edit. And if we want to give some reading space between paragraphs that are styled into different paragraph styles, the place where you're going to go is to the indents and spacing tab. And what we're looking for in particular in this case, especially because we have a heading sorry, there is a question.
Alex Lazaris:
No, sorry. Accidentally hit the mic.
Kladi from Printmysoul:
Boom. That's usually the color. Yeah, that's usually something that happens to me as well, or when I have a brasslet or something and I'm hosting, I'm like bang. And I'm like you know when you do on Zoom, when you turn your mic off? Sometimes I actually do that when I have to pour water, because I have water next to the mic. So I usually turn my mic off when I'm live.
Alex Lazaris:
It's live, everybody.
Kladi from Printmysoul:
Yes. And I think that I had some comments in the chat. That's why I started to be mindful on it because I just can, like keep because I have a huge I'll probably not going to see it because it's green. So I have my huge green water bottle.
Alex Lazaris:
And I just want to wow.
Kladi from Printmysoul:
I had some comments in chat.
Alex Lazaris:
It's like a gallon.
Kladi from Printmysoul:
Two liters. Two liters. Come back to Europe, man. Anyway, after this digression, we were talking about giving some space, some breathing space. And in particular, I'm going to be focusing on the space after. The reason why I'm doing that right now is because we do not have any style above the name at the moment. So we're not particularly worried about the space before that will control the space from the paragraph that's sitting on top of our names, which is none at the moment. So we don't have to worry about it. And therefore, what I'm going to do is start to increase the space after. And as you can see right away, we have that space coming through. So if you want to keep the spacing consistent with everything, we can just stick to the 20 pixels. And that just kind of gives the document a rhythm. And we just leave it like that and click on. OK. And then we can move a little bit further with a body copy. I don't know if there is any paragraph or space between paragraph within the body copy. Let's have a look. But what I want to show you and if not, we're going to create some just as an example. What I'm looking at is space between paragraph using the same style. So it looks like we already gave some space here. And I'm going to show you the difference. So as you can see right now, I'm adding pixels. And nothing is changing just because we don't have any return in between this body copy. But I'm going to show you in a second while if we select the space after, that's actually going to give us some space in between the main body copy and the notes, which is the styles that comes after. So again, we're working with the space after. We could add some space before. Although again, be mindful, we already added 20 pixels. So anything they are going to add in terms of space before is going to be added already to what is controlled by the name. So as you can see, if I add some space before, what it's going to do is just kind of just bring that back and make the space even wider. We don't want that because otherwise they're going to start to look like as if the text doesn't belong to the same topic, to the same person, to the same context. So at a moment we added ten. I like to work proportionally with spaces so I usually go in half or again I just try to work with a proportion of numbers just to keep spacing and kind of give it a rhythm, kind of like music to the composition. And I'm going to go ahead and click on OK to show you what the space between paragraphs stands for and why it's different. First of all, we want to notice here that the text went a little bit all over the place. Don't worry about it. That simply means that the text box is too small to contain our text. And if we press the W key, something that you always should be mindful of when you're working with text is to make sure that at the bottom right hand corner there is not this symbol. Because when this symbol shows up and is like a little square with a plus, that means that there is overflow text in your document. So that's something that you don't want because especially if you're sending something to print like that, most likely some of your text is going to be chopped and never seen ever again. It's going to get lost in space.
Alex Lazaris:
But it is a really helpful tool whenever you're building another column to just know that you can do that and then just double click and make another column.
Kladi from Printmysoul:
So let's actually show what we're doing there. So what Alex is talking about is literally you can leverage this icon and it becomes very useful in order to load whatever is the text that is overflowing. And then once you can see right here, is actually loaded inside on my selector and I can literally go anywhere and create a new column of text that will hold the text that is missing and we can move that in any other page and so on. But in this case we're going to use our option command C which is alt control C. If you're working on Windows shortcut, that would allow you to fit the frame to the content. So in this case, which is the opposite that we were doing with the images, the frame is going to be flexible and allow us to display the entire text by changing its side. And it works both way by the way, if you have for example, I'm going to use here this other text on top. So we have a text frame which is way larger than our text and then maybe we have other images. Sometimes it happens to have different stuff start to get overlaid and once you select it, you don't know what are selecting because we have these pretty disorganized boxes with no content because there is no use for that box to be that high. Again, simply use the option command C and as you can see, it will fit the frame to the text, to its content. So that's a pretty handy shortcut that you want to keep in mind when working with text.
Alex Lazaris:
Val says that these are really great tips to keep in mind when organizing text. Thanks Kladi. So I think this whole stream should be just retitled to keeping organized with Kladi.
Kladi from Printmysoul:
What was it? Kladi workspace.
Alex Lazaris:
There you go.
Kladi from Printmysoul:
Yeah, right. So something else that I noticed here is that this part of the body copy went into a note. So again, real quick, because we do create styles, it's super easy to style our paragraph. And something else that I also see is that we have some of the text that is breaking in two lines, which is something that we didn't want because we want to make sure that everything kind of fits together. And in this case, what do we do if we have a particular line of text? Everything looks fine, we're happy with the size of the text. But there's one line, just one line that gives us what is called at least what I used to call when I was in studying design, widow. Do you know what a widow is?
Alex Lazaris:
Yeah, it's an orphan, right? Or no?
Kladi from Printmysoul:
Yeah, no, they're exactly the same. I just wanted to know what are they called?
Alex Lazaris:
And essentially where there's just one word on its own little line and it's all by itself.
Kladi from Printmysoul:
Yeah, it's left alone. So you can either color orphan or widow. But again, it's like pretty much like here. Usually we tend to have at least three words per line. And when we end a sentence, there is actually a script. I'm not going to go in depth too much with scripts, but there is actually scripts that you can use in InDesign to prevent that to happen. So you can apply scripts inside a paragraph style that prevent widow. Basically say it in InDesign. If you have less than one word, just add two more words. But that's a little bit more like advanced. We're going to keep this chilled and cooled and we have a lot of to worry about in terms of interactivity and we have to jump into photoshop as well, which is going to be another journey. But just bear in mind if it's something that you want to create in terms of automation, you can find many videos on scripts and you can find scripts to get rid of orphans or widow. But in this case, we're just going to keep it simple. It's just one we have just a two page documents. We just want to make sure that this line goes back into place. And to do so, we're going to be a little cheeky and head to the properties and we're going to hover ride this little paragraph style by changing the tracking. Now a lot of people get confused between tracking and kerning. Kerning is the space between two letters, so actually two different letters of a word where the tracking control the entire line of text. And what I'm going to do here is to reduce the tracking a little bit and be mindful not to overdo. Unless you are trying to communicate a particular claustrophobic effect in which you really want to create like a shocking text, which could be a thing, could be your team, and that could be the theme of whatever you're creating. I suggest to be very to use that very sparingly. So try not to go over a ten or like even a 20 and the same when you also reduce the size, the width of your text in general, just try to be I mean, that's my idea. Typography designers and all the amazing people who draw typefaces, I think they already do an amazing job. And if you picked a typeface, there is a study behind it. And again, unless you have a specific need, I would just be conservative in the way that you edit them.
Alex Lazaris:
Some people love to follow COVID safety protocols with their tracking as well, and they got the letters 6ft apart and it's crazy and it makes it really illegible. But those are all reasons. There's a lot of strategy and thought that goes behind how far you want to track things out or how close you want them to be in there. And those have really crazy shifts on the mood and the legibility of the typefaces. So that's another tool in your tool chest that you can use to set the mood behind things. But yes, like Kladi's saying, for these pieces, especially editorial, you want it to still be legible. Obviously, if you have a certain strategy in mind, you can skew it up.
Kladi from Printmysoul:
Of course, I mean, the beauty of the rules is for you to break it. Just make sure. And that's the way that I usually put it. Alex to me, there is no right and wrongs. Everything is possible. I'm a big believer that everything is possible. There are no right and wrongs. As long as there is a reasoning behind, you know, even when clients come back to me, I'm like, I like this, I like that. To me, is not something that makes any sense. It's not about liking or disliking. It's not about being right or being wrong. It's all about the reasoning that sits behind it. If you make sense within your context, within your project, within your vision, it's good. As long as you have a valid reason to do something. Just follow your train of thoughts. Just think about it before I love that.
Alex Lazaris:
That's my biggest tip to I think, even just new designers or junior designers is to start finding the logic behind their work and presenting the logic. Because even as a senior designer or hiring manager or director or whatever, i. Want to see your ability to think through the problems because if I don't like your execution, I might really like your idea behind it and I can help nudge your creative forward. Or if I'm presenting it to a client, I want the client to understand the logic before we start deciding things that could be a gut feeling or gut reaction. And I want to take all that away and just be as logical as possible and just let people look at the strategy and let that decide what the good creative is and not be just a gut feeling of, oh, I don't like that creative. It's like, why don't you? Well, it doesn't align with the creative or the strategy. Perfect, let's fix it.
Kladi from Printmysoul:
Yeah, totally. Everybody can learn skills, but learning how to think is a little bit deeper.
Alex Lazaris:
Yeah, absolutely.
Kladi from Printmysoul:
And what I was doing here in the meantime was separating the body copy. I kind of gave everybody two paragraphs. And the reason why I wanted to show you that is to show you the difference between space after and space between paragraphs. As we've seen before, space after controls the space between paragraphs that are set in two different paragraph styles. While what we were talking about here, the space within paragraph using same style. As you can see now, the number that wasn't changing before was simply because we didn't have a broken paragraphs. We just have one single paragraph per each body copy. Now I made sure that everybody has two. So now you can see the magic happens. So what I will definitely do, make sure that the space between paragraphs is less than the space between different paragraph styles that are of a different style. Again, the rule of proximity, things that are closer to each other look like they belong together. And again, if something is styled with the same paragraph, there is a reason for it because it's the sort of kind of text and the sort of tone. So we want to make sure that the space after is way larger than the space in between paragraph of the same style. We can even again, I'm keeping a rhythm of 510 and 20 in this case and then I'm going to simply click on OK. And now we can also bring our text up as well to the margin. Hopefully it fits nicely and if not, we're going to worry about a different solution. But so far it looks like maybe we can perhaps bring the text a little bit, bring the name a little bit in to save some space. And again, that's something that I keep working on. And again, look what happened here. I did it, I did it. So I basically had the text selected. So again, control, c command z saves our lives. Make sure that you click away so that you're sure that the text frame is not selected. And now we can go back and control and just maybe bringing that together a little bit and bring it to ten just so we make sure that everything looks nice and organized into our document.
Alex Lazaris:
That you typically try to stay within like three colors, I think, before. How many typefaces do you typically try to stay between?
Kladi from Printmysoul:
Two. Yeah. Although, again, I really enjoy working with the same type. I really enjoy typefaces that have a lot of families. So I'm a really big fan of Blacks or extra Bold. I really like chunky text and really thin. So I love these huge contrast. So when we have Typography that has these different families, I think that is super exciting to be able to use all these different voices within the family, I think. But otherwise I try also to play contrast in terms of having and I think that this comes really nicely in that selection that they had here. Trying to use a serif and a not serif. Even when I create logos or type locks in Illustrator, I really try to play with the contrast. I think it just makes the elements almost like as if it's like a conversation or like a sentence. It just brings I keep using the word freedom today. I don't know, probably need to go and have a little dance. But I think that it gives that balance between two different elements. What about you?
Alex Lazaris:
I'm a huge fan of variable typefaces or even finding typefaces that aren't in the same family, but trying to find ways that they pair really interesting together. I think I try to do the whole two typefaces maximum or like two different weights maximum rule that I learned as a junior designer. And then I don't like that. I think it's too try. I think most compositions I'll have a couple different weights and maybe a couple different typefaces. But Bethany Heck does a really good job of talking about having like seven to nine typefaces in one design and pairing them all really well because they have little symbiotic relationships in certain elements. Like they've got their ink wells might match up and it's really subtle, so you could figure out things or the ascenders or descenders can.
Kladi from Printmysoul:
I think that typography as a life on its own, like, what could I have? Streams and streams. Just talking about Typography, the power of topography. You'll be able to communicate in type piece just by using text. So topography is very powerful. And that's why sometimes I'm also careful in the way that I play. And that's what I was saying before in terms of being conservative sometimes, because I know that when you're working with a nice typeface, there's been a lot of work behind it. So there's been a lot of reasoning why something looks like in a specific way. So I like to play with it. And that's what I usually do in Illustrator, to distort it and make it unique. But usually when I do editorials and there is a lot know, legibility or that sort of things come to place. What's going on in the.
Alex Lazaris:
Voodabal says. What are some of your favorite fonts, Kladi?
Kladi from Printmysoul:
So I'm a big fan of Gotham. I've been a Gotham girl for a very long time, gotham classic and otherwise there is one that I use now which is called Impact.
Alex Lazaris:
Like unironically using impact. Sorry, is it Impact, the meme font? It used to be the old meme format.
Kladi from Printmysoul:
Really?
Alex Lazaris:
Yeah. If you stroke it with black and have a white typeface inside or a white fill with a stroke. Yeah. That's Impact used to be used for all the memes.
Kladi from Printmysoul:
Really? I didn't know that. Yeah, for the Eminems.
Alex Lazaris:
For the nemes.
Kladi from Printmysoul:
For the Eminems. I didn't know that. Also, some that comes to mind is Dean. I love Dean as a type. Faith. Those are my faves. But let us know in the chat.
Alex Lazaris:
Yeah, there's a whole box article I'll link in chat. It says impact font internet memes. The whole thing is about how a 1960s font became number one Internet typeface for memes.
Kladi from Printmysoul:
You're saying memes.
Alex Lazaris:
Sorry, you got caught.
Kladi from Printmysoul:
We caught him. We caught him.
Alex Lazaris:
No memes please.
Kladi from Printmysoul:
Right. So I'm going to go back here because time is clocking and I really want to jump into Photoshop, but I didn't know that. And let us know in the chat what is your favorite, by the way?
Alex Lazaris:
Well, now I want it to be Impact.
Kladi from Printmysoul:
Impact. Just because of the memories.
Alex Lazaris:
I think one of my favorite typefaces I think is TT trailers. And I did that for the Sorbo tequila bottles that I did on a day.
Kladi from Printmysoul:
Oh, love those three years ago or something.
Alex Lazaris:
But so cool. It's variable typeface and it just has all that block letter kind of beauty around it and then the fact that you can just I like to mess with it and I don't like using it just normal. And I've used it for a kombucha company as well. So I just like messing with it as much as possible.
Kladi from Printmysoul:
By the way, I just want to give a big shout out in the chat. I saw Lisa carney. Go ahead and check Lisa out. Do you know Lisa, Alex?
Alex Lazaris:
No, I don't. But Lisa, she says I don't care what anyone says. She loves impact.
Kladi from Printmysoul:
Sorry?
Alex Lazaris:
She loves impact.
Kladi from Printmysoul:
She says she doesn't love Impact. Yeah, Lisa, go and check her out. She's been here on Adobe Live. She's an amazing finisher. She works of some of the most wonderful movies like Spider Man. She's like super amazing. Stranger Things. Go and check Lisa out. I learn a ton from her stream. I love her. I miss you, Lisa. I would love to see her back here at Adobe Live. Her Photoshop stream are just mind blowing. Lisa, if you want to drop your website because I know you got some very met skills, so I think people should really look at your work because it's amazing. Go and check her out.
Alex Lazaris:
I didn't recognize the name but I absolutely recognized her work and I've seen her live stream. So hello, we're our best friends now.
Kladi from Printmysoul:
Nice to see you. Yes. Me and Lisa met, I think, during our first Adobe Live. She was in San Francisco or Max, I don't know. But we met something Adobe related and I was just super chuffed to meet her. Super excited and she's a wonderful human as well. So Lisa, miss you, hope to see you soon. Go and check her workout. She's mind blowing. Going back to InDesign because we got lot of things to do. I'm going to go ahead and drag that blue background. Because I was saying before, talking about color proportion, we did our composition here, but I'm not sure and I don't think that having so much white and so much black represent the brand. We really know that what was representing the brand is a blue background. So I'm going to go ahead and back jump into my master, making sure that I find a master that has the same element, which is the home and then the left and right. So in this case we just have one. Right. Here it is. So the correct one is the B master. Go ahead and drag it inside our page. So look what happens here. We have the images which just look beautiful and just stand out in the document. The navigation and the home page, which is the logo that we have on top. Everything looks nice. We completely lost the look of the links because now they're just looking the same color. And we have the no no which is the dark typeface on top of the dark low. It doesn't work. There is not enough contrast. We got to get that change. So how do we do that? Well, very quickly, first let's start by the upper links because that's the thing that probably is going to get lost and forgotten. Remember, we did create a character style for them. So simply jump into the character style, double click on it, head to the character color tab and in this case I can give it this lovely okra color. And that's what I was saying before for links. Sometimes when you have a color that you use like for less than a 5% distribution in a document, that's what I like to use for my CTA, for my call to action. Because that's definitely a color that is going to stand out from the crowd and therefore hopefully gives a little bit of a lift to our link. So that done. Just one click. There we go. Now what about the text? So one option will be to go and manually change each single color of the text. We can do that. Or something else that you can probably do if you want to be extremely organized is to go ahead, click and drag your little paragraph style double click on them and then change the color into the new one. And usually what I do, I also group them. So you can use this little folder and you can call this one like Light background. Just going to leave it like that. And then you can just drag inside whatever fits for a light background. And then you can go ahead and change manually. But what I'm heading with this is to show you how Locate Color is a new fantastic feature that was introduced last year, I believe, during Max, and allows you to locate a color real quick and change it throughout your document or only your page. But let me show you how to do that by heading to my Swatches. So once you head to your Swatches panel, we know that for this particular paragraph styles, we have applied the RGB black. That was part of the color theme of our brand. So all I have to do here is to right click on the color and make sure to select. And I'm going to zoom in for everybody to see. Find this color, find. This color is going to bring into the Find Change dialog box, which was already present in InDesign and allows you to change maybe text. So if you do have, for example, a specific word, for example, I misspell from and form very often. So sometimes I just look for the word form to make sure that it's from or stuff like that. That's something that you can do here. But the addition that's brand new, that's been here for a year is the fact that you can now locate also a specific color. The color that I'm looking at is this RGB black set to zero. All we have to do is to select Find next and boom, here it is. Already tells me where is that. And we can also change it to whatever color we want. I'm going to change it to the white that is part of our color palette. And then, as you can see, you can search the entire document or all documents or all frames. And then in this case, because it's selected all, we can change it all. So the three instances, which in this case why is it three? Think about it. They are the three paragraph styles. So the name, body, copy and the notes paragraph styles have been changed to the color of our choice that you select. Of course, any colors you like. When you're done, click on Done and boom. In one click, we restyled our page. And I think that that was like super fast, right? So I think it's time to jump in Photoshop and then come back and finish off in InDesign. There is one more page that I wanted to style, which was I don't know what's going on here.
Alex Lazaris:
With this document, in 18 minutes, we'll have our artist spotlight. So just giving you a heads up. I think the gift timing will come out perfectly.
Kladi from Printmysoul:
Yeah, perfect. Right. So there is another page that I would love to style. If not, I'm going to go ahead and share this with you. The only reason there is because I wanted to show you how to also introduce video. If not, I'm just going to show you how to introduce the video. The entire idea at the end of this document is to have hyperlinks, to have an HTML, to have an MP4, to have navigation, to have a home button, and to have a GIF as well. So let's go and build that GIF. In order to do so, we can jump into Photoshop. But let me show you a cool way to jump in Photoshop. Actually, rather than just opening the app, let's labor our InDesign to do all the work. So, first of all, I want to make sure that I do have the correct image in. And if not, all you have to do is to head to your little panel here and let's go back into the correct document, make sure that we have our library selected and we look for our assets. Let's see if we have a resized image. Here it is. So the reason why I want to use this image and I was looking for this specific image in particular, and looks like we probably had them there. Let's see, you can click and drag on the panel to make it larger, and that's probably going to give you the entire name of the image. And that's going to help us to see if we have the correct image in here. If not, we can drag it. Oops, making a mess with the workspace. Here it is. Oliveti Barra. So the reason why I was a little bit stubborn here in wanting to work with InDesign is because I want to show you how you can open photoshop directly from InDesign so you can keep focusing on creating and not even having to work and bother to go on your desktop on your how do you call it, the application bar, I think. What? All taskbar. Taskbar, yeah. So all you have to do here to select the image of your choice and right click on it and then select Edit. By doing so, the image will magically open directly into Photoshop. And here it is in all his beauty. Bruno doing this amazing I don't know what it's called. I probably should I'm sorry if I don't. If there is someone there from the Deros method, they can perhaps tell us more about this wonderful pose asana, I think so far, that's as far as I can go with my knowledge and what we're going to be doing here. First thing is to head to the Layers panel. As I said, remember when we were talking about layers in InDesign, there is at least one layers in each document. In this case, the layer contains our image. And what we're going to do here is to isolate the content. There are a couple of ways of doing so. The one that I find very useful is to make sure that your image is Rasterized. And if it's not, simply right click on it and you can click on rasterize Layer and then head to the Properties panel and select Remove Background. And thanks to the superpower of Adobe Sensei, which is Adobe Artificial Intelligence Machine learning technology, you'll see the Adobe Sensei looking at the image, scanning and seeing what is the subject, what is the background, and in just one click pretty much does the job for you. That few years ago would have taken probably an hour.
Alex Lazaris:
Yes, that pin tool, pencil, masking, everything.
Kladi from Printmysoul:
Or creating a vector mask and so on. And now it's just like click and he's done.
Alex Lazaris:
Yeah, I love the object selection tool as well. If you're not doing the Removed background like you have it right there, you.
Kladi from Printmysoul:
Can just yes, let's undo that and show what you're talking about. So there is the select subject that in this case is going to isolate and create a selection. So it will allow you to have a little bit more control and it's still selecting the subject like it was doing before. But perhaps in this instance we can already see something that it was happening with our background removal. There is a little area here that we do not want inside of our selection. So we can go ahead and finalize and maybe refine our selection directly before creating a mask. Or there is a third method because again, everybody has their own way of working with these wonderful apps and there are multiple ways of removing a background. So me and Alex just mentioned two. I'm going to mention a third one. But there are a ton of methods. So this is not definitely going to be the only one. So please bear in mind that there are different methods to remove backgrounds.
Alex Lazaris:
This is my another one. The one that you're about to show is the one that I typically use.
Kladi from Printmysoul:
The object selection tool.
Alex Lazaris:
Yeah, exactly. Because sometimes you might have something that's really this is a great image, it's very clean because it's shot in studio, whereas sometimes there might be two buildings or two people on either side of the subject. So I really want to get super. Fine, well, just still a box, but I can kind of rectangle marquee it and then just select that one subject in that one particular area.
Kladi from Printmysoul:
And the beauty of working with the Object Selection Tool is that you can also use the option key which allows you to go into subtraction mode. And in this case, as you can see, I want to zoom in so you can see my selector a little bit bigger here. If I press option, that would be the option key. Oh, we lost the selection, let me do it again. So once you have already a selection. Remember, you need to have a selection first. Then we press the Alt option key. You will see that the little icon will change into a minus. In this case, we're going into the subtract mode of the Object Selection tool, which will allow you to deselect certain area. So here, if I want to get rid of this little background that is in between the legs, we can do so. Or if Alex said maybe we had another building or another object there, we can just simply hold the shift key and that will bring you into addition, I don't know. So one is subtraction and the other one is, I don't know, addition. It will help you to add different areas. So let's see that we had something else to add there. We can just click and add that. In this case, it just selected random pixels. So I just wanted to show you the flexibility of working with that tool. But the reason why I use the Remove Background, there is a reason why. So first of all, it right away creates a mask. So if we head back to our layers, we see that not only we have a selection, but is already moved into a mask which will be applied to our layer. If you're new to Photoshop, remember, you probably heard that many times if you worked in Photoshop before, there is the general principle of black conceal white reveal. That means that all the areas that are covered in black pixels, the color black on the mask layers, are going to be hidden, while everything that is painted in white will be revealed. And the beauty of the mask is that you can go ahead and refine it as much as you want by using the Brush Tool and following these principles. So if I'm going to go ahead and zoom into the area between Bruno's end that we saw here, we knew that there was like a little bit of the background or the floor just sticking in. So make sure to select the thumbnail. You will see that you have all the frames sitting around the layer. Mask thumbnail. You don't want to work on the image. You want to work on the thumbnail here. And then with the Brush Tool selected, you want to press the letter D to reset your swatches to default, which brings white on the background and black on the foreground. Just making sure that you got the right colors. If you need to swap, like in this case, press selector X and you can do that as many times as you want. That will bring the color black on the foreground and then you can start to paint on it just by clicking and painting in the mask. And as you can see, it's going to hide any pixel that we don't want. Now, I think that Remove Background has done a pretty good job. You can go ahead and refine the mask as much as you want. I think that's pretty well done. All we have to do perhaps is to bring also reveal therefore painting white on the mask, this little bit of the shoes because we missed it. But again, take your time and really work with details. Probably if I was going to do that as a final product, I would really go and zoom in anywhere there is a little bit of space. And again, keep switching between black and white. Also use the left and right brackets in order to change the size of your brush. The left bracket will make it smaller, the right bracket will make it bigger. And just make sure to go ahead around your image and kind of delete everything that you don't want. There is another way in which you can real quick clean your image. So I'm just going to do this area roughly. Again, take your time with your images and zoom in. I'm going fast because there is always a ton to do and we have like ten minutes, I think.
Alex Lazaris:
Yes.
Kladi from Printmysoul:
Got to work fast and smart. Work faster and smarter. So once we do that, what I want to show you is when we select the mask and we head into our properties panel. A wonderful option in this case. I think the mask came out pretty good. Although I can see that there are little areas here which look a little bit rough and rugged. I really want to make sure that it's nice and smooth. How do I do that and how do I act on the overall edge of the mask? Well, make sure to head back to the properties panel. Again, select your mask thumbnail first and then click on select and Mask. Here. I would strongly suggest to go into onion skin, which is the default mode when opening the mask that will allow you to play with these transparencies lighter. What the transparency does is bring back all the details so you can actually see if you're missing something or not. And I usually keep it at 50%. Again, in this case we were very lucky. It was a very clean image. But when you're working with different details or images that have multiple elements, this is very useful to see. Like maybe you miss someone's arm or someone ears where there are multiple objects, you can get confused. So you can keep using the slider to sort of have an idea if you're missing any of the elements. But you can also play with the radius that will change the edge detection around the mask. And also something that I like to play with in terms of global refinement, here is the smooth slider that will allow you to smoothen any edges. Again, be mindful. Those are very powerful tool. You don't want to just kind of like drag it too much. And if you really need for example, if you have a little bit of the background in the hair or there is some of the background color that is contaminating your image. You might want to use the decontaminate color to sort of clean it up. Again, this image was quite nice and straightforward, but those are further refinement that you can use in your image. And by the way, here we can see we have the refined edges, brushes and the object selection tool. Those are all tools that are part of this select and mask workspace, although you can also find them on the Normal toolbar. So this is a dedicated workspace, although you can always use them when working on your normal Photoshop document. When you're happy with the results, just simply click on OK and they will be applied to your image. But it's now time to bring the background. So what I'm going to do here is to click on the little adjustment layer in order to create a new feel or adjustment layer. And then I'm going to go ahead and select solid color. And because we know already that the Rose Method blue has a value of 100% RGB and we're working in RGB, I'm going to go ahead and use that reference in order to create a background that is going to be the same color. Then let me see if I remember what is the shortcut here to I always forget it. Here it is. No, actually remember. So there is a shortcut in order to move your layers up and down and that's the command. And then right and left brackets. And if you use it together with the shift key, you'll be able to move a layer directly to the top of the bottom of the layer stack that helps you instead of like dragging layers. As we said before, with layers, the order of the layer stack matters. If we do have a layer sitting on top, they will cover up the content of layers sitting at the bottom. And again in just one click option shift left bracket boom. Brings the background to the very bottom there. Fantastic. So all we need now is to get the text and I think I had the text from their website five minutes. We can do it. Now I need to remember where from the website I did take the here. It know the Rose method started in Rio de Janeiro is actually the majority of the classes or of the events. They're all in Portuguese, which is super interesting. I do not speak Portuguese, what about you?
Alex Lazaris:
Neither do I. No. I've wanted to learn it though. I think Portuguese is so, so beautiful.
Kladi from Printmysoul:
Let us know in the chat if someone knows Portuguese, let us know. I would love to know that. So again, what I'm going to do here is to copy the text and just in case, I'm going to paste it into my InDesign document because I don't know if we're going to use it for something else as well. But. Just wanted to paste it there so we don't lose it. And I'm going to go back into my Photoshop document and remember, I've already selected my test, so my text is copied into the pasteboard. All we have to do now is first of all to go ahead and create an Ellipse. I'm going to use the Ellipse tool which is located on your toolbar. And if you don't see it, it was there just because I used it quite often, but it's usually nested under the Rectangle Tool. So the Rectangle Tool would be the tool that you'll see as a standard. In this case, click and hold on the Rectangle Tool to reveal the hidden tools. And then you'll find the Ellipse Tool there. Click and drag to draw an ellipse and hold shift to make sure that you create a perfect circle to the size that you want. I'm pretty flexible with that. Just as long as it goes around the right selection, I'll be happy with it. And then go ahead and press the letter T to activate the Type Tool. Now, as you can see, I'm going to zoom in. There are different way in which your Type tool looks like here, if you have the marching ends, which is the dotted bounding box of the actual selector in a square, that means that you can create a text frame if it's inside a circle, that shows you that you're going to use the text inside. So if I click right now, the text will be inserted inside my shape. Well, if we have this little wavelength, that means that we're going to be able to use the so called type on a path tool. And what it'll allow us to do is to actually use the path of our shape as the container for our text. So in this case, all I have to do is press the command V to paste. The text is in black now, so perhaps we cannot see it. I'm going to go ahead and select it and from the Properties panel, we're going to change it first into white.
Alex Lazaris:
You'Ve got and then it's before Auto Spotlight.
Kladi from Printmysoul:
So probably we're going to have to go back in that for the animation, but maybe a 200, maybe a little bit more. So again, you can work with the size of the text and as you can see, it will move around your shape just like so. Now you perhaps something else that you want to do is head back to your layers and use the I icon located on the left side of the layers in order to hide the actual shape. And don't worry, we can actually delete it because we're already using the path around it for our text. I'm going to make the image of Bruno a little bit larger here.
Alex Lazaris:
Gil says that they are Portuguese.
Kladi from Printmysoul:
Oh, wonderful. To teach us some new words. And before we get going here, I'm going to show you how to duplicate the layer by pressing the command J or control J shortcut on your keyboard. And what I'm going to do in order to create that effect, when rotates that, it goes like from one side behind the body and from the other side on top. Well, I'm going to leverage the power of the layer mask by creating a duplicate setting. One duplicate above the text and one below, and whatever is the side in which I want our text to show. All I have to do is to select the mask and then press B to activate the Brush tool. Use the right bracket to make a little bit larger and make sure that I paint in white to delete the area of the mask that I want to hide. In this case, I want to delete Bruno's leg to make sure that in this case, the text will come out and whatever is below will be revealed, because we are hiding the pixel of this layer. So we have 1 minute. Yes, we do. We might want to be able to jump into at least talk a little bit about our timeline panel. So once we're happy, perhaps something that I wanted to do here is to name my layer. I've been a little naughty. We don't have too many layers, but all you have to do is to double click on the set on the layers to rename it. I can call this one Top Image, and then the text is pretty straightforward, and that's going to be Bottom Image. And then we have our color fill, which is fine. And the reason why it's so important to name Layers. And I was thinking about it before jumping into the timeline that as every other panel is located under window is because once we do and open up the timeline and in this case we want to create a video timeline what you're going to see here is that the video timeline is organized and mirrors the layers panel. So if you're messy and you have layer one, layer two, and you have perhaps like 20 layers, you will not be able to recognize and to manage your layers. And that's so important when working with the timeline, because we're actually going to go ahead after the artist spotlight and start to get things moving in the timeline. So we want to really make sure that we know what we are working with. So remember, the timeline structure mirrors your layer structure in name and layer position. So you want to be careful and organized with your layer in order to facilitate your timeline. How many seconds we got?
Alex Lazaris:
We're ready to go. Yeah, but before we get in there, if you guys want more information on how to nominate yourself or another artist for the future spotlight, please check out the Spotlight tab in Chat so that will help for future things. But for today, we've got Marcia. Do you want to work.
Kladi from Printmysoul:
Here we go. So you want to do, like, the drum roll. Boom. Here it is. So we have Marcia Quintelaviana, and I hope that I pronounced that correctly. She's actually from Portugal, and I probably pronounced that in Spanish, so I don't know if that even makes sense. I apologize, Marcia, if I pronounce your name wrong, but I hope I got it right. But let's focus on your outstanding work, anything that catches your attention.
Alex Lazaris:
I love packaging. So any packaging for me, I'll go straight to that first one on the left. Yeah. But while we're at it, definitely give her follows. Shout out all of her amazing social. Definitely reach out to them on Instagram, whatever they have on their social. What do they have linked.
Kladi from Printmysoul:
I'm just going to go ahead and give it a little zoom so it's behance net morella. I don't know how you pronounce that in English.
Alex Lazaris:
Morella.
Kladi from Printmysoul:
Yeah.
Alex Lazaris:
But I love that URL. Oh, she's in chat.
Kladi from Printmysoul:
Hello. Hi.
Alex Lazaris:
But also I love that URL of just meh. Portugal. It's good.
Kladi from Printmysoul:
Meh PT. That's super cool.
Alex Lazaris:
It's topical.
Kladi from Printmysoul:
Mmms. So thank you so much, Woodoval, for pressing, for linking, or placing the link in the chat. I don't know what I'm saying anymore. I've been talking so much, just saying things.
Alex Lazaris:
Definitely go follow her on Behance, follow her Instagram and see a link there. Just we're a wild and big family. So go over there, hang out.
Kladi from Printmysoul:
Absolutely. So let's jump into this project, because talking about animation boom. Look at that. Not only the project is colorful, beautiful in its design, but right away strikes you with an animated presentation. Well, you are the packaging person, so I'm going to let you I love.
Alex Lazaris:
The really just, like, natural color palette for it. It seems to be a very natural fruity snack. So it's really cool. Yeah. I love the gift to start it. And these mockups, you can't go wrong.
Kladi from Printmysoul:
We got a little tongue sticking out.
Alex Lazaris:
Yeah, that's really cool. That would make a very great animated SVG logo for the website.
Kladi from Printmysoul:
We didn't bring it today.
Alex Lazaris:
No, I didn't.
Kladi from Printmysoul:
But we have a great example but.
Alex Lazaris:
A great example of what an animated logo could look like in a web bar. You could just have it really simple with the tongue just doing that periodically, or on hover. With the SVG logos, you can animate as well. And that would be a cool little just like little.
Kladi from Printmysoul:
And by the way, just because not everything is Greek, but it might be Italian. Apparently 3D fruity comes from 2D fruity, which is Italian, not Greek.
Alex Lazaris:
Looks like I don't know. I'll have to go talk to my ancestors. I think we made that up, too. We'll give that to you. We'll give it to you. You can have it.
Kladi from Printmysoul:
Marcia, we are loving your work. We have this, like, a little bit of an intercultural thing going on, but that's so cool. The packaging, I loved, actually, the fact that you take it from tootie fruity because they're fruity treats. And I think that also the fact that they're like healthy and without any other sugar preservative. They're like healthy treats. It comes from you can get the feel from the texture of the packaging as well, isn't it?
Alex Lazaris:
That 3D mockup is great. These are all awesome.
Kladi from Printmysoul:
It's a photo. It's not a one. I'm just joking.
Alex Lazaris:
I don't think so. It's such a beautifully created yeah, it's really wonderfully presented.
Kladi from Printmysoul:
And the color palette also is very warm. And it just gives you, I think, a great representation of what the flavor range is as well. Yeah. Beautiful.
Alex Lazaris:
I agree.
Kladi from Printmysoul:
So are those for humans or no? Because I want some I want some coconut and papaya.
Alex Lazaris:
It's a good question. I think so, yeah. It seems like a human treat.
Kladi from Printmysoul:
No. With humans best friends in mind. Because that's why the little tonk because that looks like a little.
Alex Lazaris:
Well, I'm still going to eat them.
Kladi from Printmysoul:
We're proud of the same club. Every time that I feed my cat, I'm like, oh, I want to now.
Alex Lazaris:
Exactly.
Kladi from Printmysoul:
But let's move on and see some other look at this. I will buy this. So nice and beautiful.
Alex Lazaris:
Did you use Dimension for this? Do you know?
Kladi from Printmysoul:
Let us know. She's in chat.
Alex Lazaris:
I think there's tools on the tools tab on behance.
Kladi from Printmysoul:
I just saw oops, sorry. I just clicked.
Alex Lazaris:
Yeah. So photoshop Illustrator and Dimension Very nice.
Kladi from Printmysoul:
And also, I believe that Marcia was featured in the Dimension as well. So she's been featured in a gallery. Let me go ahead and see. Here it is.
Alex Lazaris:
Oh, yeah, I've seen this one.
Kladi from Printmysoul:
Here it is. The La Pacino.
Alex Lazaris:
You're famous, Marcia. This is cool.
Kladi from Printmysoul:
Again, beautiful color palette.
Alex Lazaris:
It's always really cool to me whenever you're familiar with the person's work or seen the work, and then you put names together like Lisa earlier. It's just cool to see that.
Kladi from Printmysoul:
Yeah. She's saying? All dimension. All Dimension. All Dimension. Super talented.
Alex Lazaris:
Yeah, that's awesome.
Kladi from Printmysoul:
She's like, no, they're just dog snacks. They look too tasty. They're so good. You've done a wonderful job.
Alex Lazaris:
Designed for dogs, not humans, then. That was great.
Kladi from Printmysoul:
I love the textures again. Everything feeling very healthy, very natural. You can totally get that vegan feel. And same here. Love what you've done there, by the way. I'm going to give you a follow. Here it is. Let me follow you. Bang. And let's see one more. There is anything that you are, she.
Alex Lazaris:
Says was my first time in Dimension. Dang. Oh, that's crazy.
Kladi from Printmysoul:
Congratulations. That's a wonderful, wonderful work. Let's see this one that is featured in Logo. So I think we have a logo. Folio and Marks 2020. So pretty recent as well. We do have a multiple ownership in here, but let's have a look see. This is not taking back what I was saying. This is not a logo. Everything is connected. Everything is connected. Yes. So this is not a logo. Folio. Fantastic. Love that animation coming through. Really keeping everything fresh and active. Really want to keep me looking for more. And then we have the lattuccino that we've seen before and that's so nice to see everything put in black and white. And I love the way that we have these gray corners. So the information is there. We have the logotype, we have the name of the clients, we have our website coming through. But it's so understated that it really let your eyes taking in the logo. And if you do and want to look for more information, they're there, but otherwise they're not overpowering at all. Oh, I love this one as well. So beautiful.
Alex Lazaris:
That's cool.
Kladi from Printmysoul:
Oh, the Mexican food is so cute. Fantastic. So she's a master at Illustrator. InDesign after effect as well.
Alex Lazaris:
Oh, wow.
Kladi from Printmysoul:
I'm just mind blown. If you want to work with her, her email is general at Matt PT. I think that's a very clever mood to have your call to action your email. If you want to get hired, I think that's a fantastic way also to do it. Besides the work. Super clean way of placing a clever way of placing her email address as a backdrop for her behance.
Alex Lazaris:
I didn't even think about doing that. She's so far ahead of me and I run my own business. Well done.
Kladi from Printmysoul:
I'm clapping here.
Alex Lazaris:
All mine is is a black bar. So you're miles and miles ahead of me on this. I need to just copy that idea. Well done.
Kladi from Printmysoul:
Should we do one more? One more, one more.
Alex Lazaris:
It's a Mexican restaurant.
Kladi from Printmysoul:
Yes, that's the Durango one. That's the one that I wanted to look at. See again. Beautiful. Let us know in the chat. It's a margarita. Oh, it's a Marit reference. Also it was Margaret not but relard. I need to go and check. I really thought that we were on what are going to be on your screen, Alex? So I could have be cheeky and do my research, but then if you say it's my great, it's my great. Let me go and check. But I will later. I was actually like really curious, but we trust you. Marcia is a Marit reference. I was completely wrong. Looks like unless there are two different artists, probably done a similar thing. But let's have a look here. Again, we do have this animation. I love the contrast with google says.
Alex Lazaris:
It'S.
Kladi from Printmysoul:
Going to I'm going to have to see why I think and I'm not playing. I think that Bodrelard used that as a cover of one of his books. So I think that I have the visual image of the COVID of the books in my mind and that's why the name, the writer of the name, can you Google that please?
Alex Lazaris:
What's going on in your brain?
Kladi from Printmysoul:
Google is budrillard using Mcgrid covers. I'm just joking. Anyway, what I was saying here is super cool to see the bold color and the photo. And I also like the fact that with a darker logo, so with a black logo, she used an image with a lot of contrast. So definitely that gives a little bit of a rhythm and really brings in the contrast with the logo. It's like almost it's like the starting point of the little animation look. How cool is that?
Alex Lazaris:
Cool. Yeah. I like that they go from happy to luchador. They're cool little illustrations.
Kladi from Printmysoul:
I'm really happy that we click on that. That's totally fun. Playful. Looks like one of spicy warm. And again, this is one of those dream job where the branding and that's what we were talking about before when we're talking a branding is not just a logo. We have a complete reflection in terms of the use of lights in the ambient as well and in the actual restaurant itself, which I think is super cool. Fantastic job.
Alex Lazaris:
Love to have really happy to posters as well.
Kladi from Printmysoul:
Look at the texture in the image. You kind of get the feeling of the paper napkin that you might have at the restaurant. So I think it's like a fantastic way of treat the image. And also here it is. So we have like the tablecloth or whatever it is and napkin sitting behind in the image. And that comes through in the photo. So consistency, that's also part of the branding. Keep it consistent within your visual language.
Alex Lazaris:
Yeah, that's great work.
Kladi from Printmysoul:
Oh, want some tacos now? I didn't have tacos in two years.
Alex Lazaris:
This is the danger of looking at restaurant just because so hungry. But I know we only have like about 15 minutes left.
Kladi from Printmysoul:
Not a round of applause for Marcia. We loved your work. I followed you. Going to keep your eyes for your work. Go and follow her and drop her an email. She did a fantastic job. Really happy to have you here. Really incredible for our artist spotlight. And boom. We're back with the Rose method and Bruno. So as I said before, we were talking about the timeline and I'm actually going to get a little bit of water before I just kind of like finish it off.
Alex Lazaris:
Yeah, sorry.
Kladi from Printmysoul:
It's like super hot in here. Very weirdly. Is like the super hottest week has ever been in Manchester. And it gets hotter in the evening, which is like even more upside down. Talking of upside down, let's get him back to our Bruno, which is what a transition. What a transition which is there waiting for us to animate this little GIF. Perhaps something else that I would have done is to in this case, I really wanted to show off the power of the creative libraries to open any app so we can open Illustrator. In this case, we open Photoshop from InDesign. If I was working from scratch, I would have probably go ahead and started by creating a new document pressing command n again work in web because we know that we're producing these as a screen asset. So that would be the output and in this case I would have doubled and I will recommend you to be flexible and thinking about how to use your assets. I would have doubled into creating 1080 by 1080 image just because the sort of aspect ratio of the initial image is sort of like already almost a square but 1080 by 1080 if you know it or if you don't know it already, is the actual aspect ratio for an Instagram post. So that will allow you to have the GIF ready to go for your document, but also you have the document ready to be saved as m four that you can also publish on your Instagram feed. So you're literally creating one asset which becomes a double value so you can use it into different document. So that's what I would have done but for the sake of time I'm just going to go ahead and keep going and working on this document. Now what we're going to be working here is the actual text and I'm going to click on the drop down menu. Remember, anytime that you want to go ahead and start to make any change or any images, click on this little arrow located next to the layer name on the reflected copy which is on top of the timeline. And here you'll have access to the different things that you can do with each different layer. And depending on the layers that you're working with and if they're a layer mask of not, or if they're text, or if there are color, if there are shapes, you will see a difference in within these actions. The most common one is position which will allow you to move the position in time. But let me introduce you a little bit more about the timeline just in case you haven't worked with it before. First of all, I'm going to go ahead and use the scale here with this lighter that allow us to see a different version of the timeline, either zoomed out or zoomed in. And then something else that you want to be familiar with is the playhead. The playhead is this red line with this little blue thing on top which is the actual playhead which allow you to play and move in time. So this is time zero which will be the beginning of our status and then in this case the final time is I think it's five second if you want to stretch the seconds because remember, the closer actions happened in time, the faster the action will be. So if we get this text to spin 360 in 5 seconds it will just go like super crazy. So a very quick way to change the timeline is just simply to drag one of the layers here. So click and drag in order to extend it to as much as you want. And you'll see here that you actually have a little duration once you drag. I'm just going to make it a little bit smaller because I want to drag it to like 20 seconds. And by the way, my laptop here is not super beefy, so it might not handle it, but I have like a little skip it to ten just for the sake of it. I've done some homework, so I did create it and save one with my Mac. So again, that's something that you wanted to look at. When you work with animation, depending also on the size of your file, on the size of your image, everything will kind of affect and impact the size of your final document.
Alex Lazaris:
So essentially all you're trying to do is you're trying to have it loop once in 10 seconds, correct?
Kladi from Printmysoul:
Yes, exactly.
Alex Lazaris:
The GIF will go on forever.
Kladi from Printmysoul:
Yes. Because we're going to loop it. We're going to loop it. There are different way of looping it. Just to start, make sure that here you can select looped playback from the gear icons and then let me go ahead and show you something else that you want to do here. When you transform something and you want to in particular rotate it position and I'm probably going to see how much time do I have? No, probably I need to straightaway jump into the actual text. So something that you want to do here is to right click on the layer and convert it into a smart object. By converting the text into a smart object, it will allow you and it will make sure that you create a rotation. As I said, different layers have different properties within the Properties panel. So when you create in particular transformation with rotation, you want to make sure that you go ahead and create a smart object out of whatever layer you're working with, not necessarily text. Then the most important thing, as I said, is to set the playhead back to zero. And we're going to click once on this little stopwatch next to the word transform in order to enable the first keyframe. Keyframe is another element that you want to become familiar with. It's just this little yellow diamond that will set the status of that element at that given time. So that tells us that the transformation at the moment is as we look at it. And then what you're going to do when you want to create a 360 transformation? I'm going to go ahead and just kind of like make this smaller so we can access right away the midpoint, which is five second. Once we hit five second, I'm going to go ahead and make sure that I got my layer selected. You can select it from the Layers panel or the Timeline press Command T, that's Control T on a windows, and then hold the shift key and drag. And what you want to heat here is 180 degrees so it's go back to when you're done enter return and as you can see, automatically the timeline will generate a new keyframe. Now you don't want to go all the way 360 because as you can see before the level go back to zero and then negative. If we do that, what happens is that it's going to move of 180 and then it's going to come back. So be mindful to break it down in two different steps. And of course, try to also keep your mindful with your timeline. Again, I'm going to move it now to the very end, which is ten. Again, command t that's control t to access the transform tool and the shift key would just allow you real quick to hit back zero. And when you click a return in order to apply the changes, we will have the transformation applied and the keyframe generated. So then press the spacebar or click on the play button in order to play your GIF. And as you can see, it goes quite fast. That's the reason why I kind of wanted to distribute it into 20 seconds. I think that 10 seconds is a little bit too fast. But before we go, I wanted to make sure that I show you how to export a GIF. To export a GIF, add to the file menu export and save for web legacy here. It's probably going to take a second. I hope that it's going to give us time because I also want to show you how to publish the document at the end. Hopefully we're going to make it on time.
Alex Lazaris:
For people who are new to making gifs in Photoshop and uploading them to Behance and other sites like squarespace wherever your files are limited by size. And the longer your GIF is, the larger your file will be. Typically, unless you do a couple of cheat codes that are kind of complicated.
Kladi from Printmysoul:
Yeah, or unless you go to a way lossier way of displaying the GIF, which depending on the size of your image, you might or may not get away with. So it looks like there you go. Let me shush all you have to do here and again, I'm not going to click any other button because it looks like my laptop is like boiling nearly as a fever. But what you want to make sure there from the drop down menu, you just select GIF and then you make sure that you select a forever loop. I don't know if that's going to happen again. It just kind of looks like he went his own way. We can just try one more time. See if we have three how many? Four minutes?
Alex Lazaris:
Yeah, five minutes.
Kladi from Printmysoul:
Let's see if we make these happen. So the animation is done pretty much. We are ready. All we're waiting here is to export and we're just going to try one more time. If not, you kind of sew that little window. All you have to do is make sure usually it says JPEG. You want to click on the drop down menu and make sure that you select GIF. And then something that is very important is that when you see the animation at the end you want to loop that forever. That will allow you to have a GIF that keeps playing over and over again.
Alex Lazaris:
And the great thing about this GIF specifically is that you're limited pretty much in color palette. So to save a smaller file you can remove, you have the option between 256, 128, 64, I think 32 for your GIF options and those will cut down how many colors the GIF is using and then it'll make the sizes a lot smaller as well.
Kladi from Printmysoul:
So I don't think is having it oh see like give it a thing and then it just goes. So that's exactly what I was talking about the GIF and that's what Alex was talking about the colors, which is the maximum number of colors in a table and that's what I was talking in terms of looping option, you want to make sure that that's set to forever. You can also change the percentage of the size that will help you to keep your file a little bit smaller by resizing it. As you can see my laptop is suffering so I'm just going to put it out of its misery and click on Cancel in order to undo that. Another way in which you can export an animation is through an MP4 file that's a little bit faster. Usually you can simply go make sure that you allow the loop playback and then click on Video. And here you can also set the document, probably going to take a second as well. You can set the document, the destination folder and click on Render and that will generate your MP4. Now because I've done my homework, we're going to jump back into our document and show you real quick. All you have to do once you have your GIF which was ready and done, simply click and drag it inside the file. Make sure they use your selection tool here. So all you have to do is to click and click once in order to place it inside your file. And what we're going to do here is to take advantage of that beautiful EPUB interactivity preview. Make sure that you click on the preview in order to load a new preview and you can see that we have the GIF that is perfectly working. And now that we know that everything is working and is in place, what we're going to do is to learn how to export it. In order to export a file, all we have to do is to click on the share icon located on the top of the bar of the menu and then select Publish Online. From there you will have different options in terms of the way that you want to publish. Your document. You can give it a title, so can call it the Rose. You can give it a description. I can write whatever you want regarding the Rose method. You can also update an existing document. So if you already create a link and you make some changes, you can still update the same link and then simply select Publish. And you'll see that in just, hopefully, few seconds, the document will be updated and all we have to do is to enable and share the link whatever we want. And again, the beauty of these documents is that once we share the link, we'll be able to go back at any time and make changes and simply update the same link. So if you already give the link out, here it is. We can view the document online. If you see that you have given your document out and perhaps there are some issue with the document, don't worry, we can go back. And here we have our navigation, our overlay color working. Our call to action working. Everything is working. Our document looks super cool. We have our YouTube video also playing, and most importantly, we have our home button, which will take us to the COVID as well. And I think it's time to say bye bye or not.
Alex Lazaris:
Yes, it is. I love that. That's amazing. I think over the last two days, we've learned how to organize our workspace, embed, hyperlinks navigation, like gifs, YouTube videos, rounded corners. Why Greece is better than Italy.
Kladi from Printmysoul:
Look at you. That was Moose. That was very moose.
Alex Lazaris:
We've seen some really great work by Marcia and her friends, and we had a great fun.
Kladi from Printmysoul:
I had a lot of fun with you.
Alex Lazaris:
So much fun. Yeah, I loved it. That was a great time. Make sure that you follow Kladi on behance. Net slash I am Kladi. Or printmysol.com, I think.
Kladi from Printmysoul:
Is that right? Anything? I am Kladi. At. I am Kladi.
Alex Lazaris:
All right. There you go. I'm Kladi. Everything. Any last words, Kladi?
Kladi from Printmysoul:
Thank you so much, everybody. As always. I'm super excited to be here, and hopefully I'll see you in two weeks for the Illustrator Creative Challenge here on Adobe Live. But stay tuned because there is more fun coming after us.
Alex Lazaris:
Yes, there is. Way more fun. There is going to be a DCC replay. It's going to be previous broadcast, but with Live Chat, so stick around for that. And then afterwards, Kyle Webster for some drawings. So it's going to be a great time. Make sure you stick around today and hang out with everybody. And Kladi will be on again soon, and I can't wait to tune in.
Kladi from Printmysoul:
Alex, thank you so much. That was amazing. And thank you to Paco behind the scene, helping us out with the production.
Alex Lazaris:
Thank you, Paco. Thank you, Val. Thank you, everybody. Thank you in chat. Thank you for tuning in. So we've had a great time, but we'll see you soon. Bye.
