SESSION 15 | April 27, 2010

SESSION 14 | April 20, 2010

Grading

Newsletter comments are posted to your workarea folder…. see the notes on the yelow callouts (note: they Are non printable so if you click onpreview mode they will disappear, soe you can click in and out of preview mode to see what i was referring to. Everyone should have received a PDF of their grading sheet from me in your KVCC e-mail. If you did not recieve it let me know by e-mail and I will resend.

Opportunity Knocking

Hi – I was hoping that you all would encourage your students to submit their final projects to the ANM Magazine – which I will be working on throughout the summer.  I know that end of semester timing is not on my side when it comes to introducing MORE WORK for students!  If any of you have a chance to mention the magazine to the classes, or would like for me to come in and give a really quick rundown of how super sweet its going to be, I would be more than happy to do that. Thanks again!

Melissa Al-Azzawi
blog: http://cnmmag.wordpress.com/
community: http://cnmstudentwork.ning.com/

In-Class

Re-Preflight and Package Garden Newsletters, load packaged file to server: Fonts and photos are necessary for grading purposes. This was to be a digital document so no color conversion was necessary. Keep in RGB color space.

Magazine Row Review: Designs were shared with row partners. Specifically design criteria was to be looked at. Visually is it working? is there a focal point? Where does the eye go? Do the design decisions make sense? Do the choice of fonts add to, or detract

While assisting with design issues today here are some issues I saw popping up:

• Grids/Margins: many people are not using a grid or margins to their advantage. You if you place a text box visually and it is not aligning to the grid, go back and change the grid to work with your new design. The purpose of the grid/margins is to give a structure to the page/magazine, if you change it for every page, you will not have the structure. The outside margins, and page numbers placement should not change– they should be established on master-pages and be in the same place on every page. There is more flexibility with the number of columns on a page, on one spread it may be 3 columns of equal width, on another it may be 2 wide one small, but the outside page margins should not change.
• Colors: When done designing make sure all swatches are CMYK (process 4 color, not spot or RGB). Make sure to delete unused swatches (under Swatches Panel Options) and then Add Unnamed colors (also under Panel Options) make sure the added colors are CMYK.
• Graphics: Must be CMYK and at an effective resolution of 300PPI. Effective resolution means after you have placed the page on the page and scaled it up or down how many pixels per inch are in the image. Within the links panel you may need to turn on some columns to see all the necessary information at a glance. What you checked are:
  • Status: shows if a graphics link is  broken
  • Page: shows page image exists on)
  • Scale: shows percentage of width to height ratio. If you see a range of numbers, eg.  222 x 234, it means that the image has been stretched, and is not scaled in a one-to-one ratio (1:1). With a portrait a person would look either fat, or skinny depending on the percentages of height to width. Ideally you want the height and width to be exactly the same.
  • Color Space: will show RGB or CMYK color mode
  • Effective PPI: should be 300 or above. You can go down to 240 but it is not advisable to go below that.

Links Panel Option Dialgue Box

At a glance we can proof links

Label image as “For Position Only” (FPO)

Any graphics that are not of a high enopugh resolution (above 300PPI) should be labeled with a “For Position Only Lable  (FPO) and the label should be obvious.(lets discuss how we could create this…(non-printing or on a layer with notes. )

Homework

Finish your magazine. Bring finished magazine, thumbnails, research  and all graphics to class. Be ready to proof, preflight, and print and package.

Last Class

• Add Design Analysis (place on pasteboard to the left of cover, and project slug  from library folder
• Share magazines (on screen critique)
• Proof magazines (make any last changes)
• Pre-flight/Package
• Print as Booklet
• Upload to class folder
• Clean folders out (consolidate Restaurant Toulouse and Daily grind files) into one each
• Lets look back at the sample files and library file… lets add some things to them…
• Test

SESSION 13 | April 13, 2010

On Wednesday, April 21, 10:30 – 2:00, there will be will a representative from the College for Creative Studies in Detroit: Kate Briles-Lees, Assistant Director of Admissions, will set up a table in the front area of CNM to talk to students about CCS and answer any questions they may have about transferring. If interested please come see her and discuss your transfer and find out more about their program (It is a strong one)

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Above magazines samples were created by students in GRD202 Winter09. Instructor Note: There are many links in this post. Please take the time to explore them.

NEWSLETTER EXTENSION:

Yesterday in class  I told you to upload “only” your Newsletter file and not to worry about the links since I have them, and now realize that one of the grading criteria is based on correct color space and effective resolution of graphics. Because of this the files will need to be preflighted/packaged “with the links”. As such, I am extending the turn-in until next week. Note: this extension allows you the opportunity to polish your designs and get the maximum points (fortunate for you). I do have the files/printouts that were turned in yesterday, so if you did not turn it in yesterday it is still late, and points will be deducted. Because of my blunder I am extending an offer: Send me your newsletter.indd file before Sunday and I will review and get you feedback ASAP. This is a laborious  process for me, but I feel important for you to know what is not working in the file — and the only way to be sure is to look inside the file. Time does not permit me to pour through each file “with” you in class to point out issues, so this is the next best solution I can think of. Just a reminder the grading criteria for the newsletter and Magazine design is the same:

• RESEARCH/THUMBNAILS: turned in with printout
• COMMUNICATES INTENDED MESSAGE: by written overview/analysis* (*must be added to newsletter)
• PAGE CONSTRUCTION: bleeds, slugs used correctly
• STYLE SHEETS: clean paragraph styles: no unused/unnamed styles
• USE OF COLOR: technical: CMYK, no unused/unnamed swatches
• IMPORTED GRAPHICS: correct color space CMYK/resolution 300PPI* (*must be packages… if images are too low they should have a “FPO” label attached. FPO meand for position only and Is a flag for the printer to replace the graphic with a higher resolution version)… we will discuss further next week But you should be Able to identify any problem graphics.
• AUTO PAGE NUMBERS: folios/footlines on master pages
• COMPOSITION: solid relationship of elements, emphasis makes sense
• COPY FLOW: where appropriate linked text boxes using auto flow
• TYPE HIERARCHY: logical relationship between styles that works
• TYPE CHOICES: appropriateness and readability
• CRAFTSMANSHIP: clean/neat/alignment/attention to the details

IN-CLASS

Very quick intro introduction the world of magazines. This is a very deep and broad category of publishing which includes consumer, business-to-business, custom, and digital editions amongothers. Obviously, one project cannot cover the spectrum, but can at least introduce 5 building blocks pf page layout within magazine design: Cover, ads, contents, multi-article pages, and longer feature stories — one story which may contain sidebars (smaller conpanion stories that delve into specific idea, divergent concept or related information.).

Final Project Magazine Specs: 8 (or 12) pages (must be a multiple of 4 to allow Booklet printing) CMYK, 8″W x 10.5″H, must include .125″ bleed on all sides, add 1″ project slug area and use the slug from your Library File. Design the following

• Cover (should contain Nameplate, Issie Date, Cover blurbs, Price/UPC (bar code placeholder) if newsstand publication.
• Inside front cover (IFC or cover2) Ad that you create: this should relate to the subject matter of the magazine
• Contents page 1 page (alternately you can create a 2 page Contents spread and not create an Ad.)
• Front of book (FOB)/department spread with multiple stories– should have a department slug or heading at top of page
• feature story 3 page, open on a spread and jump to next page
• OPTIONAL: Additional 4 pages bringing assignment to 12 pages. Some of you have expressed a desire to create a self contained book and so the back cover is important design element. Rather than cuttin the feature story to 2 pages, I’d encourage you to create 2 longer features to fill the pages (longer features require a different approach and linking of text boxes is imperative.

Homework

DEFINE YOUR PUBLICATION IN WRITING: DO NOT SKIP THIS PART! it should be turned in with the final project for grading. What is the publication about about? Who are you talking to? What does that demographic want/need in a publication? Define the “personality” of the piece: fun? serious? upscale? young? cutting edge? traditional? artsy? educational? Be specific. Thumbnail your layout, figure out what will be on each page before creating the digital file. You are working out the flow and pacing of the entire piece here.Make sure you write down who your target audience for the piece is, and make design choices that fit. 

THUMBNAIL YOU DESIGN: DO NOT SKIP THIS PART! it should be turned in with the final project for grading. This is where you should quickly figure out your grid, what to include goes on each page, graphic device, appropriate colors (for emotional impact), typefaces to use (refer to the 0SAMPLE.indd  file created in the beginning of the term with font personalities — choose APPROPRIATE body and head fonts. Yes I suggest doing this before creating the document.

TEXT: Body copy can be placeholder text (Greek), but the headlines, deck, subheads, by lines, photo credits, pullquotes, captions etc should be written (in English) and relate and give a real indication as to what the story is about. These are the elements that will make your publication look “real” — the “realer”, the better!

GRAPHICS: You should have the right to use any photos/graphics in your publication and photo credits should reflect where they come from. Suggested photo credit style 6pt san-serif font all caps running along side of the photo or in the gutter(spine) [Example: PHOTO BY: ANDREA STORK, or ARTWORK: WWW.WEBSITE.COM]

LINKS

Consumer Publication Links:

• Meridith Corporation From here you can access different media kits from its magazines. Media kids give the specifications for the publication, demographics of the readers, and rates/sizes/submission dates for advertising.
• http://www.coverleaf.com/#Home&Category=70 Link to magazine  samples, and ability to look at the genres of different magazines, and the types of departments they have :
• MagazinePDF with layouts from More, Better Homes and Gardens, Family Fun,

Digital Publishing links

• imotormag.co.uk this is a clever interactive advertisement
• Digital Editions digital magazine hosting site. Note: different levels of interactivity offered

Custom Publishing: (yes, that is the “C” word that was alluding me yesterday. )

• definition

SESSION 12 | April 6, 2010

art slam 2

IN-CLASS

1:30-4:00pm

• Print thumbnails of Newsletter, wall review (11/18 students had this partially completed. This was a major disappointment considering it was homework and should have been 3/4 done)
• Convert newsletter photos to effective resolution of 300+ PPI and CMYK color space (commercial CMYK offset standard) This is really outside of “Page Layout”, and actually there is an awful lot to do it right/well. One of the big issues is that some printers still require all images to be in CMYK, even though you can change the color profile and export to a CMYK PDF and a conversion is made. The down side of this is you do not see the change in color and often Printers get “nailed” by designers/clients for a color shift that would have been noticed if they did the conversions. So some printers simply require the files to be converted before they will print it.  It Is very important that you discuss what your printer requires before doing any color conversion. The may give you a profile to use. Here are a few short videos and  tutorials that may help explain it better. Color Workflows, RGB to CMYK, Color Mode,
• Proofed Files On-Screen: check for unused colors and unnamed colors in swatches panel, correct color space, check resolution of images, remove unused styles, check bleeds, etc.
• Preflight Digg File This was to be a digital document so no color conversion was necessary. Keep in RGB color space.
• Error messages in Preflight

4:00-5:05pm

• Load  Packaged Digg folder into your workarea folder. (packaging files creates a folder with your native file, instructions, fonts and links folders — everything needed to print the file in one folder.)
• Load Completed “Term” Document into your workarea folder
• Test #2

HOMEWORK

Gardening Newsletter to be COMPLETED for next week. Have it done upon arrival

• Specs: 8page, 8.5”W x 11”H
• Color: CMYK, all images converted to correct color space with an effective resolution 300+PPI
• Copy/Photos: You must supplied text/photos because this gets you used to copyfitting. Making up text, or using placeholder is NOT how real projects get produced, and it is important to be able to get things to fit. When you are placing text/graphics remember that sizing photos and adding pull quotes allow you to play with the space. You may rewrite headlines if you think another title would be better, and/or add an appropriate “Deck” as a lead-in to the story that Is fine. Should you own a better photo for the story you may swap it out, but please do not spend your time finding alternate photos, work on making a better layout tht comminicated effectively. Cover should have a Contents/Whats Inside  box or call-out.

Indicia style

• Mailing Panel: 1/2 page mailing panel on back cover (Upside Down). Here is a sample of style for a mailing indicia box for “USPS Standard Pre-Sorted Bulk Mail. Match it’s style, bos should be 1.125″ square.
• Master page items: masthead and folio/footline/header information (folio = page numbers), grid/column guides.
• Linking Textboxes. A story should link from one text box to another in the next column, or use multiple columns within one textbox. If a story jumps to another page make sure there is a “continued on page ___” and “Continued from page ___” on each jumping story.
• Object styles created and applied for Graphic boxes (things to consider: strokes, text wraps, effects, drop shadows, corner effects etc.)
• Paragraph styles created and applied for all applicable:

• • Head
  • deck
  • bylines
  • subheads
  • photo credits
  • captions
  • body
  • pullquotes
    

NOTE: all Paragraph styles (¶) should have “[None]” listed as their Character Style (A). Rember, Character styles are used to affect just-a-few-characters within a paragraph for additional emphasis and to convey meaning or for visual interest (eg. change font/color/size for emphasis like the word “Note:” at the start of this paragraph

Stuck? If you get stuck look at look the supplied InDesign templates (from InDesign: File menu to New, New Document from Template, look at Newsletters and Community Newspaper folders)  and see how they are made/structured. Note: I gave you one (GrowingWISE) which you can also open ad look at formatting. Other good websites are listed under links.

What makes for good design?

There appears to be some struggling with the “Design” aspect of the project. Here is a list of aesthetic principles to consider when creating or evaluating design. This should have been covered in ART101)

• Hierarchy: Setting priorities. What’s the most important thing, visually, in the layout? Is it actually the most important, most attractive or most convincing part of the message? What’s next? What’s last?
• Emphasis: The visual expression of hierarchy. Once you know what’s most important, use visual emphasis to focus attention through size, position, value, and color.
• Contrast: Big/little, crowded/open, orange/blue. Contrast is the tool which helps you set up that hierarchy and focus attention.
• Tension: Throwing things off a little. You create tension by manipulating relationships. Place things a little too close together, or set up a little too much contrast in their visual weights. .
• Balance: Creating a gravitational axis. Balance doesn’t have to be symmetry. By opposing dense detail with open space, or heavy elements with lighter ones, asymmetric balance can be attained.
• Rhythm, Variety and Pattern: Variety relieves monotony, and pattern helps the mind make sense of it. In multi-page works, rhythm creates pacing across the whole.
• Flow: Leading the eye across the surface. This should happen in a desired sequence.
• Depth: Leading the eye beyond the surface, or making things jump out from the surface. Depth is the most inherently contradictory illusion of 2D design, and therefore, one of the most compelling.
• Scale: The illusion of size: The size of elements relative to one another is important, of course, but the size of things in relation to the format and the size of the format are also worth considering.
• Movement: The illusion of an object in motion. Movement can be created with optical effects and creates the suggestion of change over time. Used deliberately, suggested movement can have a marked emotional and physical impact on a viewer.
• Unity: That which holds the piece together. Color can unify a design, as can a grid, visuals that represent related subjects or a consistent style of imagery. In an age of over-stimulation and cacophony, unity is often underrated.

Final Project Magazine

For Next Class:

• Bring in samples of magazines, and magazine layouts that you like. We will be looking at the structures of the different sections of a magazine.
• Have the “concept/idea” for your Magazine and be very solid on the direction.
• Bring ALL Assets (graphics/words) should be of your own making, in the Public Domain, or Royalty Free that you have purchased.
• You may use placeholder copy for the bodycopy, but heads, subheads, captions, pullquotes etc. should be written and add to the communication value of the piece.
• Know where you are going:
  • Establish who you are talking to (audience demographics) before designing and design accordingly.
  • Establish what the piece is intended to do: inform, educate, keep company/organization top of mind, get reader to take action, extend an offer /coupon, encourage loyalty…
  • Establish personality of the piece: fun, serious, technical, general, sophisticated, cutting edge, traditional, etc. Write these words next to your thumbnails and remind yourself.
  • Before beginning the layout of the file look at your assets (graphics/stories). Choose which story/graphics are most compelling and use for front page.
  • Do thumbnails! How many? As many as it takes to get a good understanding of how you want the piece to layout before starting design file.
  • Decide how many columns you want and create them in the column field when you set up your document. Gutter is the space between columns.
  • On the Master pages set up Masthead which contains the newsletter title, possibly a tag line explaining or framing the purpose of the piece: e.g. Masthead=Your Money Matters, Tag: News you can use to manage your wealth.

Tips and Time-savers

• Printing
  • Saving print settings as “Presets” saves time
  • “Previewing” the pages in the print dialogue box in the preview panel saves paper/toner/time by correcting problems before they go to print.
  • If you are proofing Type to check legibility printing one page at 100% and make necessary adjustments before printing the whole Booklet/Project.
  • Duplexing = printing both sides, save resources — less paper/toner, no gluing, saves time. To duplex (print on both sides of the paper you must go into the Splash Special Features: Click the printer button at the bottom of the Print Booklet dialogue button. Under the layout drop-down menu click and drag to “Splash Special Features” then click pages tab. Click the “Duplex” drop down menu and choose short edge binding. Make sure paper size is set for Letter. And scale to fir checked in the appropiate windoes.
• Common problems with graphics.
  • Missing graphics. Graphics may appear to be missing if you change filenames after linking.
  • Font missing from EPS graphics
  • Resolution too low/wrong color space. CMYK Commerical offset printing: effective resolution of 300+ ppi, CMYK color space
  • File formats: Native graphic formats .psd/.ai or .eps/.tif are preferred for high-resolution. Avoid sending .gif, .jpg, .wmf, .bmp, .pict, and other formats without first consulting with your service bureau or print provider. Due to the compression they are smaller but less reliable for printing
  • RGB images don’t print well to Postscript output devices. Convert your images to CMYK. RGB should be used for “digital only” files.
  • Save original RGB file for later use or modifications. In your graphics application convert a copy of the RGB graphic to CMYK then place it in your page layout program. Send the CMYK version of your graphic to the printer.

SESSION 11 | March 30, 2010

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Sample Newsletter Click then click again for larger view

IN-CLASS

• 1:30-2:20pm
  • Print 16-page thumbnail version of the Digg booklet.
  • Create TOC for Digg Booklets
  • Print Digg using InDesign’s Print Booklet function for page imposition.
• 2:30-4:20pm
  • Newsletter Intro
  • Thumbnails
  • Set up newsletter document (8.5″ x 11″ 8-page booklet, choose a column structure, 3, 4, 5, 6, 7, 8. Reminder: elements do not need to fall In only one column. Use the columns to create a structure to the page.
  • Automatic Page numbers on master pages
  • Import all articles/graphics.
  • Run Find change by list (this accomplished 624 changes at once. Timesave when you do not know how copy was formatted.)
  • Use Find/Replace to get rid of all instances of “(ARA)–”
  • Working time for Newsletter
• 4:30-5:05pm
  • Working time for Newsletter

Thumbnail Preset:

• Under General: all pages and spreads checked
• Under Setup: page size = letter, landscape, thumbnail checked, 3×3 per page

Table of Contents Creation: from the Layout menu click down to Table of Contents. The dialogue box askes what Paragraph style should it look for (Scetion Heads) add that to the box on left by clicking on the ¶ style name in the list, and then clicking on the ADD button. When making the TOC the default is a tab placed after the enrty and its corresponding page number. We looked at using a “Right -Justified Tab” and placed a period in the leaders tab to produce a line of dots leading to the page number. If this does not work well with your design feel free to modify as you see fit.

Print Booklet: Using the “Print Booklet” setting in the file menu  InDesign will print the file in printer spreads (move the pages so that when collated and folded the pages will be in the correct order. To duplex (print on both sides of the paper you must go into the Splash Special Features: Click the printer button at the bottom of the Print Booklet dialogue button. Under the layout drop-down menu click and drag to “Splash Special Features” then click pages tab. Click the “Duplex” drop down menu and choose short edge binding. MAke sure paper size is set for Letter. And scale to fir checked in the appropiate windoes.

Newsletter: for the gardening newsletter you need to use real text — because this gets you used to copyfitting. Making up text, or using placeholder is not how real projects get produced, and it is important to be able to get things to fit.. When you are placing text/graphics remember that sizing photos and adding pullquotes allow you to play with the space. You may rewrite headilines if you think another title would be better. Please leave space on the cover for a contents page and the back page lower half for a mailing panel. MAke sure you are at LEAST 3/4 done for class Tusedy.

HOMEWORK

• Refine the Digg document: Make sure there is a cohesive look throughout the document. Cover designs should be solid. Most of what I saw was below your capabilities. Make the piece communicate something visually.
• The 2nd test next week.
• Work on Newsletter. should be about 3/4 finished for next week.
• Gather all “Assets” (stories, images, data) needed to create your Magazine.
• Remember Reminders:
  • Right from the Welcome screen in both InDesign and Quark are there are links to resources on their websites. Tons of video tutorials. Can’t remember how to to do something? There is most likely a short video tutorial on their sites.
  • You do not need to remember everything — keyboard commands, where things are hidden, etc. — is available under the help menu. What you need to do is “understand the process”, what is involved in page layout and how the programs work.
  • The page layout programs are based on math, logic, syntax and rules. A designers language is all based on aesthetics, style, relationships, space and communication. Learn how to use both to make them work together.

SESSION 10 | March 23, 2010

IN-CLASS | I Digg These Booklet

Discussion regarding the idea of signatures, and press impositions. We folded a piece of paper into a simple 16 page signature, and  numbered the pages, then unfolded the sheet to see how the pages would be “imposed” (set up for on press printing) if it was going to be printed on a commercial press. We looked at how in a saddle stitched bound (stapled) document the spreads in the press imposition (printer spreads) are different than “readers spreads” which are chronological.

We look at the sample “I Digg These” document To see how it was created. It is a 16 page,  5.5″ x 8.5″ high document. There are master pages that contains automatic page numbering (folios) and footlines, that were created using the away from spine alignment, there is header for the top of each page, and when the document was set up there is an automatic text frame within the margins.

The automatic text frame will allow a story to flow from one page to the next automatically. We looked at how any element that is on the master page will show up in the same position on the document page that uses that specific master.  Master page items have a light blue dotted frame around them on the actual document page. This is feedback that let’s us know the element was created and exists on the master page. Simply clicking on the master page element will not allow you to have access to it, or modify it. If you want a Master page element to be active on a document page you must click on it with these shift+command keys held down — this makes the element acted on the page, and modifiable.

In our document pages 1, 2, 3 and 16  do not need to have the automatic text frames, so we made them active on those pages and deleted them. Pages one and 16 are the front and back covers, we do not need the folio or foot line on those pages so we made them active  on the page then deleted them.

The basic body copy exists with four different paragraph styles: a section head, head, URL, and body. Again looking at the sample document we looked at how head, URL, and body styles all have of a “next style” applied in their stylesheet definitions. On the sample document we highlighted all of the text and changed it to no paragraph style, then started reapplying the styles. Initially we highlighted each  paragraph  and apply the appropriate paragraph style sheet. We then looked at using the “apply head style, then next” from the paragraph panel. This is the important part using the apply next style feature: all of the copy that you want to be affected needs to be highlighted, then you must RIGHT click on the  first paragraph style name that you want to apply, then click and drag down to the “apply head style then next” listing. In the sample document we were able to apply 9 different styles to the  first three listings with just the one click.

Important: to set paragraph styles up using the “next  style” feature you must first  set up the stylesheets, and then go back and add what the next style should be.

Within the URL paragraph style we set up a nested style using a character style  which looks for a  pattern within the paragraph and applies the character style within the patterned text. In this case we wanted the website address only to appear in a bolder  font for emphasis.  within the URL paragraph style under the nested style sheet tab we created a “rule” that instructed the program to  use no character style through tough first double slash which comes after the “http://”  in a URL, then applied the “BOLD” character style to make the font bold through “1″ “/”,  then to apply none through the end of the nested style.

After we saw how the sample document was made we began to build from scratch. Once all of the copy was in, and the story was correct when formatted we started to look at adding images. We learned how to go to a website and take a screen grab of the page by clicking on the shift+command+3  to take a snapshot of whatever is on our screen. A PNG file is created and placed on the desktop which is named “picture1.png”  Additional screenshots will be numbered consecutively. If you want to be more specific about what you are focusing on using shift+command+4  will give you crosshairs that allow you to drag out a marquee selection around the area that you would like to  into the PNG. We then open the PNG is in Photoshop and changed the color space to CMYK from the mode menu. And cropped them using 12 picas  for the width, and 300 pixels per inch for the resolution. 12 Picas equals 2 inches.  Rename and save the images as native Photoshop files (.PSD) and saved to a links folder.  from the file menu we place a few images, and gave the graphic frame a text runaround, and created in an object style to be used on all the images.

HOMEWORK

Continue to work with this document, create any necessary images by using the screen grab method. Design the front and back covers. Pages two and three will be for a foreword (pg 2) and the table of contents (page 3) that we will build together next week. We’ll be using InDesign’s automatic table of contents feature.

Bring all your thoughts about your next assignment — the newsletter. You downloaded a folder from the class workarea in class with all the assets for a gardening newslettr. If you choose to do another you will need to find all the stories and photos/graphics. It important for this assignment that you use real copy (this will give you expereince with copyfitting. For the final project, theMagazine, you may use placeholder text for the body copy, but heads and subheads / captions should be real.

READING

• InDesign CS4: Chapters 20
• QuarkXpress 7: Chapter 16: Printing

SESSION 2 | January 19, 2010

IN-CLASS

Interface of InDesign CS4 Identified  “universal” features that appear  throughout the program in different panels and windows

• Small triangles in tools, panels or lists: click to reveal more information in a fly-out menu
• Trashcan at the bottom of panels to delete elements in the panels
• Panel Menu Icon (three lines in the upper right of panels)  reveals list of options specific to that panel
• View options and screen modes”  icons in application bar
• Clicking the Icon in front of a measurement field highlights the field, and allows use of up and down arrows to increase/decrease  number
• Opening, collapsing, docking, and tearing off panels
• Workspaces and resetting workspaces to defaults

Identified ways the InDesign gives “feedback” to user

• Color of frame edges relate to the color of the layer they reside on
• Master page items have “dotted” frame edges,  indicating  they are on  a master page, and  not modifiable on the document page unless you make them active by “shift + command + clicking” on the  item
• Color of Hidden Characters/frame edge/master page dots is the same as their layer
• If more than one  family/style of copy is highlighted those fields will appear blank in the control panel
• Changes/modifdifications will only happen to active or selected items
• Showing/hiding Hidden Characters (non-printing text characters like ¶  indicating a hard-paragraph-return and #  indicating the end of the text.)
• Showing/hiding, creating/selecting and deleting Guides
• (  ) Parentheses around leading indicates auto leading (120% by default)
• [  ] brackets mean fonts/styles are missing on the computer. On page will display with a pink hylight behind missing fonts
• [  ] brackets can also mean default settings or things that cannot be changed. eg: [Basic Paragraph] style

Typestyle worksheet for body, head and personality typefaces

Text Sets worksheet

OpenType Font Exploration (Bickingham Script Pro alternates-Your Name Here)

Type Gauge – bring to every class. Used gauge to size text/leading

Important keyboard shortcuts to know:

• Command +z =  Undo last  change
• Command + s = Save File
• Command + c = copy
• Command + v = paste
• Command + x = cut
• Command + a = Select All
• Command + 1 = 100%
• Command + 2 = 200%
• Command + 5 = 50%
• Command + 0 = Fit in window view
• Option + Command + 0 = Fit in window view and center page/spread

HOMEWORK

Type Sets Worksheet

OpenType Glyphs

TypeStyle Worksheet

1. Adobe OpenType Video Click on link to watch short video
2. Finish sample.indd file pages 1-3 which were started in class. Click on samples above if you need a reminder. For Body copy fonts pay special attention to choose only fonts with true styles (bold, italics etc.) Bring this completed form with you to class next week 8pts.
3. Bring in samples of business cards, letter head, envelopes that you think are. designed well
4. Reading: InDesign: Chapter 3-Basic Text, Chapter 16-Typography. Quark: Chapter 5-Working with Text, Chapter 6-Typography.

REMINDER

Call-for-Entries submitting deadline: Monday JAN 25. Looking for: Graphic Design- Illustration- Digital Photography- Web design.  The winner receives a Dell Color laser printer.  Call-for-entry forms and contest rules are posted  on the CNM-120 door.

SESSION 3 | January 26, 2010

IN-CLASS

Creative Process: Brainstorming/Research/Reference/Design Considerations/Thumbnails/Digital designs/Refinements/Final piece. Remember: the most important tool you have is your ability to think.

Brand Identity Design Considerations: ideas covered in Presentation

• Simplify logo: strong and graphic vs. intricate and overly detailed (eg. Target, Nike, Apple) Must work well in B/W and small.
• Legibility: easily read
• Spacing: leave space around the logo and edges of format.
• Proportion: each piece has a different format (aspect ratio), so size relationship of elements will likely be different.
• Info to include: each piece has a different function and necessary info changes. Mandatory for envelope = return address — depending on the company/organization an address  may not be necessary on a business card. Mandatory for business card is contact information: person’s name, title, phone, e-mail, website. Letterhead: you may include the contact person’s name/title, but it is not essential. Again, consider the use, who will be using this letterhead and for what purpose. Since this is a business you may want to include a marketing/tagline that helps to position the restaurant.
• Color: consider the emotion connotations of colors used. (research color associations)
• Focal Point: body font style should be different from logo to keep the logo the focal point and not to “dilute” the importance of the brand.
• Hierarchy: visual indications of what is most important, second, third etc.
• Placement: chunk or group similar types of  information together. Do not to scatter information all around the format. Avoid sticking info into each corner.
• USPS OCR regulations: US Postal Service has regulations regarding the addressing of envelopes, postcards, packaging for automation with optical character readers to unsure It is mailable without additional charges. Regulations vary depending on the type of mail (first class letter, presorted, bulk rate, etc.) Graphic below is forFirst class (stamped) business size envelope.

USPS-OCR Read Area Template

The Daily Grind Café and Restaurant Toulouse  stationary packages. First you will be designing an identity and stationary systems for 2 restaurants with very different clientele and trying to reach different audiences with the design. Later you will design direct mail promotions and ads for these same restaurants.

Daily Grind Cafe

Coffee-Icon.ai supplied files for use with logo

The Daily Grind Café is a locally owned and operated cafe. It is a cozy, homey and friendly restaurant. Fast made-to-order food.  Good food at affordable prices. Provides classic American cuisine. Breakfast and lunch only. Coffee always fresh and hot. SPECS: must be completed in Quark Xpress 2 PMS colors (Pantone Solod matte Brown=PMS 140M), envelope must follow USPS postal regulations, no bleeds allowed envelope. The Icons above can be incorporated with text to make a logo. Information to be included: The Daily Grind Cafe | Dave Smith, Owner/Chef | 8712 Portage Rd | Portage, MI 49002 p: (269) 492-7757 | e-mail dave@dailygrindcafe.com | web: dailygrindcafe.com

Restaurant Toulouse

Restaurant Toulouse is a classically charming French Restaurant with its warm French provincial ambiance and courteous staff. Enjoy a gourmet chef’s many talents in a quiet getaway with a relaxing & inviting surrounding. Two private dining rooms and a cozy bar play on woody bistro motifs. In warm weather, guests gather at one of a dozen tables in a lovely garden. The menu of updated French country classics includes cassoulet, roast duck with fresh strawberry sauce and a saddle of veal with morel mushrooms. Desserts include ice cream-filled profiteroles and excellent cheesecake tinged with raspberries. The are trying to appeal to a younger (25-35), sophisticated clientele. Expensive. SPECS: must be completed in InDesign 2 PMS colors (Pantone solid matte), envelope must follow USPS postal regulations, envelope may bleed. Information to be included: Restaurant Toulouse | Michelle Dugall, General Manager | 246 Culver Street, Saugatuck, MI 49453 | p: 269.857.1561 | e: mdougall@resttoulouse.net | w: restauranttoulouse.com

HOMEWORK

1. Finish research and thumbnails. Fill in creative brief responses in the left column. Complete 6 sets of thumbnails per restaurant.
2. Open both programs and get familiar with the interface. Make text frames, boxes, move, stylize text (change sizes/fonts/etc.) let cursor hover over all icons and get familiae with what they are. Look st the templates that come with the program… from the welcome screen clock on “new file from template” search the folders and look at a few of the designs and see how they Are made. 
3. Reading InDesign: Chapters 5-Working in Color. Chapter 17-Color Management. Quark: Chapter 14-Color

SESSION 4 | February 2, 2010

IN-CLASS

• 1:30-2:20pm: Share Thumbnails
• 2:30-4:20pm: Intro Quark Stationary Design
• 4:30-5:05pm: Color PowerPoint/Discussion/File Management

Critique: thumbnail sketches for both restaurants and specifically address how well the design fits with the creative brief info.

Stationary: We “roughed-in” the Daily Grind Cafe Quark file. Discussed the concept of putting emphasis on specific elements within copy to draw attention. Ways to create emphasis include: size, color, weight, spacing around element, placement, etc.  Imported the Coffee-Icon.ai graphic and used both the positive and negative of the icons supplied — learned about the frame being one aspect of the graphic (the container), and the contents within being the other. Each can be sized independently, or scaled together by holding down the shift+Option+command keys while grabbing a corner and dragging. First Line indent (in Tabs, split triangle on left of tabs ruler), grab top triangle and pull to the left, Indent-to-Here character = command+| (straight line, key above return) Alignment: using the directional forces to align elements off of the logo. Keeping copy at least .125″ from BC edges  (.1245″ = 1/8 of an inch, 3/16ths is better = 0.1875″)  Bleed reminder: specs on Daily Grind BC and letterhead can bleed, no bleed on envelope.

Color: Read last weeks homework chapters. Slideshow about issues with color: Monitor color (RGB) vs Printing color (CMYK or Spot), Color Spaces and the idea of Gamut. Not all colors are able to be produces in all color spaces. Colors not available in a specific color space are out-of-gamut, color varies based on monitors, systems, printers, paper, what colors surround it.

Videos: RGB vs CMYK CMYK vs Spot Colors Business card with Bleed Kuler

It Is my expectation that you understand the concepts in italic above. If not, write them down and ask me in the beginning of class when I ask for questions. (Please do not be embarrassed, if you were paying attention and missed it, surely someone else did as well.)

File Management: a folder with file structure was created. The structure looks like this:

Your_Name (folder)

• yname-osample.indd (file)
• yname-1Toulouse.indd (file)
• yname-1DailyGrind.qrk (file)
• Links-Pictures (folder)
  • Coffee-Icons.ai (file)
• Source-Files (folder)

It is very important for files to stay in this folder and in this order. You will be working on the sample file again so do not remove or rename it. Naminc convention for all page layout files: yname-NumberFile.ext It is important for the programs to have the correct extensions. InDesign=.indd, Quark=.qxd, Illustrator=.ai, Photoshop=PSD, Acrobat=.pdf

The Links-Pictures folder is where you put ALL links (graphics/photos/illustrations) used in the Page Layout files Iit should contain the Coffee-Icons.ai file. The Source-Files folder is your personal working-area and a place for you to store any bits and pieces.

HOMEWORK

1. Finish finessing Daily Grind in Quark. Write Overview (state the problem, explain assignment and audience) and Solution/Design Analysis statements (explain what you did to solve the problem (use the principles of design: focal point/emphasis, unity/variety, repetition/rhythm, alignment, balance, color, shape etc.
2. Design Restaurant Toulouse stationary package in InDesign, and fill Overview/Design Analysis (see above)
3. Reading: InDesign: Chapter 4, 6-7. Quark: Chapter 3 (look under Chapter tab above see what is being covered. Checkout online tutorials)

Reminder of class obligations: outside classwork 6+ hours.

NEXT CLASS

Critique, self assessment, printing, setting up business card for single card with bleed, 8-up with bleed, 10 up without bleed. New assignments: Valentines Promotional Ads for these 2 restaurants.

SESSION 5 | February 9, 2010

IN-CLASS

• 1:30-2:20pm: row critique stationary. Printing setups for Stationary
• 2:30-4:20pm: Rate cards, ad design considerations, thumbnails
• 4:30-5:05pm: Fractional Ads

Stationary: create files for printing. BC: 1-, 8-up butt cut, 10-up-with bleed, envelope template, letterhead with bleed. Preflight.

Valentines Day Fractional Ads: for insertion inKalamazoo Women’s Lifestyle

• Refer tothe PDF Media Kit fie in the “workarea” folder that gives the demographics of Kalamazoo Women’s Lifestyle Magazine
• Important information to include, offer (free entree or 2 for 1 Dinners, expiration date on offer, a call to cation (what do you want them to do?), address, phone, website
• Correct Ad sizes: 1/4 page ad 4/C 4.5″W x 6″H. And 1/8 page ad B/W 4.5″W x 3″H
• Correct color (CMYK or B/W) remove unnecessary colors, add unnamed
• Focal point  and Hierarchy: help reader  know what is most important
• Consistent with brand identity/style throughout

HOMEWORK

1. Complete 2 fractional ads Restaurant Toulouse in InDesign
2. Complete 2 fractional adsDaily Grind in Quark.
3. Reading: InDesign: Chapter 11. Quark: none (look under Chapter tab above see what is being covered. Checkout online tutorials)

NEXT CLASS

Critique, self assessment, printing. New assignments: Brochures.

SESSION 6 | February 16, 2010

MY OFFER TO ALL

E-mail me with any files you would like critqued before next Tuesday.
I will get comments back to you via e-mail ASAP.

IN-CLASS

• 1:30-2:20pm: Four ads: added slugs, on-screen proofing (looked for errors), row-critique
• 2:30-4:20pm: Created a library containing: GRD202 logo, slug & design analysis copy blocks. Intro to folds: Rack card, Tri-fold, Quad-fold,
• 4:30-5:05pm: Introduction to threaded text, linking text frames, paragraph style sheets.

Concept to Consider

Design is evaluated against the objectives/problem they need to address/solve. At the beginning of class a sideshow was playing that showed stationary designs. Three designs were looked at and discussed against their stated objective (click on graphics below to enlarge/read. OPTIONAL: In my workarea folder, within the Presentation folder are the 2 PDF presentations that were shown/discussed. Feel free to download and look at them.

Laser cut folded business cards

Small print for Lawyer

We Campaign

Brochure Fold Diagram

Valentines Day Fractional Ads

• Created a  Library file and moved elements into it
• Add 1″ slug below ad. Include, file name, insertion publication, size, designer name phone,
• 1/4 page vertical ads should have the correct colors (cmyk only)
• 1/8 page horizontal ads should have the correct colors (black/white only)
• Check color space, delete unused colors, add unnamed colors
• Focal point  and Hierarchy: help reader  know what is most important
• Consistent with brand identity/style throughout

Introductions to Rack Cards and Folded Brochures

• Looked at different types of folds  PS Print folds/Templates
• Concept of linking text boxes, threaded text (InDesign exercise)
• Style sheet for consistency / hierarchy (head, subhead, body, small)

INSTRUCTOR COMMENTS

• It is important to pay attention and work on the class projects/exercises in-class. It was very disappointing to see the variety of non-class-related projects/facebook/email on student monitors when I walked to the back of the room to help a student. It is a waste of your time and money if you are not working in-class. If you are completely caught-up and the class is moving too slow for you, please see me/e-mail me and I will give you more advanced projects.
• Looking within the Class Workarea folder most of you have missing/incomplete files.  To-date your folder should contain:

1. name-0sample.indd
2. name-0library.indd
3. name-1RT-stationary.indd
4. name-1DG-stationary.qxd
5. name-2RT-cmyk-ad.indd
6. name-2RT-bw-ad.indd
7. name-2DG-cmyk-ad.qxd
8. name-2DG-bw-ad.qxd
9. links folder (only for linked graphics used)
10. source folder (anything else you have, working documents, photos,etc)

Please do not put each project into a separate folder - this makes it harder to see at a glance what is missing.

• This class is both technical and design/aesthetic in orientation. The next few projects/exercises are more technical dealing with style sheets (i.e., character, paragraph, object), linking text frames, placing and anchoring graphics, multi-page layouts. The last 2 assignments Newsletter, and magazine are the place for you to pull it all together and show some good design and your aesthetic. For the 8-page newsletter I will supply enough copy and photos to complete an 8 page gardening newsletter. If you would prefer to do a newsletter on another topic you must obtain all the content and photos. Let me know in advance if you choose to do that. Also begin to consider what you want to do for the magazine, you will need to develop the concept, content and obtain/create all graphic elements (legally).

HOMEWORK

1. Complete Stationary and Ads (Design considerations: what is the emotional effect of the ad, focal point, hierarchy, consistency, unity/variety, alignment and use of negative space)
2. Watch these short videos: Making a Paragraph Style and  Paragraph/Character/Object Styles
3. Tutorial: InDesign Style Sheets
4. TEST NEXT CLASS: the test will cover concepts covered in class, the reading and program interfaces (panels, menus etc.)
5. Reading: InDesign: Chapter 10, 12, 15. Quark: Chapter 7
   (look under Chapter tab above see what is being covered. Checkout online tutorials)

NEXT CLASS

• Chapter Style sheet exercise
• Rack card 4″W x 9″H exercise
• Tri-Fold 11″W x 8.5″H exercise
• Quad Gate Fold 14″W x 8.5″H exercise
• Design considerations: linking text boxes, style sheets, focal point, hierarchy, consistency, unity/variety, alignment and use of negative space

SESSION 7 | February 23, 2010

Character Style Options

Paragraph Style Options

Object Style Options

In-Class

• 1:30-2:20pm: Four Ads wall review. Preferences, Presets
• 2:30-4:20pm: Test. Style sheet exercises (Text-Chapters.doc)
• 4:30-5:05pm: Paragraph Styles, Character styles, style overrides, redefining a style, find/replace, nested styles

Styles control how a specific bit of type or an object will be formatted. There are 3 main types of styles: paragraph (icon=¶), character (icon=A) or object (icon=frame with handles). The Icons can be found in the control panel and the icons are just to the left of a drop down menu which will display all the styles currently available in the document. Clicking on the Style’s Icon (¶, A, Box) produces a pop-down menu with “create new style” and “style options” as 2 of the options.

The easiest way  to create styles is by  stylizing/formatting a small amount of text then, with the copy selected create a new paragraph style and all of the “attributes” used will become part of the new style.  The type of attributes that a style can control vary depending on if it is a Paragraph, Character or Object style.

• Paragraph Styles: go throughout the whole paragraph from the beginning through a “Hard Paragraph Return” = ¶. Paragraph styles cover all the attributes which can be found in the “Style Options Dialogue Box.

• Character Styles: are used in conjunction with paragraph styles to change a small amount of text within a paragraph. The attributes for character style can be found under the “Style Options” dialogue box in the Character Style Panel. The example we did in class was changing the color of the words: “Chapter #.” within our paragraph style.
• Style Options: you get to the style options dialogue box either by clicking on the icon in the control panel and choosing “Style Options” or from the paragraph-, character-, object-style panel (usually docked at the right side of the application window.
• Object Styles: control the attributes of: shapes, text frames, graphic frames. Things like stroke, inset, fill, drop shadows etc. (note: we have not worked with these in class yet.)
• Override is when you have applied a style sheet and then manually change an attribute (like color, size, stroke etc.) A plus sign (+) appears in after the style name in the Style button in the control panel,  indicating that there is an override.
• Redefine: if you make an override to a style and decide you want to apply that style to the whole document you   “redefine” the style sheet and it will make that change across the entire document wherever that style is in use and will remove the override (+). Example: You highlight some text that is styled with “Body” paragraph style and you want to change the typeface. You  manually change/styalize/format the text by changing the Font Family in the control bar. This will result in showing an override after the style name: “Body+”. To make that change throughout the entire document — wherever body is used — you can click on the ¶ icon and in the dropdown menu select “Redefine Style”.

Homework

Take the Tabloid.indd file we created in class and experiment with changing the style sheets. Highlight some text, change the style then redefine the style so it makes the change through the whole document. Myriad Pro should NOT be in use in the document when you bring it back in on Tuesday.

FROM ADOBE SUPPORT REGARDING CORRUPT FILE STRUCTURE: in “Perhaps even more important than making sure that InDesign is closed is to ensure the thumbdrives are ejected (by clicking on the eject icon in Finder) before removing them from the computer. If a thumbdrive gets pulled out before being ejected (which I confess I am guilty of doing from time to time), the data may not have been flushed out to the drive.”

EXTRA CREDIT: add a new page to the document, draw text box(s) and from the type menu “Fill with placeholder text”. Stylize the text and mane new styles for Body1, head1, subhead1 and apply them throughout this page. Remember you are creating a hierarchy here of what is most important or to be read first (head1). Subheads are to group like ideas, break up copy and allow “skimmers” to at-a-glance get an understanding of the content in the body. The majority of the text is usually set in body paragraph style.

READING

• InDesign CS4: Chapters 14 and 19
• QuarkXpress 7: Chapter 15

SESSION 8 | March 2, 2010

In-Class

• 1:30-2:20pm: Preferences, refine “body” ¶ style without any files open so it will be the active style used in all new documents. Created new 8.5 x 11 Booklet preset.
• 2:30-4:20pm: Began creation of  “Designers Edge Series” of publications for GRD202
• 4:30-5:05pm: Printing/upload of letterhead/business cards and ads for Restaurant Toulouse/The Daily Grind.

Designers Edge Series: We will create a series of 5 documents using the same design cues and style sheets for this class. These files will be able to serve as a design resource and “help” guides in the future. The content, as well as the basic structure of these guides will be given, because they are intended to explain different aspects of page layout/design, and serve as “How To” tutorials. Check back at this site and I will post visuals as they are developed — right now I am getting permissions on some copy.

1. rack card (4″ x 9″) – Ten Steps
2. a tri-fold (8.5″ x 11″) – Best Practices for Page Layout
3. quad fold (8.5″ x 11) – Getting a Job in Graphic Design
4. 8 page booklet (8.5″ x 11″) – Useful Design websites
5. 20 page booklet (5.5″ x 8.5) – Abridged InDesign Tips by David Blatner

We will look at how to use style sheet to streamline a work flow by copying/pasting/loading styles from another file. Some things to keep on mind as you design:

• Visual communication: does the design set the right tone visually?
• Basic page layout issues: understanding folds and respecting margins
• Proportions/size relationships of the elements to each other and in relationship to the format, or panel when folded.
• Color: Use the Pantone solid uncoated library + Black. You can use TINTS of the PMS (becomes lighter/pastel) and/or tints of Black (creates shades of gray). You may also use a “mixed ink color” with percentages of the black and 1PMS. (To make a new Mixed Ink Swatch see the Panel Options Menu panel (upper rt. corner of the swatches panel). Open “create mixed ink swatch) and specify percentage of each ink color.
• Styles: Most of the copy in a document should have With a Paragraph style applied modifing the text  results in a “Override” (a + sign next to the paragraph name). “Redefining” the style sheet and it will make that change across the entire document wherever the style is in use and will remove the override (+).
• Change: the very nature of designing is dynamic (dīˈnamik| adjective: of a process or system characterized by constant change, activity, or progress). What styles sheets allow is for changing the look of a document very quickly by changing the style sheets. One style sheet can be based on another and when used consistently in a document, you can change the entire document simply by changing the definitions set up within a style sheet.
• Web Equivelent: Stylesheets in page layout programs are very similar to Cascading Style Sheets (CSS) in web work (they are simply a definition of how to display the content — look at is site CSS Zen Garden… all the content is the same it is just the form/style that changes, and It is all controlled by Cascasing Stylesheets/CSS/code.
• Recognition of frustration: I empathize with the confusion and resulting frustration around the concept of style sheets. The concept and application of can be complicated, but ultimately a great time-saver and worth the effort to understand and use. We will be moving onto documents which will demonstrate the their worth. Please keep an open mind —the break-through in understanding/appreciation of styles is just around the corner.
• Consider this concept: Not every “unique” type treatment needs a “clean” or “unique” style sheet. For instance if you have created a “head” paragraph style and on the cover of the document you want to use the same Typeface/Font  as the head, but with a different size and color — highlighting just the cover text and apply the “head” style, then “modify” the size and color. This  will produce an “override” (a plus sign after the paragraph stye name: “head+”.) If it is only used once, this is fine — you do not need to create a seperate paragraph style for one instance. Where you want to consider creating clean/unique paragraph styles are for the things that will repeat over and over in a document (this will be discussed further — Just consider the concept.).

Homework

Brochure2.indt

Photobook 1.indt

book2.indt

The templates that come with the programs can be a good source to look to see how style sheets can be used. From the file menu investigate some of the Templated that shipwit inDesign and look at the Structure of the pages and how they were built.

Two good videos you should watch:

• Using the Next Style Paragraph Feature in InDesign 4 minute video: Tip of the Day writer Jeff Witchel shares some of his favorite InDesign tips about formatting with paragraph styles palette and the next style feature.

• Paragraph Styles 5 minute video on Adobe TV. Create and assign paragraph styles to replicate the character- and paragraph-level formatting attributes used on a regular basis.

Just a note: these websites have good short tutorials on many features of page layout programs — look over the titles, watch what sounds interesting and bookmark for future reference. It Is my hope that by hearing the infprmation in different voices, applied in different way, that something will click for you and cement the ideas. If not it is only 10 minutes!

Also here here is a good design site that really works well. http://www.oliverrussell.com Specifically under the work tab watch a few of the video animations/case studies, but specifically pay attention to the narrative – they do an excellent job connecting the objective, target audience  solution. Th

READING

• InDesign CS4: Chapters 8-9 (Imported Graphics, Text Effects)
• QuarkXpress 7: Chapter 10-11 (Pictures, Image Tuning)

SESSION 9 | March 16, 2010

In-Class

Demos and hands on how-tos with panels, libraries:

Swatches Panel

• create tint swatches
• create mixed ink swatches
• Edit existing swatches
• deleating / replacing swatches
• loading swatches from another document
• coping elements from another document and getting the associated swatches

Object styles

• similarity to paragraph and character styles
• control the appearance and effects applied to objects (fills, strokes, text inset, drop shadows etc.
• creating and naming object styles
• object style overrides (+) and redefinign object style
• using eyedropper tool to copy and apply object styling

Libraries

• useful place to stick bits of copy, graphics to be used over and over
• to create new library: from File menu > New > Library… (name It and direct the folder whaere it will be saved)
• to open an exsisting library: from File Menu >  Open > use dialogue box to locate existing library
• to store an item in a library open library window and click and slide element)s) into the library
• double click the library element to open a window which allows you to name it

Inserting a textbox into a column of text

• benefit: if copy is edited the inserted box will travel with the associated copy
• text inset to create a sidebar, or text box where the text is set inside or away from the edge
• text insets can have different insets on each side (top, bottom, left and right)

Homework

1. LOOK AT FILE STRUCTURE: Copy the “sample-library.indl” and “sample-terms.indd” files from the GRD202 Workarea folder. Open and look at notes contained in files. Do the excercises on the notes. Bring completed file back to class with you next week.
2. Newsletter/Magazine research. Find samples of Newsletters and Magazines for inspiration. Bring to class (up to 8 Assignment Points can be earned for this based on quantity and quality of samples)
3. Gather “assets” (graphics, photos, stories, text etc.)  for the final project: a magazine of your own design. The magazine will consist of 8-pages. You do not need to have actual stories, but you will need to write the headlines, lede, by lines etc. We are going to try to make this as “real” as possible. The important thing is to give real thought to the concept: what kind of magazine? Who will read it? Is it a special interest publication? Trade publication? Lifestyle? Regional, national, international? Below is the breakdown of the pages you will design:
   1. Cover: should contain cover blurbs that relate to feature story
   2. Left page: Representative ad on inside front cover (you create the ad)
   3. Right page: Contents page
   4. Left page: FOB page (FOB stands for front of book and is made up 3-5 short articles per page)
   5. Right page:FOB page
   6. Left page: Feature opening spread
   7. Right page:Feature opening spread
   8. Back page: jump of the feature story
4. Reading

• InDesign CS4: Chapters 14, 19
• Quark: Chapter 15

Invitations

Center for New Media’s first Art Slam !

Friday March 26, 5:30- 8:30pm
An art event for all CNM students.
Challenges – Prizes – Speakers – Free Food.
New Media Challenge – $250 Prize

• Pick your team (min 2 students per team, no maximum, currently enrolled CNM students only)
• Register your team with Maggie Noteboom at: cube@kvcc.edu before March 23. (email the team member names and their emails)
• Create your artistic masterpiece in ‘any’ art medium, or a mix of different mediums on a specific ‘secret’ topic
• Topic will be announced to all the teams at the same time, Thursday March 25th, 8 AM via email
• CNM computer lab will be open for your use on Friday to 7PM
• All work must be original and created only during the contest period of March 25th 8 am, to
• March 26th 7pm. Work created prior to the contest period can not be used.
• Team must sign an entry form stating their work meets these requirements and turn it in with their work (available in The Cube Office, CNM-120)
• Teams will present their work to judges and attendees March 26th at 7 pm. Be prepared to tell the judges and audience what they have done, why and how it explains the topic
• Winning team will be announced after all presentations are made
• Prize money $250.00 awarded to one winning team. Team members will share the prize
• On Site Portraiture Contest – $50 Prize
• During the Art Slam (March 26, 5:30- 7:30pm) individuals create a portrait/caricature of another person in attendance
• Entries may be done in illustration, drawing, paint, pencil and a min of 8”x10” (Sorry, no photography for this contest, but will be included in next Art Slam)
• Finished work must be ready for presentation and hung on the lower level display wall by 7:30pm
• Three students will be selected as judges
• One winner will be selected for the best likeness to the person portrayed, 7:30- 8:00pm
• Prize money $50.00 awarded to one individual winner
• Open Mic - BYO Art— An open forum to bring in your art work and share it with other students, any medium (Paintings,music, writing, drawing, video, illustration, etc). Get their feedback, ideas, encouragement and maybeeven some criticism.
• The studio in Room 150 will be open from 6:00pm to 8:00 pm for you to use. Everyone is welcome.
• Guest Speaker – Jason Nuzzo. Actor, writer, art critique and new media aficionado Jason Nuzzo, will share his secrets on success and
• finding work.
• Join us at 8 pm in room CNM -075
• Food, Yes it is free, and good too. Pizzas, subs, drinks, snacks all evening!

LOST USB DRIVE?

We have 20-30 USB drives (flash drives/thumb drives) that have been lost by students and turned in to the CNM computer lab. See Lisa Blewett, Computer Support Technician, Kalamazoo Valley Community College, Center for New Media, 269.373.7932 lblewett@kvcc.edu

SESSION 1 | January 12, 2010

WELCOME TO THE BLOG

This blog will be used for updates on class assignments, explanations, notes and deadlines. New session outline will be posted the morning of class, and updated with notes from the session added by the morning following class.  Note: the Tabs under the blog header have additional information.

IN-CLASS

• Winter 2010 Video (link)
• Student information sheet
• Review of syllabus
• Introductions (Interesting and I look forward to hearing more.)
• Beginning exploration into the InDesign interface
  

HOMEWORK

1. Buy books/supplies. Note: bookstore stocks book for QuarkXpress7.
2. Fill in Type Personality worksheet. Fill in the form with fonts you like. For Body copy fonts pay special attention to choose only fornt with true styles (bold, italics etc.) The Bring this completed form with you to class next week. This is the first hand in assignment worth a possible 8pts.
   
3. Explore. Open up each program and get familiar with the at the interface/tools/control pallets of  InDesign CS4 and Quark 8
   
4. Reading. InDesign: Chapters 1-2 Getting Started, Document Setup. Quark: Chapters 1-2 Learn QuarkXpress in 30 minutes, QuarkXpress Basics

The Eight Irresistible Principles of Fun

The Eight Irresistible Principles of Fun.