Compostion and typography

Composition and Typography Objectives

Improve composition and typographic awareness across all 2D design output Instruction in how to use all the key tools in InDesign and Photoshop Introduction to important examples of historic and contemporary graphic design

Exercises

1 / p.2

2 / p.8

3 / p.13

Thomas Elliott / Creative Direction Group

4 / p.18

5 / p.21

6 / p.25

7 / p.29

Composition and Typography / Exercise 1

Programs Adobe InDesign Adobe Photoshop Tools Duotone images Place images Place text Editing text Alignments Arrange Effects (Screen) Graphic shapes Text setting

Inspiration Napoleon for Phoebus Palast Cinema, Munich Poster designed by Jans Tschichold 1927 Background Jan Tschichold left an impression upon the world of graphic design and typography that few could compete against. From strongly advocating the beauty of sans serif fonts and clean, organised design 20 years before it took off, to strengthening the design of Penguin books to turn them into the something special that they are.

1928 saw the publication of perhaps his most influential work, The New Typography. Still published, and translated to English, it was a masterpiece of modern graphic design and with its fresh and regimental guidelines of layout and clean dynamic typography.

Further Reading Graphic Design in Germany 1890-1945 Jeremy Aynsley The New Typography Jan Tschichold

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Composition and Typography / Exercise 1

Potential learning outcome

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Composition and Typography / Exercise 1

Duotone the image

Open image in Photoshop Go to Image > Mode > Grey scale Go to Image > Mode > Duotone Click on the colour swatch and pick your colour Go to Image > Mode > CMYK Save Image

Creating Layers

Create a new A3 document InDesign File > Place > Select the Exercise one image Window > Layers pallete Click the toggle next to the eye icon to lock layer 1.

Click on new layer icon Layer 2 will be your working layer the content which you will be tracing over in Layer 1 can be hidden eye clicking on the eye icon.

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Composition and Typography / Exercise 1

Creating graphic the elements

Go to swatches make sure you have a white fill and a on outside stroke Select ellipse tool Click on the center of the circle on the image on Layer 1 and drag out holding down shift (this constrains the proportions) and alt.

Go to swatches select your fill colour then click on the eye droplet tool With eye droplet tool click on the Red tone on the image.

Click on the drop down > Make new swatch > Click OK (you will now have the colour saved for future use) Select ellipse tool Click on the center of the white circle and drag out holding down shift and alt.

You will now have a smaller white circle with a larger red circle directly on top of it.

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Composition and Typography / Exercise 1

To bring the white circle to the top we need to click on the red circle with the selection tool then on to go to Object > Arrange > Send to back To bring the white circle to the top we need to click on the red circle with the selection tool then on to go to Object > Arrange > Send to back Creating lines

To bring create the line that runs from the top of the page to the bottom: select a Black fill colour Select the line tool. Click the top of the page > hold down Shift > click at the bottom of the page.

The point size of this line can be increase in the top menu bar File > place > select the image titled sculpture (that you worked on earlier)

Placing the imagery

Place the image on the document To scale the image to fit within the white circle Select the image with the black arrow and hover over one of the corners > Click and drag pressing Command and Shift

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Composition and Typography / Exercise 1

Typing Text

Click and drag a type box to the width you want your title to be Double click in text box then type your title Press Command A to select the text. You can then change your typeface and point size to your preference in the top menu.

Whilst you type is still selected change the colour of your font by selecting a swatch in your swatches palette.

Rotating Text

Select the type box then hover over the corner until the two-headed arrow appears then click and drag to your desired angle Window > Effects Select the text box of the title In the effect panels change to Screen

Placing Text Documents

File > Place > Select the word file > Click OK

Styling Text

Select and style the text Select the type tool > Double click on the text > Command A > Change font in top menu > select a colour from the swatches.

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Composition and Typography / Exercise 2

Programs Adobe InDesign Adobe Photoshop Tools Invert image Graphic Shapes Outline text Gradient

Inspiration Derberufs Photograph Poster designed by Jans Tschichold 1938 Background With Jan Tschichold views and stance in the creative community of 1933 Germany antagonized the Nazi party who found his design to be ‘un-German’.

Soon after coming into power, they raided his home and upon the discovery of materials they deemed improper, temporarily imprisoned him.

Tschichold and his family relocated to Switzerland where he continued his ideas contributed to develop.

Toward the end of the 30’s, he began to loosen his grip on the principals the Bauhaus had impressed upon him nearly 15 years prior. The poster to the left is one of his last adhering to the modernist style.

Further Reading Graphic Design 20th Century (1890-1990) Alston W. Purvis and Martijn F. Le Coultre

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Composition and Typography / Exercise 2

Potential learning outcome

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Composition and Typography / Exercise 2

Cropping Images

Open up image titled Halston in Photoshop Select rectangle marque tool Drag a rectangle marque over the area that you want to use

Inverting Images

Image > Crop Command I Save image

Editing Text

Open up a A3 InDesign document and place the Halston image Place the word document titled exercise 2 Double click inside the text box and highlight the first line Go to edit > cut (shortcut command x) Select the type tool > click and drag a new text box Go to edit >paste (Shortcut command v)

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Composition and Typography / Exercise 2

Once all of your text is in separate boxes move them using the selction tool Increase the size of the heading (you may have to increase the size of the text box to accommodate the text) Creating outlines on type

Select the text box containing the heading with the selection tool.

Type > create outlines In the swatches palette take off the colour from both the stoke and the fill

Creating gradients

Go to the drop down on the swatches palette and select new gradient swatch On the Gradient ramp select the first tab and then pull the gradient sliders on the colour mixer above to make the desired colour.

Do the same on the second tab, before you pull the sliders you have to change the type drop down to CMYK You can add as many different colour tabs as you want on the gradient ramp by simply clicking underneath the ramp

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Composition and Typography / Exercise 2

Alignment

Draw three lines with the line tool Select them with the black arrow > Change the colour to the gradient swatch that you have already defined (when added colour to a line you need to make sure the stoke is selected and not the fill) Select all the three lines with the black arrow Window > Object and layout > Align In your Align palette click on Align right edges then click distribute vertical space

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Composition and Typography / Exercise 3

Programs Adobe InDesign Adobe Photoshop Tools Duotone image Working with layers Frame options Place images in frame Rotation Apply effects to image Direct selection tool Notes Pink C=0 M=53 Y=0 K=0 Turquoise C=60 M=0 Y=27 K=0

Inspiration Die USA Baut (The USA Bulids, an exhibition in the Zurich Arts and Craft Musuem) Poster Designed by Max Bill, 1945 Background Max Bill was a Swiss architect, artist, painter, typeface designer, industrial designer and graphic designer. His work in practically every creative sphere puts him as a vitally significant modernist artist. His formative years were spent at the Bauhaus under the tutelage of Kandinsky, Klee and Joseph Albers.

In 1938 Max Bill had a published interchange with Between Max Bill and Jan Tschichold in 1946. Bill accused Tschichold of reneging on his former advocacy of modernism in The New Typography.

Further Reading Max Bill - Five Decades Angela Thomas

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Composition and Typography / Exercise 3

Potential learning outcome

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Composition and Typography / Exercise 3

Setting up rulers

File > Place > Select Exercise_3.jpeg Click in the ruler at the top of the document and drag down a guideline to three quarters of the way of the page Rotate the image to the sides of the rectangle runs parallel to the guides.

Setting up layers

Window > Layers pallete Click the toggle next to the eye icon to lock layer one.

Click on create new layer. Layer 2 will be our working layer

Creating frames

Go rectangle frame tool.

Draw rectangle frames over the photos on the poster.

Copying frames

You do not have to draw all of them as many of them are the same size, you can click on one frame press alt them drag it to the next potion this will copy it for you.

Once you have drawn all the rectangle frames unlock Layer 1

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Composition and Typography / Exercise 3

With the selection tool select all the rectangles and the Exercise_3.jpeg > Once all are selected hover over the corner of the selection box until the double headed curved arrow appears > click and drag back to the original upright position.

Lock layer one Placing images in frames

File place > click on the first image you want to select > then press command to select another > repeat until all of the image you want to use are selected >press ok You will now see an that a small thumb nail has been loaded on the curser. If you now press the left and right arrows you have scroll through all the various images you selected If you click into one of the various rectangle frames you will see that the image loads into the frame.

Fitting content to frame

You may only see a small crop of the image. If this is the case select the frame and then click on the fit frame to content icon on the top menu bar.

Rotating content within frame

Select the frame with the direct selection tool (white arrow) > press e > hover over the corner > when curved double headed arrow appears > rotate

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Composition and Typography / Exercise 3

Scaling content within frame

Select the frame with the direct selection tool (white arrow) > press e > hover over the corner > when to straight double headed arrow appears > click > press shift (to constrain) > drag

Deleting content from frame

Select the a frame with the selction tool (black arrow) > control c (to copy) > control v (to paste) > select the image in the new frame with the direct selection tool (white arrow) > press delete

Adding Colour to frame

Select the empty frame > click a fill colour in the swatches

Applying multiply effect

Window > Effects Select he frame filled with colour and in the Effect palette click multiply

Aligning frames

Window > Object & Layout > Align Move the filled frame over the top of the original image > Select them both with the selection tool In the Align palette click align horizontal centres then align vertical centres

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Composition and Typography / Exercise 4

Programs Adobe InDesign Tools Scaling text Text outline Text Wrap

Inspiration SH&L Advertising designed by Herb Lubalin, 1969 Background Herb Lubalin work as a graphic designer focused mainly on typefaces and how they could dramatically impact upon the message while much of his work is considered by many to be years ahead of its time. After a few early jobs he settled with Sudler & Hennessey, a New York based ad agency, where he stayed for some 20 years before starting his own firm; Herb Lubalin Inc. in 1964. Having his own company gave him the artistic freedom he’d craved for and enabled him to indulge in projects larger companies wouldn’t touch with a bargepole.

He became involved in the design of a number of magazines devised by Ralph Ginzberg – Eros, Fact and Avant Garde. Despite the fact that he passed away over 30 years ago in May 1981, Herb Lubalin’s shadow still looms large and is a massive influence on many design studios including M/M Paris Further Reading Herb Lubalin: Art Director, Graphic Designer and Typographer Gertrude Snyder and Andy Peckolick

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Composition and Typography / Exercise 4

Potential learning outcome

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Composition and Typography / Exercise 4

Creating text boxes

Create a text box and type letter > repeat this process rotating the letters and experimenting with scale.

Using your Selection tool piece the various letters together.

Converting text to outline

Select all of the letters with the selection tool Type > Create outline File > Place > Select Exercise 4 document > Click OK > Click down on the pasteboard to place the text

Converting text to outline

With the selection tool move the text box so that it begins to slightly over lap one of the letters Window > Text Wrap Select the letter with the selection tool > in the text wrap palette click Wrap around object shape Below you can specify how close you want the text to wrap around the object

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Composition and Typography / Exercise 5

Programs Adobe InDesign Tools Scaling text Text outline Text Wrap

Inspiration Automne Hiver 86-87 Yohji Yamamoto Image from Catalogue Art Direction by Marc Ascoli and Peter Saville Photgraphy by Nick Knight Background Peter Saville is a designer whose practice spans the fields of graphics, creative direction and art. In 1979, he became a founding partner of the landmark, independent record label Factory Records where he created some of the most recognisable album covers of all time for Joy Division and New Order.

In 1987 photographer Nick Knight was working on the campaigns for Yohji Yamamoto. He suggested that Peter Saville be brought in to design the 19871988 Catalogue. At the time, Saville represented an approach somewhat against the grain in the world of graphic design, which was sporting layered, ‘deconstructed’ layouts with idiosyncratic and historicist motifs. Saville and Knight went on to found SHOWstudio Knight in 2000.

Further Reading Designed by Peter Saville Preface Emily King

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Composition and Typography / Exercise 5

Potential learning outcome

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Composition and Typography / Exercise 5

Understanding the Pen tool

Before commencing this exercise you must have be confident with of the pen tool. If not please complete complete the Pen tool exercise File > Place > Pen tool exercise.jpg on layer 1 > lock layer > click create layer new icon Select pen tool and trace over the various shapes.

File > Place > Select the exercise 5.2 image jpg on layer 1

Cutting out with Pen tool

Draw round the figure completing the path Select the image > Command X (Cut) Select the path with the selection tool> Command D (Paste) > Select Image exercise 5.3 > Click OK Draw round the figure completing the path Select the image > Command X (Cut) Select the path with the selection tool > Edit > Paste into

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Composition and Typography / Exercise 5

Pasting Image into path

Draw round the figure completing the path Select the image > Command X (Cut) Select the path with the selection tool> Command D (Paste) > Select Image exercise 5.3 > Click OK

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Composition and Typography / Exercise 6

Programs Adobe InDesign Adobe Photoshop Tools Clipping paths Type outline Placing images within paths Effect (screen) Drawing paths with pen

Inspiration Vogue Paris #831 October 2002 Art Direction M/M Paris Photography Inez van Vinoodh Matadin Background Michael Amzalag and Mathias Augustyniak formed their studio, M/M (Paris), in 1992. Since then, it has become one of this generation’s most distinctive and influential voices in graphic design. Originally working for small independent music labels, M/M soon caught the attention of the fashion world, and later developed long-term collaborations with a rich array of iconic artists, art directors, musical artists (Björk, Madonna and Kanye West), fashion designers including (Nicolas Ghesquière, Yohji Yamamoto, Jil Sander, Calvin Klein, Stella McCartney and Riccardo Tisci). They have also produced unexpected three-dimensional designs for the stage, restaurants and perfume In 2001 Carine Roitfeld appointed them as art directors and creative consultants to the French edition of Vogue.

Further Reading M to M of M/M (Paris) Emily King

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Composition and Typography / Exercise 6

Potential learning outcome

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Composition and Typography / Exercise 6

Creating a clipping path with pen tool

Open Exercise 6.1 jpeg in Photoshop.

Draw round the figure with Pen tool Window > Path Click the drop down on the side of the Path palette > Make selection Click back on drop down > Make work path Click back on drop down > Save work path Click back on drop down > Make clipping path Save as a TIF or PSD Then place the clipped Photoshop file in InDesign

Creating a clipping path with pen tool

Open Exercise 6.2 jpeg in Photoshop Draw round the figure with Polygon lasso tool and selection is complete Window > Path Click back on drop down > Make work path Click back on drop down > Save work path

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Composition and Typography / Exercise 6

Click back on drop down > Make clipping path Save as a TIF or PSD Then place the clipped Photoshop file in InDesign Place the other images in the document and arrange Create a text box and type your title Select the text box Text > Create outlines Take of the fill and stroke in the type Whilst still selected > Command D (Place) Select Image > Click OK You can move your image around in the type out line with the direct selection tool (white arrow)

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Composition and Typography / Exercise 7

Programs Adobe InDesign Tools Margins and Columns Character style sheets Placing text Rulers Leading and Tracking Page numbering Notes Large copy 15pt Leading 19pt Small copy 12pt Leading 15pt Caption 9pt Margins19mm Columns 4 Gutter 7mm

Inspiration The Gentlewoman #1 Spring / Summer 2010 Art Direction M/M Paris Photgraphy Inez van Vinoodh Matadin The Gentlewomen was launched in 2009 as the sister publication of the Fantastic Man. Veronica Ditting designs it under the creative direction of Jop van Bennekom editorial and design approach shares much with its brother. The pages rely less on masculine column rules and structure than Fantastic Man’s signature layouts, but have a familiar monochrome look and feature large chunks of white space. Headlines use Futura, never shouting, while text is Futura and Times.

It’s a strikingly simple design that is very different to any other women’s magazine. It the design reference the grid and typographic styling of Jan Tschichold. The Gentlewomen was nominated for the Designs of the 2013 in the graphics category.

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Composition and Typography / Exercise 7

Potential learning outcome

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Composition and Typography / Notes

Type styles

Roman

Roman is the widely used type style

Italic

Italic was originally based on handwriting, and, again, is widely used. (Note that electronically sloped roman is not a true italic.)

Condensed

These typefaces are used when space is at a premium

Extended

Extended is rarely used for longer texts due to legibility issues Type styles are used to enable designers to place an emphasis on a particular word, phrase, title etc; giving flexibility and enabling a hierarchy to be distinguished the following examples show the most common styles available.

Note that different terminology is used for some typefaces. For instance, italic can be called ‘oblique’, extended can be called ‘expanded’, semibold can be called ‘demibold’, condensed can be called ‘compact’ (with very condensed styles being called ‘compressed’} and bold can be medium’, The term ‘book’ can be used to describe letterforms and the slightly lighter roman. These terms are sometimes used when a roman style is changed via computer software.

abcd ABCDR

San serif Examples include Din, Frutiger, Futura, Helvetica, Monto Grotesque These typefaces have (almost) even stroke weights and without serifs. This classification is known as Lineale or Gothic

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Composition and Typography / Notes

Type styles

abcd ABCDR abcd ABCDR

Humanist Examples include Schneider, Verona, Centaur and Kennerley.

Formally know as Venetian, and originating in the 15th century, typefaces within this classification have varying stroke thicknesses deriving from the broad edge of the oblique pen used in calligraphy during this period.

Old Face Examples include Bembo, Calso, Dante, Garamond and Palantino. These typefaces have broad pen-like strokes giving a greater contrast in stroke weight than the humanist typefaces. This classification is also known as old style or Garalde.

abcd ABCDR

Script Examples include Palace Script, Kuenster and Mistral. These were originally typeface based on calligraphic forms. They can be incredibly hard to use successful in the context of portfolios or design work so use with caution.

abcd ABCDR

Transitional Examples include Baskerville, Bulmer and Century. Typefaces classified in this group have a nearly vertical axis and high stroke contrast.

abcd ABCDR abcd ABCDR

Modern Examples include Bell, Bodoni and Walbaum. Modern typefaces have strong thick-thin contrast, vertical stress, and fine serifs. This classification is also known as Didone.

Slab serif Examples include Clarendon, Memphis and Rockwell. This category of typeface has even stroke weights and heavy serifs. This classification is also known as Egyptian

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Composition and Typography / Notes

Baseline

Baseline An Imagery line on which the capital and lowercase sit

Median

Median The imagery line which defines the x-height

Cap Height

Cap height The height of the capitol letterforms

The x-height

x-height The height of the lowercase x.

Uppercase

Uppercase character Capitol letterforms

Lowercase

Lowercase character Small letterforms, not capitals

bdfhklt

Ascender character Lowercase letterforms with ascender (strokes rising above the main body of the letters).

gjpqy

Descender characters Lowercase letterforms with descenders (strokes extend below the main body of letters).

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Composition and Typography / Notes

A E apex

arm

crossbar

beak

serif

f finial

cross stroke

b S ascender

barb

bowl

spine

V y cross

vertex

descender

T q Oe stem

bracket

spur

stress

i

g A Q

dot

ear

swash

tail

link

5 flag terminal

K fi leg

ligature

hoop

a

h G

P

san serif

shoulder

counter

throat

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Composition and Typography / Notes

Leading Leading is the term used to describe the space between lines of type. It originates from traditional letterpress printing, were the spaces between lines were constructed from strips of lead.

The example below demonstrates that the space between lines of type is important as the lines of type themselves. Too little leading can lead to problems with overlapping ascenders and descenders. A large amount of leading creates too much space for the eye to travel between lines.

Both cause fatigue when reading lengthy texts.

Tracking or Spacing The readability of multi-line texts is influenced substantially by the relationship between the leading and the wordspacing. The words in a line must be clearly separate from one another. At the same time, the eye must be prevented from slipping to the wrong line. It is not enough that the eye is merely obediently led along the lines, but rather that the one is able to grasp entire areas at once. The typography has to assist with this.

Fashion is a form of ugliness so intolerable that we have to alter it every six months.

Oscar Wilde Irish dramatist, novelist, & poet (1854 - 1900)

This is dummy text not meant to be content, but rather to create an even texture on order to evaluate typefaces more easily. One may, at a glance, quickly judge the ‘colour’, or grey value, of a typeface.

Fashion is a form of ugliness so intolerable that we have to alter it every six months.

Oscar Wilde Irish dramatist, novelist, & poet (1854 - 1900)

Th is is dum my te x t not me ant to b e content, but rat he r to cre ate an e ve n te x ture on ord er to e v a lu ate t yp e f ace s more e asi ly. O ne may, at a g l ance, qui ck ly judge t he ‘col our’, or g re y v a lue, of a t yp e f ace.

Fashion is a form of ugliness so intolerable that we have to alter it every six months.

Oscar Wilde Irish dramatist, novelist, & poet (1854 - 1900)

This is dummy text not meant to be content, but rather to create an even texture on order to evaluate typefaces more easily. One may, at a glance, quickly judge the ‘colour’, or grey value, of a typeface.

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Composition and Typography / Notes

Place image FILE > PLACE > (locate file in dialogue box_click on it) > open Placing multiple images FILE > PLACE > (locate first file_click on it_press shift_click on last file you want to select) > open when images load on to the cursor then use the arrows on the key pad to scroll through the thumbnails and click down when you find the first image you want to place.

Resize image Select the image using the black arrow, then click and drag from one corners whilst pressing command and shift. Alternatively select image with the black arrow > press W. This will give you a bounding box similar to photoshop then drag from corner whilst pressing shift.

Resize a group of images Using the black arrow draw a selection box over the image you want to resize. Once they are all selected go to the percentage change tool in the top tool bar and click the small up and down arrows next to it to increase and decrease the size.

Rotate image Select the image > press E > hover in the corner with the cursor and a double headed arrow will

appear, click down and drag until it is at the angle you want. Alternatively select image with the black arrow and change the angle by indivual degrees in the top tool bar.

Putting guides on Click in your rulers and drag to where you want on page To move guides View > grids & guides > unlock guide then drag to new position To hide guides Press W (make sure you are not active in a text box when you do this) Cropping image Click on the image with the black arrow. When it is selected click and drag on the sides of the frame crop in.

Moving image around with a frame Once an image has been cropped you can move the image around within the crop window by clicking on it with the white arrow and then dragging it around within the window.

Add frame Click on a image you want to add the frame then

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Composition and Typography / Notes

go to window > stroke. When the stroke palate appears increase the point size and type of stroke you want.

Add colour box Draw a box with the rectangle tool which is located in your left tool bar. Select the rectangle with the black arrow. Click open your swatches (if this is not out the you will find it in window) then click on either the stroke or the fill at the top of the swatches dialogue box them select the swatch you want to change it to.

Create a new colour swatch to create a new swatch click the drop down menu in the top right corner icon at the top of the swatches palette and drag slider to create colour.

Change font colour Select type by double clicking into the text box then highlighting the text. Then got to the swatches palate and click on the swatch that you want to change colour to. It is important to remember that like any objects on the page there is both a stroke and a fill to this type, always make sure the colour goes on the fill of the text and not on the outside stroke.

Change font Select type by double clicking into the text box

then highlighting the text. Once text it selected go up to the top tool bar where the typefaces are shown in a drop down menu.

Colour pick from image Click the eye droplet tool in the them click on the image you want to select colour Changing a colour picked into a swatch Once you have picked a colour click on the the drop down menu icon on the swatches palette.

Then when the dialogue box opens click new swatch in the dialogue box click O.K Copy text attributes with eye droplet Select the text you want to change the attributes of. Then click onto the eye droplet tool. Click the eye droplet cursor on the text you want to take the text attributes from.

Making text box fit text Select a text box and drag then double click in the bottom corner.

Cut out image with pen Click into the pen tool. With pen toll draw around the image by clicking around the shape. When the shape is completed then select the image with the black arrow then EDIT > CUT (Shortcut CONTROL + X) then click on the line you draw with the penand go to EDIT > PASTE INTO. (Shortcut ALT + SHIFT +V)

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Composition and Typography / Notes

Add pages In your pages palette and click the the drop down menu then go to add pages.

Work with the master page In your page palette double click on the master page a-master that is in the top of the pages menu. When you are in the master page what ever content or guides that you apply will be repeated throughout unless you specify other wise.

Adding page numbers To add page numbers double click into master page a then click on the type tool and then draw a type box the go to TYPE > INSERT SPECIAL CHARACTER > MARKERS > NEXT PAGE NUMBER. A letter A will appear in the master page. Move tihs to where you want the numbering to be. When you double click into the page thumbnails to return to the regular document you will see that the A has been replaced with the numbers of the pages.

Setting up character styles If your character style menu is not already out then go to WINDOW > TYPE AND TABLES > CHARACTER STYLE hit on the drop down menu go to CREATE NEW CHARACTER STYLE. In the dialogue box name the character style then go through the vari-

ous options set then click on basic character style, pick your font and size then go through the menu and changes the various settings to your preferences.

To apply a character style to text Highlight he text that you want to change apply he character style to then click the character stye in the character style palette, Setting up paragraph styles WINDOW > TYPE AND TABLES > CHARACTER STYLE hit on the drop down menu go to create new paragraph style Effect on images If your effect menu is not already out then go to WINDOW > EFFECTS. Select the item you want to put the effect on and then go to click the drop down menu next to where it says NORMAL. Click on one of the below effects.

Effect on object Select the object you want to apply the effect to then go to OBJECT > EFFECT > pick your desired effect.

Text wrap If your text wrap menu is not already out then go

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Composition and Typography / Notesw

to WINDOW > TEXT WRAP. In the text wrap dialogue box select WRAP ROUND BOUNDING BOX for rectangle images and WRAP AROUND OBJECT for images that have been cut out.

Adding embedding an image into text Select on the text box of the containing the text you want to insert the image into. Then go to TYPE > CREATE OUTLINE. Then click away from the text box and then click back on the text to select it. With the outlined text selected do to FILE > PLACE > and then find the image you want to use in the finder pick the image you want to use then click O.K. Moving the image around in text Click on the white arrow then click into the image embedded into the text. When you do this the hand icon will appear then click and drag into the position that you want it to be.

Setting up baseline grids Press cnd k when the preferences window box pops up click where into the grids change the baseline grid to whatever the leading of the body copy is. Then go to view guides and grids and select snap to grid. If you want the baseline grid to be visible then click make visible.

Getting text specific text boxes to ignore the baseline grid.

Select the text box that you want to ignore the baseline grid window > type and tables > paragraph. In the bottom of the paragraph dialogue box click the icon to Align to baseline grid icon to turn on and Align to baseline grid to turn off Getting specific text boxes to ignore text wraps Select the text box that you want to ignore the text wrap then go to OBJECT > TEXT FRAME OPTIONS > in the dialogue box click > IGNORE TEXT FRAME OPTION Adding grids page Layout > create guides .

Applying grids and guides across whole document Double click on the master page. When the master page opens add grids and guide as stated above.

Then when finished double click back in the the regular document page in the pages window.

Switching from landscape to portrait FILE > DOCUMENT SET UP and switch between the portrait and landscape icon in orientation window.