Welcome to Easy Postcard Creation with Adobe InDesign for nonprofits and libraries. My name is Becky Wiegand and I'm the Webinar Program Manager here at TechSoup Global. I'm happy to be your host for today's webinar. You'll also be hearing from our in-house expert, resident expert on Adobe InDesign, Wes Holing, who is a senior web content developer here at TechSoup Global. He writes about Adobe for TechSoup, contributes to TechSoup's design team, and started with kind of experience as trial and error, hacking his way through design, and has now come out of the other side as an expert in this area, creating content and how-to's like a recent series he wrote for us on Intro to Photoshop for nonprofits, and also ran a webinar with us a month or so ago on Adobe Photoshop tips for nonprofits. You'll see in the back end assisting with chat, Wes White and Ali Bezdikian from TechSoup. You may also see Sun Park from TechSoup, or Terry McGrath from Adobe. We're glad to have them on the back end to help field your questions. We are all here in our San Francisco headquarters office, and Terry's not far away either. I'm not sure if you're in Mountain View, but you're in Northern California as well. Go ahead and chat in to let us know where you're joining from today. While you do that, I'll go over the agenda. We'll do an introduction to TechSoup. We'll have one moment of taking a poll question to get your experience with desktop publishing already, which tools you're most familiar with. We'll talk briefly about the Adobe Creative Cloud subscription and the Adobe Donation Program through TechSoup. We'll talk a little bit about where InDesign shines, and then Wes will open up to a live walkthrough of designing a postcard that you can use. And this is an example because we know nonprofits use postcards for Save the Dates, use them like brochures just to gauge interest, use them for invitations for your events. But you can also use double-sided print collateral like this to create bookmarks, to create brochures, to create all kinds of print collateral. And so we wanted to take you through this, give you some templates to start with, and really just walk through how to put together something simple, classic, easy, that you can then customize for your own organization's needs. He'll also give you a glossary of some terms to know, talk about some best practices for working with printers, and we'll share additional resources and a little bit more about that Adobe contest. We'll have time for Q&A, so feel free to ask those questions as they come in. And we will also, just to make sure that people are aware, we're also on the line here, we advertised it as 75 minutes, but we can stay up to 90 minutes to answer your questions. So if you can only stay with us for an hour, never fear, you'll get the recording and all the details later, but we'd love it if you can stay for the full period so we can answer all of your questions. TechSoup Global is a nonprofit serving nonprofits around the world in 120 countries. You can learn more about our programs in our 2014 year in review, but we are serving organizations with 63 partners around the world in 120 some countries serving 615,000 NGOs worldwide to the tune of nearly $5 billion in donations, products, and grants for the greater good. You can learn more about these programs at TechSoup.org. Before we jump into Adobe InDesign, I want to ask what programs have you been using for desktop publishing or layout or design? Click any that apply to your organization's needs and that you've used previously. This just helps us get an idea of what your experience level may be. Maybe you're already using InDesign.  Or maybe you're using mostly online photo or reservation sites like Shutterfly or E-Vite or Walgreens or Costco Photo. And you're using templates that they have online that you can just fill in the blanks and email and maybe trying to print those out. People are mentioning in the chat as well, Illustrator, PageMaker, Photoshop, PDF Editor through Adobe, VistaPrint, Dreamweaver, PowerPoint for layout. So a lot of tools that maybe aren't always intended to do page layout or desktop publishing. We know those often get used for it. Having been on staff at small nonprofits, I'm one of those people that used whatever I had available. So this is helpful to get your feedback so we have an understanding of who's been using InDesign and who's been using other programs. So far it looks like the great majority of you have used Microsoft Word and Publisher. Not surprising since that is kind of ubiquitous office-installed software that most organizations have access to. You'll find that Microsoft Word is not actually a desktop publishing or layout program but it does have some ability to plop some things on the page and adjust them. Microsoft Publisher is actually meant for desktop publishing but it is a bit more restricted and limited. Adobe InDesign and some of these other programs that are a little bit more designed specifically for desktop publishing offer a lot more flexibility in helping you design exactly what you want and have it come out hopefully the way you really want. So thank you all for your feedback on that. Before we have Wes start with his tour, I just want to take a moment to share details on the Adobe Creative Cloud Offer and donation program. For those of you who are interested in it, we have a couple of different programs through TechSoup. One is our traditional donation program where a narrower scope of primarily nonprofit organizations, C3 organizations can access individually installed desktop software like Adobe Acrobat for Windows, Acrobat for Mac, or Photoshop Elements and Premiere Elements. These are available to that same crowd that has kind of always been able to access them as a donation. Now just recently in the past couple of months Adobe has also started offering an individual membership with a discounted rate. So this is a new program that is open to all organization types whether you are a C3 nonprofit or a public library. And this $5 admin fee gets you access to a 60% discounted rate of $239 per year. And then that switches to a 40% off the retail rate every year after that for individual memberships. So if you are interested in accessing Adobe InDesign as part of this bigger creative cloud suite of products that they make available, this is the way to do it at this point. We no longer have individually installed Adobe desktop products aside from these ones in our donation program right now. So keep that in mind. The Adobe Creative Cloud program includes all of these different elements and products from Photoshop to Lightroom to Illustrator, InDesign, and more. So you can see there's a long list there. I won't go through all of it, but just so you know what's available. And again, here's the details that these, that this individual membership access discount rates 60% off for the first year for a TechSoup admin fee of $5 per membership. And you can get as many memberships as you need. So unlike the traditional program that was a donation, you could only access one or two or three products per year. You can get as many of those as you want. These are myths about how this works. So if you're not familiar with Creative Cloud, this helps debunk a little bit of the mythology that you're still able to run these on your desktop. You're just getting updates through the cloud. I'm not going to go through all of these, but they are included in the slide deck. So if you have questions about the program, it's there for you. I attached these slides to the final reminder and confirmation email. So you should be able to open these up and read through them at your convenience. And again, all budget sizes are eligible, all 501c3 organizations, and public libraries are eligible. And you can request an unlimited number of individual memberships. So with that, I'm going to go ahead and switch us over. Great, thank you. Let's go ahead and switch over to our slides here. So as Becky mentioned, my name is Wes. I work here at TechSoup on a lot of Adobe content. I do some graphic design work as well. So you may have previously joined us for my last webinar on Photoshop. So I'm happy to join you again today talking about InDesign. So first I'd like to mention when is a good time to use InDesign versus another Adobe product, for example. I know a lot of folks had mentioned they've used Word for example or Publisher. And there's no shame in using anything that's not necessarily a desktop publishing program for desktop publishing. We all have to start somewhere. The nice thing about Adobe InDesign though is the level of control that it gives you over the final product you produce. So if you are producing print collateral and you want it to match your brand or a certain feel or something, and the templates that are built into the programs that you are using don't quite match that. InDesign gives you that level of control that you can make it match exactly what you want or even try new things and see how your constituents resonate with what you are producing. So let's skip ahead. Just to compare to a few other Creative Cloud applications that you might be familiar with, Photoshop is great for things like editing images, creating photos, making web banners or advertisements, things like that, and designing mock-ups. An Illustrator is another great tool from Adobe that's also in the Creative Cloud that's more useful for creating logos and scalable artwork. And by scalable artwork I mean something like an illustration that you can blow up to a large size without losing quality. InDesign though is best for making print and interactive documents. And what I mean by that is just a standard print document like a postcard that we are making today or a printed document like a brochure. You can also create interactive documents. We won't be covering any of that today but things like including hyperlinks in that to your website that you can distribute the whole document as like a PDF for example. You can have interactive elements like video within PDF. Things like that are really handy if you are emailing something to prospective donors, things like that. So the nice thing about all these applications though is that they all work together so well. So you can create a logo in Illustrator and a touch-up photo in Photoshop and then place all of those in your document in InDesign. And as Becky mentioned the Creative Cloud offer that TechSoup provides includes all of these products in the Creative Cloud and then many, many more things that also all work together very nicely. So just a quick heads up on what InDesign is good for and what other programs are better for. But with all that said let's make a postcard. So I'm going to go ahead and share my computer, my switch over here. So hopefully you can all see what I'm looking at right now which is just a basic InDesign application. I noticed a couple of folks in the chat window had mentioned that the template we sent out earlier was for the current version of InDesign Creative Cloud. I will export this file as one open for earlier versions if anyone is having trouble and wants to start making this postcard but I'll only be able to do that after the webinar unfortunately. So we can provide that later. So my apologies for not considering the CS6, 5, 4, etc. folks. But in the meantime I'm going to go ahead and walk you through creating a postcard with InDesign Creative Cloud. A lot of the things that I'll be covering today are universal for many of the more recent versions of InDesign. So just creating documents, placing objects in them, adding text, formatting the text, all this is very basic InDesign stuff. So if you've never used InDesign before and you don't have the latest version, it should still be covered. And I'll be sure to mention things if there's any that are specific to the latest version of InDesign. But hopefully you aren't into too many of those. So first thing, we're going to create a new document. If you have the template, go ahead and leave it open. I'm going to walk through a few things to get other people to that point. But then we're going to jump right into the template. So for creating a new document, it's just like you would expect from the File menu. And then there's New. In this case we're creating a document. In most cases you'll just be creating documents. There are options for creating books and libraries which are more collections of other documents. We're not going to be touching any of that, but today just creating a document. One thing to consider is that by default InDesign uses PICAs for its measurement. It sounds like a little technical, but basically what it means is instead of using inches or centimeters, it's using PICAs which is a publishing measurement. The great thing about InDesign and all of the Adobe applications though is you can enter one measurement and it'll automatically convert it for you. So in this case we're going to be creating a 6 inch by 4 inch postcard. And if you have the template you can see that there's already a 6 by 4 inch postcard laid out. But I'll go ahead and enter these values here. So we have 6 inches by 4 inches. And we want 2 pages in this case because it's going to be a double sided postcard. It seems kind of counterintuitive that there's 1 page technically with 2 sides, but in this case we're creating 2 pages. And down here in the margins I'm going to specify that as a quarter inch all around. Now if you'll notice I entered a quarter inch in the top. This lock icon, and if I hover over it will tell me, make all settings the same. So once I enter a value here and then switch on to something else, they all change. And you see they've all converted to PICAs automatically. Now if I'm not quite sure how this is going to look in the end and I'm not ready to commit, there's the preview right down here and I can see it pop up right behind me. That looks good. The margins aren't too far in, too far out. It looks like the right scale that I want. And I can just click OK. Now that's for creating a basic document. You can see if I scroll down, and this might lag a little for folks so I apologize. But if I scroll down and over there's the other page. Now that's kind of awkward to use. Up here in the pages fly out, you see there's the one page and the second page. It's great when you're working with something like this where you can bring everything together, see it all at once, instead of having to scroll around. So in order to make it a little more easy to use, I can click this fly out right up here and uncheck Allow Document Pages to Shuffle. If I uncheck that, obviously nothing happens. But that allows me to click this second page, drag it over, and if you can see there's a bracket that just appeared once I connected two to one. So I let go from here. Now we've got this nice clean presentation. I can see the front side. I can see the back side. They're right next to each other. And I can line things up if I need to. It works a lot better. Now from here, what I would recommend is to create guides. And this is where the template file comes in. So again, apologies for anyone who's not working with Creative Cloud version. If you still have CS6 or CS5 for example, and you can't open the file, my apologies. I'm going to switch over to the template file which has these guides already added just in the sake of time because I don't want to spend a lot of time having you watch me just drag guides around. But I'm going to go ahead and open up the template. And I'll zoom out a little bit so you can see what's going on here. That's an excellent question. So one thing I was going to cover at the end of this webinar are some best practices for working with your printer. But since we brought it up at the beginning it's a great time to talk about it. I'll touch on it briefly. I would recommend always talking to the printer that you're going to use, if you're going to use a printer beforehand to make sure you're providing something that they can print from. In a lot of cases you will need to create a bleed. And if you're not familiar with what a bleed is, it's when your object on the page goes beyond the edge of the page. So at a printer they'll cut the sheet to the dimensions that you want. So sometimes you'll need something to go over that edge just to make sure that it doesn't cut short. So if you know that your printer needs let's say a one inch bleed that's a great time to enter that. And you'll see in InDesign right past the edge of the actual page you'll see a line that connects around. I didn't include one here so it's not visible in this case. But if you were to specify one it would be visible there. And again that's something that you want to check with a printer beforehand just to be sure that you're matching their specifications. You don't have to go back and fix something later. Or you get a product that doesn't look right. So excellent question. So as I mentioned I skipped over to our template. It's identical to what I just created previously except there's these lines that kind of intersect all over the both pages. And of course the left is the front and the right is the back.  So with those in place I'm going to show you how to do one other thing. I mentioned at the top that InDesign's default is to use picas instead of inches. I'm an American guy. I don't think in terms of anything but standard measurements. I don't do metric. So I'll show you how to switch over to inches which might be something a little more familiar to you as it is to me. So up here in the edit menu come down to preferences. And you can see there's a lot of options as I mentioned before InDesign gives you a lot of control over every aspect. We're going to go up to units and increments. So click on that. You can see in this top section here there are ruler units for horizontal and vertical. For the template I've already specified inches. But if you have picas still chosen you can see it might be checked. You can just change that one to inches for both of these. You're set for inches. Now if I create any object on the page if I add a rectangle, a circle, if I want to measure out a text box it's all going to pop up in inches and it's easy enough for me to understand. So let's go ahead and get started adding some things to our template. The first thing I'm going to do is to create a background color. We mentioned at the top that this is where you would want to include your bleed. If you do need one I'm not going to add one here because obviously it's just a demo. I'm not going to send it to a printer. But if you did you would measure this to your bleed. So we just click over here to the rectangle tool. You can see there's a fly out. If you hold it down you have other options for an ellipse which is just a circle. A polygon tool you can create shapes like triangles, pentagons, and so on for other geometric shapes. We're just going to be using our standard rectangle tool. So click that. Down here we have the option for colors. You can see the upper left box is for fill and the bottom right box is for stroke. We can choose the color that we want in a number of ways. We have swatches over here which give you pre-selected standard colors or you can just choose your own color here in the color box. With the template what's nice is I've created a postcard folder down here at the bottom with all the colors that we'll be using today. Now again if you're not working from the template, no sweat. Feel free to pick your own colors as you go. It's just a demo. You can always change them later. There's nothing that's set in stone. But if you are working from the template I'll tell you which ones we're picking as we go. So I've chosen a rectangle and I'm going to use the color Tana which is right here. And one of the words about color if you don't know which colors to use, there are some great assets online for choosing palettes. Design Seed is one and then we'll have links to these again that will show you colors that all look nice together if you're looking for a certain aesthetic. With the latest version of Creative Cloud there's actually a color themes option.  You can also, what I did in order to choose colors for this presentation I just came and explored one. I found this neutral blues section which I thought was nice. And these are all the colors that are listed here in this color postcard folder. So I'm going to close out of that color theme but I just want to make you aware of that because it's really handy if you're not good at coming up with colors that work together as I am. So let's go ahead and get started. We're going to create a rectangle again using the rectangle tool from the swatches fly out, this postcard box I'm choosing Tana. And it's as simple as if you've used a publisher for example it's just clicking and dragging from one corner to the other. And as you can see it tells me from that tool tip that before I let go 6 inches and 4 inches is exactly what I want. So we've created our background color. Just for the left side I'm not going to create one for the right side and I'll get into more of that later. But now we're going to add that description. If I click the text what I'll do is if I choose text here I can choose from character on the right side. And again if you don't have any of these options they're all available under Window. You can choose character from type and table or if you want your right side to look just like mine this box up here will give you options for a workspace. I've chosen typography because it gives me a lot more options that I'm going to work with. Depending on what your needs are you can choose other ones. But just choosing typography from this upper one here will give you all the options that I have on the right. So from here after we've chosen the text tool I can choose character. Sorry let me switch over. There we go. After I've chosen the type tool I can choose my font. If you've already installed the two fonts that I recommended beforehand I'm going to use Open Sans. If you haven't installed the fonts that we recommended that's fine too. You can use whatever font you like. Open Sans is a sans-serif font. It looks a little like Ariel if you're familiar with that one.  If you click from that drop down you can scroll alphabetically of course down to Open Sans and there it is. There's also this little drop down box here. You can choose variants of it if you want it light, if you want it bold, if you want it italic, etc. I'm just going to use bold and I'm going to choose 12 point. One thing I like to do in InDesign is to create objects off of the page and then drag them in. That's because InDesign is unique in that you can create frames and add text to them. They can get a little confusing so for the example that I'll be doing here I'll be creating things off the page and then dragging them in. So I'm going to do that and I'm going to click and drag just up here, let go, and I can just type a fundraising event to support our mission. This is a terrible copy. It won't convince anyone. Of course you should change this to whatever your mission is. If it's helping you, if it's in sitting in the environment, whatever it is, whatever you think will compel people. This is just for me to cover my basis for any nonprofits and libraries. So we're going to drag this down once we've created it. So this guide here, hopefully you can see that. What we're going to do is drag the box, the text frame to the very edge of it beyond the margin. The reason we're going to do that is so that when we add the background color it will expand to the full width of the postcard, but I'll get into that in a moment. From here we will widen it so that it matches on both sides, both edges of the postcard. So that looks okay. That doesn't look great right now. What we're going to do is we're going to choose some text frame options. The reason for this is you can manipulate how the text looks within the box that it resides in. To do that we right-click on it and then choose text frame options. We're going to be coming back to this a lot for each text item that we add. So we choose text frame options. We have a lot of options here. I'm going to just go over a few of these. You don't have to worry about all of them. And feel free to check the preview box down here so you can see as you change it how it will look if it's not checked already. The inset spacing here in the middle is basically just think of that as your margins within the box. What we're going to do is specify that as 0.1 inches for top and for bottom, and a quarter inch on the left and a quarter inch on the right. Now if you can see over here in the preview it's moved the text over to the margin which as we specified in the beginning was just a quarter inch. So we use that here as well. It brings it in to line up with the margin. And we've added just a tenth of an inch on top and bottom just a little breathing room. We're also going to change the vertical alignment center that will bring the text within the middle vertically of the box. Up here in baseline options is very top. I'm going to choose that. I'm basically going to cover like three options throughout the text screen options. So if this seems like a lot I apologize. We're going to keep revisiting them. But we'll change the offset from Ascent to Cap Height. Now what is this? This basically means that the text frame is taking into account the height of the capital letters in there rather than adding some space on the top which comes naturally with the font. We're going to avoid that extra space. We're just going to focus on the actual height for the capital letters in the text. Nothing changed here but you'll see more drastic results later. So you can click OK on that. One nice thing about Adobe products in general is when you create an object on a page if you double click any of the resizer boxes it will resize the object to match the exact size of what's inside them. So if you have text within a box if I double click this bottom hanger you can see that it shrinks up to match the exact height. We still have that padding though that we created which is really nice. It gives a little breathing room when we add the color. So speaking of color we're going to change the color of the background and of the text. Now if we remember from earlier on the bottom left here there's the fill color which is chosen. If I come back up to my swatches on the right scroll down. This time I'm going to choose Big Stone which is the darkest color. That looks good. The big text is impossible to read. When you have text within a frame you can choose the color of the frame and you can choose the color of the text. And this is a mistake I make a lot when I'm working in design. I just have to undo, choose text, change the color. So in order to do that on the bottom left here there's this box which says Formatting Effects Container and then one that has the T which means it will affect the text. So if we choose that and then choose a different color in this case I'm going to choose ceramic which is the lightest color in the swatches. Now we can see the text against the dark background. I'll click off of that and you can see how that looks. Not bad. It's bold. It's called out but it's not going to be the biggest and most heavy thing on the postcard. At this point we're going to add the background for our logo. And it's basically going to be the same thing as creating the text frame. We're going to click the rectangle tool again. We're going to make sure that we have the foreground checked which we do. And in this case I'm going to choose Big Stone to match the colors of the background of the description. And I'm going to click outside the page again just one click. I don't have to click and drag if I have specific measurements that I want. So I'm going to click it. It will give me options for the size. I'll choose 1.35 inches by 1.25 inches which is just going to be slightly wider than it is tall. There we go. And if I choose the pointer tool I can just drag that right to the top of the margins and it will click in right there. And it lines up with the margins that would be the guides that we've already specified too. So now that we've got that let's try placing our logo. So we're going to place an object on the page that comes from another file. Now in this case I've created a logo in Illustrator that just serves as sort of a dummy logo for the organization. This will work perfectly the same if you have let's say a photo or just anything else like a PDF that you want to place inside another PDF, whatever you can place within InDesign. It's an external file. You would use the same process. So we're going to go up to the File menu and Place. Now from here let me switch off to the actual thing I'm talking about. Sorry about that. Here's my files. I'm going to choose the logo EPS. This is another file that we attached in the email we sent out earlier. So go ahead and click that and then just choose Open. Now as you can see it changes my cursor to have this little arrow with a dotted line and a picture of a picture. It's asking me where I want to place it. You can place it as its own object or you can place it within another object which in this case I've created that background and I'm going to place it inside of it. So if I just click inside the rectangle you can see that the cursor changes slowly. So now that those dotted lines are around the picture which means I'm going to place it inside something else. If I can click that, there we go. There's my logo. Now it looks kind of jagged. The first maybe six months of using InDesign I always wondered why do all my pictures look pixelated or just crummy. InDesign thinks ahead that you may be placing a lot of things on a page and it might slow down your performance. So it will display things in a lower resolution way. You can have it specified. You can tell InDesign to show it to you as it actually is though if you want by going up to the View menu to display performance. As you can see typical display is chosen. This is sort of a middle ground. Fast display will show no images. High quality display will show images in full resolution. So we can choose that. Now our logo looks nice and clean and sharp. I prefer to do it this way. My computer can handle showing an image as most of you probably can't see but once you add a lot of things it can begin to slow down. It's a nice way to work quickly. So from here we're going to add the organization name right below it. I'm going to click the text tool, come back over to Character just like we did before and we added the description. This time I'm going to use Vesper Libre which is the other font that we recommended. Choose this. And again you can choose whatever font you want. The default I believe is Minion Pro. You can use that. It's a nice Sarah font. So I'm going to choose Vesper Libre. Bring the drop down. I'm going to choose Regular. And I'm going to make it slightly smaller than the description. You don't want it to compete for attention. I'm going to choose this as 10 point. Up here you can also see once we've chosen character there are options for justification. So if you're used to Word for example you choose left, center, right. We have all of the same options and then we have others as well. I'm just going to cover those basic ones here. But in this case we're going to choose Center Alignment. So click that right on the upper right. And then I'm going to create a text frame again off of the postcard by clicking and dragging. The size doesn't matter. We can always resize it. Just click and drag and let go. And then I'll just type organization name. A boring name for an organization. Again, feel free to enter yours here. Of course you'd want to make it personal. So we've chosen that. Now I'm going to change the color of it. And again before I just go and choose a color that will change the background. I want to come down to the bottom left. Click the T which will affect the text. Choose that. And then from my swatches panel again I'm going to choose again Big Stone so that the color of the text will match the background color, will match the background of the description. We have kind of a consistent color scheme going. You don't want to choose too many colors. It becomes kind of distracting. You get that rainbow effect. So I've chosen that. Now I'm going to go back to my text frame options just like we did before by right clicking it, text frame options. The Inset Spacing, just like we did for our description I'm going to add just the same amount. So I'm going to select it. I'm going to choose 0.1 inches. 0.1 inches. We've got that little border above and below. I'm going to choose the same thing as I did before. I'm going to choose a center justification. And then from our baseline options you can see that unlike with Open Sans, this font Vesper Libre, when I chose, I'll go back and I'll re-demonstrate that in case you missed it, when it was on top and I chose center, you can watch organization name will shift down. That's because the font includes some extra space on top just naturally. You can overcome that by choosing baseline options and changing ascent to cap height. That's what we did before with the description. And that will only focus on the letters themselves, none of the other stuff that may come just built into the font that you may not want. And again, this is a great example of InDesign giving you total control over whatever it is you're putting on a page and however you want it to look. So once you've chosen that, just click OK. And then I'm going to drag this down right below. I'm going to click on that right hanger and drag it over. So now it's lined up right underneath the logo just like we did with the description. I've got the little hangers on there and I can double click the bottom one. It'll shrink it right up. It doesn't shrink it up right, the text right to the object because we added that spacing. We added that top and bottom. So nothing will interfere.  So we've got our logo, we've got our name, and we've got our description. We're going to move on to adding that big call out on the right which is the title of the postcard. So the text that I've chosen is, A Night to Eat, Drink, and Give. Of course it can be whatever it is you want. I figured that was a good opportunity to send an invitation to folks to come out to an event that's got maybe a dinner, a reception, and then an opportunity for them to give to your organization or library. So we're going to add A Night to as a separate object, Eat, Drink as a separate object, and then Add, Give because they all have different text treatments. We want things to line up differently. We don't want anything to be confusing on the page. So the first thing is to add A Night to. We're going to click the type tool once again. I'm going to come back down to my character palette. I've got Vesper Libre Chosen which is great. That's what I want. Regular, perfect. We're going to create slightly larger text, 12 point. If you think about font size as which thing should be loudest, volume wise, we've got 10 point which is for the organization names. It's smaller. It's just to describe what the logo is above it. We have slightly larger one for the description. That's nice. This one is going to be on the same level. A Night 2 is not nearly as important as Eat, Drink which is not nearly as important as Add, Give. Of course giving is the most important thing. You want that to be the most noticeable thing. So we're going to start with a 12 point font in this case. We're going to create the text frame again off of the postcard just clicking and dragging. And I'll type A Night 2. As you can see it's still centered from before so I can choose left alignment in the upper right which we did before when we chose the center alignment. Now we can choose align left click that. The text shifts over. And now I'm going to change the color. If I click the selection tool I can accept the text change that I've made and then come back down to the T down here in the bottom left which will affect the text rather than the box that it's in. I will choose one of my swatches. And this time I'm going to choose the color called William. It's kind of hard to read against that background but once we drag it over we'll be able to see it. But before we do that's right click. We'll choose text frame options. I think you can see where this is going. We're going to choose our baseline options. We're going to choose cap height as we did before. And I can see barely maybe that text brought up right to the top. I click OK. Now I'm going to drag this to this spot here. Now the box extends beyond that margin. We can just drag that margin, the edge of the frame right up to that margin. Now we've got a night 2 resting comfortably right there. And I will even drag this out to the margin just to be anal or tentative about it. The next thing we'll add is the words eat, drink, comma. So I'm going to do the same thing before. I choose the text tool. I change my font in this case down in the character palette. Still Vesper Libre, that's great. Vesper Libre comes with four options for weight. We have regular which is a normal font you're used to seeing as far as thickness. There's medium which is not quite bold, not quite regular. This is what other fonts might call a semi-bold. Regular bold as you're familiar with and heavy which is somewhere one step beyond bold. So in this case we're going to choose medium. We want it to be slightly larger and slightly heavier than a night 2 just so that it's got that much more weight on the page. In this case we're going to, let's see, I know it's 36 point font which is three times the size which is great. And we're going to create a big text frame up here. In fact the one I created was not large enough. I'm going to undo Ctrl Z. I'm going to create this off to the side. I'm scrolling over so sorry if that's going to lag and be hard to see. But now I've got some extra space I can create an even bigger text box that I can work from. So I'll click and drag this big one and I'll type eat, comma, drink, comma. Of course an extra comma is the serial comma because I believe in that. I apologize for anyone who does not like the box word comma. No more talk of text. Let's keep designing. So we've chosen, we've typed our text and I'm going to left align this one as well. Click left align. And I'm going to choose down here in the bottom left again we're going to change the color. We have to choose that we're going to change the text color rather than the box color first. Choose that. Up to swatches, scroll down. This time I'm going to choose William again so that it matches a night 2 although it's bigger and heavier. It's still got the same consistent color. I'm going to click the selection tool. We're going to drag this over so it lines up right underneath a night 2. And we've got it in our margins. We drag the corner of this so that it lines up within the box so it doesn't intrude on anything else. That looks okay but again we need to change a few things in our text frame options. So we right click, text frame options and we're going to choose our baseline options. Change that to cap height. Now it's up top. That's great. Okay. Now that looks good. It's bigger. It's a little louder but I want it to be even louder. One thing we can do is we come back down to the character, fly out or a palette. We choose on the upper right all the palettes all have these little fly out menus which have options on top of the options that you can already see. And this is true for a lot of Adobe products. If you click that you get extra options. In this case I want to choose all caps. Now in this case you can see the drink has disappeared. But you can see the red plus sign right here.  It's too far beyond the margin. The font's the right size that I want though. So what can I do? I can drag this back over a little farther. Now it fits in there. That looks good. I'm going to drag a night to over as well. Now they line up. Everything fits. It's the right size that I want. Everyone's happy. Now we're going to add and give right below it. So I'm going to scroll back over to where I have some space. I'm going to create a big text box here. But before I do, before I type anything let's change the character size to 12. Now it seems kind of weird because we have give being the biggest element on the page. But we're also going to have and in there. And you don't want and to have equal weight to give. So I'm going to choose 12 points font. I'm going to choose regular. And we're going to left align this. All stuff we've done before. I'm going to type and, and space. Now I'm going to choose heavy, which is of course the heaviest weight of all. And I'm going to change the font size to really big, 72. I'm going to type give. Now within the same text find you can change certain properties like the all caps. So I'm going to change, I'm going to select it within the box. I'm going to choose that fly out again, all caps. Now it's extra big. And while it's selected I go to my swatches. I choose let's see Big Stone, which is the dark color we've used for the background of the description, the background of the logo, and the organization name text. I click off of that within the box. That looks good. And I can choose and and change its color too. So we've got two colors, two font sizes, two font weights, all within the same box. And I'm going to choose William which is the color that we used for a night to eat and drink. Looks good. I'm going to click the selection tool to accept the changes. And of course it wouldn't be creating a text frame without changing our text frame options. I can right click that, choose text frame options. I'm going to align this to the bottom and you'll see why in a moment. And let's change our offset to cap height as we did with all the other ones. I'm going to resize this down a bit. It's a little large. Drag it in. I'm going to line up the bottom right of this box with the bottom right over here. I'm going to drag this to the 3 inches by almost half inch side along the way. Now we kind of lost our text here. I'm going to drag it up a little farther. There we go. That looks pretty good. So we've got a night to eat, drink, and give. Now the reason that I aligned it to the bottom is when I click off of this and if I hide our guides for just a moment and our text frame borders, you can see, I'm going to scroll over so you can see a little better, give is the same color as the description box and it rests right on top of it. When we align everything to the bottom we only focus on the cap height of the text. That means that there's no extra spacing around the bottom. It will rest exactly on that box. And what's nice is it kind of blends. It gives the night to eat, drink, and give something to rest on. If we move that description box down, oh I just lost a few things on the display. Sorry about that. There we go. I'll try that one more time. If I move it down, that looks okay but an night to eat, drink, and give is just sort of floating there. It looks a little better when you've got something kind of resting on top of it. It's a little more cohesive.  So we've created the top half. Now we're going to create the bottom half. And this part's even easier. We're going to create another text box by clicking the type tool. I'm going to change my character to, we've got Vesper Libra. That's good.  Do 12 point. We don't need it nearly as big as it was. And let's create another big text frame over here off to the side. Choose the left alignment. Wes, we had a couple of questions real quickly if you don't mind interjecting here. Nikki asks, why does a text box need to be created outside of the document? What happens if you try to put a text box like on it? Is there a reason for that? That's an excellent question. So when we placed our logo inside the background color, we're placing an object within another frame. We've got a background color which is basically just a rectangle. So if we click within it, it's just a good practice to be in to create objects separate from other objects. If we click on the background color, InDesign will think that we want to add text to that object itself rather than just placing something on top of it. So this way we create it off to the side. Choose our option, make it all look nice, bring it in, place it on top. You can definitely drag within the space that the rectangle, the background color takes up. That's fine. I just prefer to create them off to the side, drag them in that way. I don't make a mistake, have to undo, and all that. Hopefully that explains it. Great, and about that keeps you from accidentally moving that background rectangle off of the postcard too and then having to realign things. One other quick question just based on what you just showed, Rachel asked, how do you hide the margin and guidelines the way that you just did to show us how the give was anchored to that longer blue line? That's a great question. So there's two ways to do it. I'll show you both very briefly. I just did it with keyboard shortcuts just for the sake of time. But because there's inquiring minds I want to know, I'll show you the both ways. Up here in the view menu you have extras, one of which is to hide frame edges. You can see that I'm on Windows, so of course it's a Ctrl H keyboard shortcut for UMAC users. I believe it's probably Command H. You can click that. And then you can see the edges around the text frame that I created on the left and the objects that are on the postcard have all disappeared if I do Ctrl H. And again, I assume it's Command H for UMAC users. If I hit it again, then they reappear. The same is true for the guides. If I go up to the view menu, there's grids and guides right here. I can choose hide guides. And you can see the keyboard shortcut for that is Ctrl and then the semicolon. Again, Mac, I assume it's Command instead of Ctrl. I choose that. Those disappear. I press Ctrl, semicolon, they come back. If I do both Ctrl H and Ctrl semicolon, I get to see it nice and clean, which is great if you're working with somebody else. You've created a design. You want your coworker to take a look. Maybe your manager or supervisor to approve it and say, that looks good. No, let's move it here. But you don't want to bother them with a bunch of lines in the way. They might think it looks worse than it actually does. So those are great ways to just take a quick step back, see how it looks, and then dive back in with your handy guides. And one other quick thing to note, those guides still exist. Your objects will still snap to them as they have been, even if they're not visible. So you're not really turning them off. You're just hiding them as it says. Excellent question. Were there any others, Becky, to field right now? Becky We can go ahead and move on so we get enough time to show everything. Gregg Great. More time for me to talk. Okay, so let's turn our guides and frame edges back on with Ctrl H and Ctrl semicolon. Now they're back on. I've got my text box ready to go. I'm going to choose, let's see. I've got Vesper Libre, regular weight, 12-point font. I've created my big text frame. Now I'm going to type, and I've chosen left align too, which is also very important. I'm going to type just the basic information. I'm going to include the date. I'm going to include the location, which along with the address, and then important times for people to know. So registration in this case, what time that is, what time dinner is, and what time the reception is. And of course this can be anything you want, if it's not a reception, if it's a ticket thing, or whatever you need. This is a great spot on the postcard to include whatever you think is necessary. So let's type Friday. I apologize, there's a lot of text, but I'll try and type fast 2015 Paramount Theater, 1914 Knoblox Street. And my last name is Knoblox. Of course this is my not-so-subtle way to work somebody I know into this presentation. If you were here for the Photoshop one, that was my dog Charlie. So everyone from the house has to find their way into my webinars. So let's say dinner at 6 p.m. and reception at 8 p.m. Great. One other quick tip too, when you're typing in a text box, if you're on a roll, you don't want to have to keep going back and forth between keyboard and mouse. If you type something in the text box, you want to accept what you've typed. This seems counter-intuitive. You can press escape. It will automatically accept your text changes and then switch you back to the selection tool. Escape does seem like maybe something that would cancel what you've done. In this case, it's exactly what you want to do. So kind of strange, but it does save you some time rather than having to click off or click something else. Anyway, if you need those valuable seconds, there you go. We've chosen the text that we want. We're going to change the color of it now. So again, we choose the P at the bottom left to choose the color of that. I'm going to come back to my swatches, scroll down, and choose William. It's a little hard to read against this background, but we're going to bring it over to that lighter color in just a moment. Now let's resize this a little bit. I made it kind of big. I'll bring it up and I'll drag it over. Now just like with the words and give, I'm going to bring this down to line up with the bottom margin. You can see it's lined up just at the bottom of that. I'll let go. I've almost got it to the right width, but I'm going to bring it back over so that it lines up with the right margin. That looks good. And it's a little too tall, so I'm going to bring it down just a little bit to line up with the right underneath the description. That looks okay, but it's not going to catch any eyes. If you've seen the finished product, you know that we're going to call out the date as more important. We're going to give that more weight. So let's double click within that text frame and select that top line just like you would in any other word processors. Just select that. We're going to come back to the color, excuse me, the character palette, and we're going to change that one to OpenSands, which is the same typeface that we used for the description, and a fundraising event to support our mission. We're going to choose OpenSands. And as you'll notice as we've been using other certain fonts, when you choose from that typeface drop down, Vesper Libra OpenSands are at the top. Those are the last ones we've used. If we choose other typefaces, those ones will go up to the top too. So I'm going to choose OpenSands. I'm going to give it a little more weight than regular. I'm going to choose that one as bold. I'm going to make it a little bigger. I'm going to make it at 16, which is not an option here, but the nice thing is if I click off of that again, I can just enter the size that I want. I want 16 point. There we go. Now it's nice and big. My text is still selected. So while I'm doing that, while it's still selected, let's change the color of it too. We can come up to Swatches. I'm going to choose, let's see, let's choose Big Stone. But again, it's the same color that we used for the background of the logo, the word Give, and the background of the description. So once I've done that, I can press Escape, handy, handy, ye. So that's got a little more weight to it. It calls out. People will see this postcard immediately and think, oh, on my busy Friday, I think I can make it. But the date is right above the location which is right above the schedule.  The nice thing is with InDesign, if you're creating a document that's got a lot of text on it, you don't want it to all go left to right, fill up the full page. It's kind of hard to read. If you think about a newspaper, you've got columns. That's easier to digest. In this case, that's what we want to do too. So if you've got your text box, excuse me, your text frame selected, in the upper right here, when you have the selection tool chosen, first of all, it won't show otherwise. If you choose the selection tool, and you select your text frame. In the upper right, there's this number of columns option. Currently it's set to 1. It's always set to 1 by default. Any frame has this one column. And change that to 2, and you'll notice nothing happened in our text box. And that's fine because we don't have enough content currently to fill a second column. It all sticks neatly in one. But we want to drag that down to fit that so that everything has to flow into the second column. So if I click that top hanger, and drag it down, drag it down to, let's say, 0.8. I can get it right there. Oh, a little too much. Yeah, that's pretty close. We've got the date on the left. We've got the address right below, and we've got the other information on the right. Now, by default, everything is still centered vertically because of some other options that we've chosen before. Easy to fix, of course. You know where this is going, you right-click it, text frame options. We can choose the alignment not from the top, but from the bottom. And I still have preview chosen here on the bottom left. If I drag this over, and I can see how it previews, that's just what I want. I have three lines on each side. They all line up. I've got the date right at the top. That's taking up a lot of space. Perfect. I click OK. I can click off. That looks pretty good. Let's scroll over just a little bit. We can see it without the guides, without the frame edges. All right, that's our front. So now all it's left to do is to add information to the back. So I'm going to re-add my frame edges, re-add my guides, and scroll over to the back. We want a nice clear call to action on the back. We want some information to tell people what it is we're doing. Obviously, we want them to give, but why? And we want information or other elements on the back of the postcard so we can actually mail this if we want. This is operating on the assumption this is something that people are receiving in their mailboxes. But of course, you can design a postcard that will sit neatly on a table and tell people about your organization or your library, things like that. It doesn't have to include these elements, but I'm operating on the assumption that it will be mailing sets. I'm going to add those in just a moment. But first, let's have our call to action. So I'm going to create another text frame. I'm going to click the type tool. I'm going to create a box off to the side once again. Click and drag that. I'll type join us. That's what we want people to do, join us. Do a left alignment and let's select our text. That's not quite big enough. Come to the character palette. We've got Vesper Libre chosen. That's great. That's consistent. Change that to let's say bold and we're going to make it a little bigger, 36 points. Looks good. We'll hit escape to accept those changes. One more time, right click, text frame options. We're going to choose vertical alignment center. We're going to choose our baseline options. This is going to change it from ascent to cap height. Now this isn't something you always have to do. I find that it's best to change this field when you have a text object that isn't going to be like long copy for example. In the cases before we had a night to eat, drink, and give those three objects just sort of serve as a function. They don't actually have to be presented like a readable document. They're just something to call out, be large, be a visual element on the page. That's why I like to choose cap height because I get that extra option around the spacing of it. If you have multiple lines of text, it's going to be nice to give it that extra breathing room, leave it as ascent, or whatever other options you want. But in this case, cap height is my preference. So we're going to click OK on that. I'm going to drag that over so that it hits the upper left margin. I'm going to resize this to live within that box. There we go. So it's centered so it's within the size that I've prescribed. It's got a little space on the top and bottom. It's got some breathing room. Now let's add a little body copy to it. So we'll click the type tool again. We've got Vesper Libre at regular at 12. That looks pretty good. So let's create another text frame. And rather than fill this with text, let's choose left alignment on that too. Rather than fill this with text, I'm just going to hit escape. It seems a little counter-intuitive. Why would you just create a blank box? So let's drag this over to this spot and I'll show you. So we've got, say right about here, and I'll fill it about 2.5 inches wide, which is about half the size of it, and let's say 1.25 inch. So we've got this empty box. And this is going to be where you describe what it is your fundraising event will be. Rather than waste time watching me type out a whole explanation of what the event is, I'll show you another feature of InDesign that I really like. If you're just laying things out and you don't have your copy ready, if someone else is writing it and you're the person who's tasked with designing it, you don't have their copy, what do you do? InDesign that you covered under the type menu, fill with placeholder text. This will fill in just random Latin sort of lore, and if you're familiar with that, to the exact dimensions of your text frame. You don't have to worry about it. You know that it's the right size. You've specified how it's going to look. Now when someone brings you the text, always figure out what it's going to say later. You can always come in, fill it out as you need it. But right now it will give you at least a visual sense of what things will look like. So super handy. One other thing I want to change on this, and this is a default in InDesign. If you click the paragraph palette, hyphenate is on by default. Personally I'm not a fan of hyphenation. It looks a little funky. I like words to be all, full length of it. It's too long for the line. Let's bring it over to the next line. So uncheck that and you can see it popped out over. So that looks good. Click off of that. So you've got a call to action at the top. We've got the description below it. Now we're going to add the RCP text. So in this case I'm assuming that maybe you've got a place for your attendees to RCP online. Maybe you've got an Evi or a Facebook event, something like that. If you don't, that's fine. You want to use a phone number. Call us to RCP. That's fine too. This line will work for any of that. So we're going to click the text tool again. Make sure we've got our character set, regular 12 points. That looks good. Choose left alignment. And let's create a text frame off the side and type RCP at organization.org slash event. Very exciting. I'll drag this over just beneath our description text. We've got that little space in between which is nice just for some breathing room. Let's choose our text frame options. We're going to center this as well like we have in the past. And choose our baseline options once again, cap height. This is just a one liner, serves as an object on a page. It's not meant for long form reading. I like cap height. Great. Now let's drag this bottom right corner up to this space here. It fills in that space very nicely, very neatly. You can see it. I'll turn off the guide so you can get a sense of how it's looking so far. No frame edges. That's looking good. It's filling in the left side nicely. We'll turn those back on. And the last thing, we're going to add some contact information. If anyone has questions, how did they get a hold of you, let's add that at the bottom. So one more time we're going to choose the type tool. We're going to click and drag a box on the right.  Second, excuse me, second street. Allentown. State is not applicable, 3-4-3-4. What did I say? 4-5. And then underneath that a phone number. Of course we're in a movie so every number is 5-5-5. Great. Hit escape to accept our changes. Let's resize that up because it's a little bigger than we need. And we'll drag that down here. And I'm going to line it up to the bottom left margin, bottom left of the text frame to the bottom left of the margin of the page. It's still a little tall, so I'm going to drag this down right to about there and then bring this over so that everything is neatly the same width within that column. It's because of the space above it in the font and the fact that it's top aligned. It looks like it's in the center. Let's fix that. Right click it. Then choose text frame options. And here we go choose the alignment to the bottom. If I drag this away you can see on the left here the preview. Now it's aligned at the bottom. It gives a little more breathing room. It's independent from the RCP at URL. And that looks good. So we say OK. So we've got our left slide done. Now all we need to do is add a little divider line in the center, add a stamp box, and some lines for the address, and we're all set. So this is going to introduce a new tool that we haven't covered yet. Pretty simple though if you use any other graphic design or drawing applications, even stuff like Microsoft Word will have these same tools. We're going to create a line. So there's a line tool just a little up from the rectangle tool that we've been using before. Just click on that. And let's see. Just like with the rectangle that we created before we specified a certain size. I'm going to do that here too. So rather than clicking and dragging, I'll just click off to the side. Now I'll actually tell you what. Let's do this. I know the size I want already. Let's just drag one down to about 2 ½ inches. That's pretty close. Now if you can see this on your screen, it might be hard to. My line is not entirely straight. It's slightly up the side. And if I move around, of course, it will move with me. While I'm still holding down the mouse button, if I hold down Shift, it snaps into place. It's a perfectly straight line. If I keep moving, it will do a 45, 90, and so on degree angle. This is great if you don't want slight variances in your shapes. If you want it exactly straight, this will do it. So I'm going to measure that at 2.5, and finally let go. Now we've got a line. And it looks like it's got some width to it, but that's just the guide for it. There's no actual weight to this line until we add it. So in that case, we're going to come over to Stroke, which is just the sort of graphic design way of saying a border. Click Stroke. You can see the weight is zero, which means there's nothing applied to it. I change that up to one point. You can see on your screen it's added a little bit. That blue line is now around the black line. If we click our selection tool, and then choose Align, I'll show you this. This is nice. If we click Align, this gives you ways to align objects on the page, either in relation to other objects, or to the page itself, or a lot of other options. Right now we're just going to focus on how it aligns on the page. We want it right in the center. So if I click this one here, this upper left, it's the second one from the left, Align Horizontal Centers. Oh, excuse me. Let me try that again. That's my problem. Let me back up. Sorry about that. Like I said, you can align it to other objects on the page. If I selected, say, text objects, or images, I can align it to that. If I want it to be in the center of something else, that's an option. By default it's Align to Selection. I want to Align to Page. I skipped ahead, so I'm not able to choose Align to Page first. Now if I click that, that Align Horizontal Centers, it'll align to the first page. Sorry about that. Let me just make this a little simpler. I'm going to drag this over, save some time, right to that spot. Done and done. It's also a little too high up. I want to bring it down. That looks like it's pretty close. And again, with other options I can make it exactly right, but for the sake of time, let's keep it moving. Now we're going to add a stamp box in the upper right. So again we go back to our Rectangle tool, click that. Now before we get started with that, in the past we've created rectangles that had a color filled in and no borders. This time we're going to do the opposite. We're going to create a box that has no color filled in. It's clear in the center, but it's got a box around it. So if you just imagine, if you draw a square, that's what we're going for. So if you come back to your color properties down here on the bottom left, we've got a color filled in, which is the fill. We've chosen that. If you click it, you'll get the color option here. I want to bring that. Let's see. There's this box here, this none option. So whatever color type you've chosen, I'll cover this later if you've chosen CMYK, RGB color, some Pantone colors, any of that. This will always be an option. You've always got this gradient and you can choose none, which is what I want. So now I've chosen no fill, no stroke color. But let's change that stroke color to something. So we click on this other box right behind fill. If you watch carefully, it brings forward just a little bit. It's really subtle, so it's easy to miss. But click stroke. Over here I've got the choice for black. I choose that. So now you can see there's slash through the fill, color around the stroke. That's what I want. So I've got my rectangle that I've chosen. I'm going to click without dragging. I'll just click and choose a 0.7 inch by 0.7 inch size. And that's roughly the size of a stamp. Of course, it doesn't have to be exact. The stamp is going to cover it, but that's fine. Hit OK. I'll choose my selection tool and I'll drag this up into the upper right corner. There we go. Last thing to do, let's go back to our line tool. I'm going to create some horizontal lines this time. Click that. I'm going to create one, let's see, let's do it about 2 inches wide. So I let go. And of course, at that time I was also holding down shift like I did before to create a perfectly horizontal straight line. Click the selection tool and just drag this over. Let's do it about here. Now I've created an object that I want and I want to duplicate it multiple times. Rather than having to do it by hand each time, I can just duplicate it, drag it down, and that works great. And the way I do that on a PC if I hold Alt, you can see my cursor changes to a duplication symbol. I can drag this down and you can see there's all these little handy guides to guide me along the way. I drag it down to my next guide, let go, and I'll do it one more time, right down to there. Great. So now I'm going to turn off my frame edges, my guides. I can take a look and that's a functional postcard. There you go. That's the design portion of it. We'll cover a few more details later but Becky's got a little to add. Great. Thank you for that Wes. And we've had a conversation going on the back end with one participant highlighting that there's some concern about where the address needs to be located on the back side of a postcard because the U.S. Postal Service has barcode scanner technology these days. So I would always recommend, let's say, that you check on the U.S. Postal Services guidelines before you do any design to make sure that you're keeping areas blank, that they need blank, that you're putting the stamp in the area that they need, that you're making sure that recipient mailing addresses are appropriately located because those change every couple of years. And I know it's not a tough thing to Google the U.S. Postal Services Postal Guidelines. So just make sure you're double-checking those kinds of things because they do change regularly. And we wouldn't want to see you send out a postcard that gets redirected back to your own office and not to the intended recipient. So with that we have a few other questions. But before we do that, I would love it if you could share some of your tips. Well actually, sorry, one question I want you to answer while you're still showing your desktop. How do you decide where to put the guides that you built into the template before you start? Do you set a certain amount of space around the outside that's your margin and sort of what are those standards? Are there best practices on setting up the guides? That's a really good question. So in this case I added these guides along the way. They look like it's already been figured out, but that was because I did a lot of trial and error in designing this postcard. And once I got it to look the way it did, I added the guides for the sake of you fine folks watching. When you're actually designing something for Scratch, it's hard to know where those are going to go. Let me show you one nice way to get a sense of where they might be useful. I'm going to create a new document here. And I'm just going to create a basic letter so that you can see something else. Under the layout menu, let's see, I'm trying to remember it now. Let's see ruler guides. No, I'm sorry, that's the wrong one. Create guides. I might even add a little fast. Let me do it one more time just so that folks can see. It's layout menu, create guides. And I've got my preview box checked. I can choose a number of rows and columns that are the exact same width across with a certain, what they call a gutter, which is basically the space between your columns and your rows. If I choose any number of that, let's say I want 12 rows across. I changed the next one. You can see those lines show up. And I'll say I want to do 12 columns across. Now I've got a lot of guides. And then maybe too many for you. You can scale back, add more as you need. It creates a nice grid. And again, going back to the newspaper example, which is always a great, rules of thumb to follow for newspapers are good for any print meeting because they do it daily. They know how everything works. It's always great to have a grid to work from first. If things take up, let's say three columns here and one column there. And then this one takes up a full width. Your eye may not notice that things are on a grid layout, but your brain will interpret it as a nice clean design and something that's more appealing rather than some kind of chaotic spacing. So I always nice to have a grid start with. And along the way, if you decide you need it fewer or more, you can always come back once I've accepted these changes. I say let's wait too many. I just need six by six. If I go back to layout, create guides, and I choose remove existing ruler guides. Now down they would disappear. I can choose six by six. Much cleaner design. I like this better. I can work with this. It's always a good way to start when you've got a blank template. You've got a blank page to create some guides for lining things up with other objects on the page. Great. And before we have you stop sharing your screen, can you show one more time where people can select the colors and find the Adobe color themes that are sort of pre-available, that mesh well together so people can – if you don't have your specific colors for your organization or you're not sure what would go nicely with it, you can often find those recommended pairings and groupings from within Adobe's custom color themes. And you can also customize and save them for your own organization's needs. Definitely. Yeah, and this is something I discovered recently. There's a lot of nice features and options within a lot of Adobe products that as you begin to use the more, you'll always discover something new. Oh, I don't have to do six steps in order to get that one thing done. There's a little feature for it that I might have missed. So in this case, if you move under the window menu, there's the color option that flies out. Adobe color themes is the one that I mentioned at the top. If you choose that, it brings you this palette. It comes to the Create tab first where you can choose a lot of options based on – so if I know that I want the dominant color in this to be red, which is the one that's chosen by default, I can choose complementary colors, analogous colors I can choose. Let me show you a triad, which will find other colors that are based on them. This is all color theory stuff, so I won't go way too heavily into it.  And of course, you can change the color that you're starting from too by just choosing from that color slider. So if I want maybe this lighter, I want something a little more blue, etc. The ones that I chose for this were under the Explore tab. And let me see, I think my screen might be there. I'm hesitating to show you. So under the Explore tab, there's a lot of these palettes, excuse me, swatches that are already chosen that are complementary to one another. They've all got fancy names like Sandy Stone, Beach Ocean Diver, Honey Pop. Under this dropdown, you've got Most Popular, which is where I always start because I want to do what's popular. And so from there, I found that neutral blue one. So as you can see, this is, I think I called that one like Big Stone, and William, and Tara, and all these other colors. Those are all from neutral blue, which I found through the Adobe Color Thames. And I believe that's a feature that's only more recent within Adobe Creative Cloud. If you don't have Creative Cloud, if you're working from one of the Creative Suite versions, there's a lot of great sites online that will do pretty much the same thing for you. They will provide you with palettes and even include photos with a lot of those colors in them so you can see how it will all look together. If you're with people on the beach theme, you want to save, you know, you're working as a conservation group, you want to save the beaches, you want to have a beach color theme, that sort of thing, you can always find those. And I'll share some of those resources in a little bit too, but I think we want to get to maybe some other questions here. Before we leave the color palette, Lisa asks, how do you pick specific can-tone matching colors like the ones that you may have from a printer for your logo or your organizational colors? Maybe you have two or three colors that you use. How do you match those? Because you can save. You see that little tab that says My Themes. If you're using the same set of colors for most of your collateral, you can save it there so that you can find it every time without having to look for it over again or search for all of those colors. But how do you go about matching? Really good question too. So I'm going to close out of this color theme actually, and I'll show you something within color itself. So for those of you that may not know, I'm going to explain a couple of things just about how color works both in print and screen if you already know this, my apologies, for going over something you already know. But for anything that appears on screen, your computer will measure those colors in three values, red, green, and blue. Those are RGB values. If you choose from the color palette to fly out, you can choose RGB. I can choose the value of red, green, and blue that I want to appear in something. For print, for anything that's going to be actually physically, you can hold in your hand, it operates off of CMYK. So that's cyan, magenta, yellow, and the K stands for black. You can just go figure. It stands for key, but that's kind of a nerdy side. I won't go into why. But you can choose that one here as well. And so there's your CMY and K values. And the same is true for lab if you're looking at luminance, and I never use a lab, some kind of blanking on what the other two stand for. But you've got options for your colors. One other nice thing you can do, if you come up to your swatches, so you mentioned Pantone, under the swatches you have a fly out here. You can load swatches. Now if you've got a – and I don't have one handy so I can't actually demonstrate this very well, but if you've got Pantone colors that are pre-selected and saved into a color swatch file, you can load those in. If that's something that your printer has provided to you, here's our colors, pick from these. This is where you would open that file and load them in. And they would appear in this list underneath the ones that are pre-selected for you to choose. So your Pantone colors would not appear as a CMY K value. They would probably say Pantone 110, Green, or whatever the color they've been labeled. But that's the place to choose those. So hopefully that helps you there. Great. Thank you so much for that, Wes. We're going to go ahead and stop sharing just to show you some of the additional resources. But before we do that, can you show us what the postcard looks like again so that people get the final view of it? And like I said, we will include the final version of this as an InDesign file that you can go in and customize, move things around, change the colors, do what you want with it so that you have the opportunity to make it your own. And Wes has one other thing to add about this. Sure, one other quick thing. So we're talking about printers. One great feature that InDesign has built into it is the ability to package everything. So in this case we've got one InDesign file which is this whole design. We've got the logo file though. That's a separate file. We've also got fonts that are included that maybe your printer doesn't have.  So the way to send that over to them under the file menu, there is the package feature. This will save a separate file that includes everything. It will embed the fonts. It will specify the exact colors that you've chosen and it will package up any files like images or in this case the logo which is a vector file for the printer to use. It will get everything in one nice, tidy package hence the name package. So that's the place to do that. And then your printer may even request that or they might make it easy on you and just send us a PDF in which case everything is already packaged nicely too. So depending on what the requirements are you may have to package it in which case. That's where you find that feature. Great. And with that in mind I'd like to go ahead and have a stop sharing because Wes is going to share some tips on working with printers but we want to show this glossary. We know we used some terminology today that may not be totally familiar to everybody especially if you're not a professional designer or a printer yourself. These are some of the terms that Wes used and we talked about the RGB and the CMYK. Anything you want to say about these specific terms that people should be aware of? Sure, yeah. So I mentioned RGB colors again. That's just for screen whether you're looking at your monitor, your cell phone, anything. That's the way you're going to choose those colors. CMYK of course is for anything that's printed. In some cases the colors may have slight variances if you choose. If you enter it as an RGB value you need to change it to CMYK. You can do that with an InDesign. Just from that same colors palette just changed from CMYK to RGB or vice versa. But again you're sending it to a printer and want to make sure all your colors are CMYK. One other quick pedantic note, tight face versus font. This may not come up but I like to spread the gospel out there just because it's a pet peeve of mine. Tight face is the set of characters of the common style. So if you think of Ariel or Times New Roman that's your tight face.  So that's just more for me to feel better than I've told other people about that. Stroke of course we covered that. That's the border around any object. It's a terminology you'll find in graphic design especially within Adobe products. You'll see that in Photoshop, Illustrator, InDesign, any of those. They all say stroke when they mean border. So that's what you're looking for and that's what it's called. We also covered at the top the concept of a bleed. Again that's when an object goes beyond the frame. We created a back line color that just went to the frame of the page. If your printer needs it to go an extra inch all around you can create that bleed at the very beginning when you're creating a document just specify one inch all around. It'll give you a dotted little margin space and you can drag to that. And of course this one is familiar to anyone who's ever painted like painting your house. Matt vs. Gloss. Matt of course is a flatter finish when it comes to a printed document. Gloss is your shinier one. There are a lot of other options in there like metallic and semi-gloss and all these other options in between. Always consider that when you're printing something if you have something that's supposed to be really bright shiny pop maybe a gloss is better. If it's a little more subtle you want it to be depending on the content of it if it's something that has a little more gravity to it maybe a matte is more the way to go. Great. And then the best practices that we can share are really talking to your printer first because learning about the different card stocks available for printing things like postcards if there are guidelines on where you need to place stamps and things like that your printer is likely to be up to speed on all of that. So you're working with them, they're your friend on this project, whatever it might be, whatever you're printing. If you're printing it in-house you don't have that luxury but it is great to have somebody who is a professional printer that you work with from time to time to help you answer those kinds of questions, show you the card stocks, talk to you about templates. They might be able to provide you with templates of sizes that you already need so you can just plop things in and you've got those guidelines already set up for you. Wes is going to add to this as well. Yes, sorry I think you just covered at the end there but just to reiterate that printers will often have a PDF ready for you that you can just load in to InDesign or any other design program that already has their margins or their bleeds and all that. So it's always nice to contact them first. They can give you whatever you need and start rather than have to do it all over later. Great, that's good advice. And I did a quick search for postcard designs USPS and lots of InDesign templates popped up too so you can always just go to Google or go to Bing or whatever your search engine is that you're using and search for templates because there are a lot of free ones. There are also free templates built in to some of the Adobe Creative Suite that you can just take if you're building a flyer or postcard. You may be able to find free templates that you can just open up that have those guidelines, have bleeds built in, have cut lines, things like that. So keep that in mind too. We are at the top of our webinar time so I just want to quickly show these are some of the resources that Wes used to gather free fonts. So the Vesper Libre font and the other one that I'm open-sand thank you I couldn't remember the name. He found from Google Web Fonts but here are some other places to get color palettes, free images, things that you can use in designing beautiful collateral for your own organization's needs. I also want to just point you again to the links that you'll get in that PowerPoint for Creative Cloud individual memberships for the general Adobe Donation program and then some other resources about the Adobe Creative Cloud offer. We did a webinar last month on a crash course showing the different elements and pieces of Adobe Creative Cloud and then some Adobe InDesign videos from Adobe TV. They have tutorials on how to do a whole bunch of things using InDesign. Lastly, I just want to mention again the Celebrate Adobe Creative Cloud Contest that's happening with us right now through October, where Adobe and TechSoup are partnered and winning, you can win prizes every month. We are selecting three prizes. The grand prize is $1,000. Other prizes include things like an Adobe Creative Cloud subscription and other Adobe products and you can enter any collateral that you've created whether that's images that you've edited, video files, whether it's flat printed things like what you may have created in Illustrator or InDesign. You can enter those just by sharing on the Facebook link there using the hashtag on Twitter or Instagram to link to your different submissions. It will be welcoming people to vote on those as well. So watch for those links in the follow-up email. If you could go ahead, those of you still on the line with us and chat in one thing that you learned today that you're going to try to implement. We would appreciate that or that you've learned that you're going to work on on your own. And like I said, we'll do our best to get you some of these files so you can customize them and change them and we'll make sure that they're available to you for use with earlier versions of Adobe Creative Suite in addition to the Creative Cloud version. We did have a couple of other questions that came in just asking, and I don't know if you know if you can change the default values under that text frame options box. I know that you can save a lot of custom things that you use frequently, but I don't know if that's an area where you can customize. He's shaking his head like he's not sure. So I think we'll have to get back to you on that one. We had a couple of different people that asked about that.  So we have a whole spate of opportunities to join us. Next week we'll be talking about Windows 10. So if you're thinking about upgrading your organization, whether you're a library or a nonprofit, you can join us to see some of the features in that and learn about the different upgrade options from totally completely free upgrades to various paid and donated options available to you. We'll be talking about Giving Tuesday and 10 Tactical Tips on September 3rd. We'll be introducing QuickBooks Online, which is coming soon to a TechSoup near you. You can also then learn about managing mobile devices and checking them out if you are with a public library joining us. And we'll be talking about how to make your grant request sparkle. And then we'll be talking about different donated and discounted technologies from not only TechSoup, but organizations like Independent Sexter and Good360. So join us for any of those. Thank you so much, Wes. And thank you to all of the folks who helped on the back end. And thank you to our participants mostly for joining us today. We're really glad to have you on. And lastly I'd like to thank ReadyTalk, our webinar sponsor, who provides the use of this platform each week so we can present these webinars. You can learn about their donation program with TechSoup at TechSoup.org slash ReadyTalk. And can you please take a moment to complete the post-event survey after this webinar closes out so we can continue to improve our webinar program. Thanks so much everyone. Have a terrific day. Bye-bye.