InDesign 2
Sample pages
Windsor Green • Fall 2012
LAB 5
Part 1: Set up a sample InDesign document
Now that you’ve decided on the dimensions of your book project, create a document that is a prototype of a sample page or
two in your project and the front cover. The goal of this lab is to get you started on your book layout. I do not expect this to
be the final version; it is a work in progress hat will be “tweaked” many times before you are satisfied.
There are several more weeks of lectures that will present you with new techniques that should be included in your project.
Next week you should have the opportunity of getting feedback on your project from 2 of your classmates.
Create a facing-pages docu
ment based on the dimen
sions you have selected from
either Lulu or Blurb. The con
tents of this document will
eventually be pasted into an
InDesign template. As you
start the document, consider
the following:
•
Your margins should
be set to where you
normally include text
and graphic elements
in your layout. Put
some thought into
the inside margin and
the type of binding
you’ve selected. A
perfect bound book
might consider a
bigger inside margin.
A book with coil binding needs to allow space for the holes and binding.
•
In the File..New menu command, choose the More Options button and include a bleed of .125” on all four sides. This
is a common bleed value for commercial printing and also used for Lulu and Blurb settings. [Note: the Blurb template
does not include an inside bleed, but that will be addressed later in the class] Experiment with the Application bar
settings of Preview, Normal and Bleed.
•
If you plan on having the occasional element that extends outside of the margin settings, you might also consider
including a set of ruler guides on the master page 1/4” from the edges of the document. This is a common value for a
safe zone which establishes how close important elements should be from the edge of the printed paper. For example,
you’d never include important footer text at the exact left edge of the document especially since the printing process
might shift and you could lose some of this text.
Part 2: Front cover page
Creating a cover page is one of the most creative and fun pages in a book project. It is delivered as a separate document to
both Lulu and Blurb. At the end of the semester I will go through a demonstration of creating the front and back cover for
each of these online printshops. For this assignment, create a sample cover layout on page 1. Include the title of your book
and your name as the author. Somewhere on this cover, include your email address. Next week, each student’s sample pages
will be displayed at the class website. Two of your classmates will evaluate your sample pages and offer helpful comments. if
you do not want to share an important email address, consider creating a free yahoo or google address.
Part 3: Sample pages
When you create the content for sample pages of your book project start with page 2:
•
If you are planning different page layouts in each chapter, such as pages of narrative text and other pages dedicated
to images, make sure that you create a sample page for each layout. Do you have a special layout for the first page in
a new chapter? You can fill up text frames with placeholder text and graphic frames with “fake” graphics. The more
you experiment with your prototype, the happier you will be not having to make lots of changes once you go into
production with your template. Apply the fonts and colors selected from Lab 4. Think about master pages and styles.
[A thorough review of styles is scheduled for next week’s lecture and a review of master pages is scheduled before
you finish your template.]
•
Use lecture techniques from Week 5 to make any text “fit” into its frame. Are you going to include multiple columns of
text with baseline grid alignment? What about hyphenation? How are you going to include vertical spacing between
heads, subheads, and body text? How are you going to format your heads, subheads, body text and captions? Would
paragraph rules be beneficial for captions or heads/subheads?
•
Think about book design. Although this is not a design class, there’s no harm in offering tips and tricks to make your
book be the best it can be!
Part 4: The Project Evaluation
There needs to be a balance between what you have selected for your project and my requirements. Look at the grading
sheet posted in Week 4. Your book needs to include both text and graphic content.
•
If your project is content heavy on graphics, think about how you are going to incorporate text that is formatted using
advanced features from this class. The next two weeks will be devoted to text styles, so you may have extra ideas that
you would like to incorporate at that time. Perhaps you can include pages of text with stories about the graphic content
and specially formatted captions.
•
If your book is heavy on text content, plan on including graphics to enhance the pages using object styles. Again
another future lecture.
Save your document as Lab5. Create a smallest file sized PDF and print it or submit
it to CATE.
Lab 5 inbox
Master of None
andom
Master of None
I
ants I am what you would call a
dilettante. If you look this word
up in the dictionary it says,
”one who dabbles in a field of
interest, like Julia Roh”. For
example: I sing, but never in
public because I don’t like violence. I write,
but not seriously, because frankly, I neether
spill or type wellll. I draw, but my technique
is such that everything comes out looking
like a cartoon (even my paintings, which is
so weird). I play several instruments really
well at the beginner level. Let’s put it this
way; mastery has never been the
guiding principle of my life’s
endeavors.
h
a
i
ul
Ro
J
By
gn
si
De
In
•
Cyndi
2006/
pring
Reese
Fashion Statement
S
•
Fashion Statement
I
I know what fashion is. Fashion
costs approximately 170 times as
much as clothes, no matter how
ugly it is. And fashion can be
mind-smashingly ugly. Take the
current trend in adolescent shoes
for example. Now, I’m no Versace, but even
I know a shoe shouldn’t be bigger than your
head!
And since we’re on the subject, let’s talk
about the kind of clothes we are expected to
buy for our kids these days. And WE do buy
them, because our kids don’t have jobs. This
is not their fault. With the current trend
to out-sourcing, they can’t be expected to
commute to Malaysia and still keep up their
grades.
S
o there we are at Ross, where we shop
for less because less is what we have, and
here is what we get: skin tight, spaghettistrap tops and spray-on jeans that end 2
molecules short of plumber-butt. This is
poured on over a foam-padded bra and
cheetah-print thong underwear. Now, 10
years ago, this would have been the ideal
William Eugene Teutschel’s
World War II Journal
Aboard U.S.S. General H.S. Hodges
(AP 144)
1945 – 1946
1
A book designed and produced by Sarah Teutschel
b
CIS 73.41B Adobe InDesign 2
b
Spring 2008
b
Maiden Voyage
Cyndi Reese
April 6, 1945 I was transported with the rest of the crew to Kaiser Shipyards in
Richmond. There we boarded the Hodges for the first time, and proceeded to get her
in shipshape for her commissioning that afternoon. At 1:00 pm the General Harry
Foote Hodges became the U.S.S. Gen. H. F. Hodges AP144. My folks were there,
and I showed them around the best I could, for she was new to me too. Then came
time to say “goodbye Mom.” Later we shoved off for Naval Supply Depot, Oakland
for our supplies.
April 16, 1945 we sailed for San Diego on our shakedown cruise.
April 18, 1945 at 1630 we hit San Diego. That night we had the busiest night that
we signalmen will probably ever have on this ship. We hardly left the ship’s lights more
than a few minutes. Thank God it was only one night.
Thursday April 19, 1945 we pulled out of harbor for our cruise. It was a lonesome,
cold, weary trip, and had entirely too many General Quarters.
April 27, 1945 we got back to “Dago” again. There we docked for our availability,
which is, straightening a few odds and ends that were found wrong on shakedown.
Bill’s Journal: WWII Tours with US Coast Guard, 1945
b
13
17
An infant watches her hands and feels them move�
Gradually she fixes her own boundaries at the complex incurved
rim of her skin. Later she touches one palm to another and tries
for a game to distinguish each hand’s sensation of feeling and
being felt. What is a house but a bigger skin, and a neighborhood
map but the world’s skin every expanding?
Excerpt from An American Childhood
–Annie Dillard
BIRDLAND
edited by Stephanie Odeh
photography by Alisa Haller
InDesign 2* Fall 2007 * Cyndi Reese
5
The Rowley and Cheney
Family of Vermont and Pennsylvania
Family Letter Album
of the
Rowley and Cheney Family
Chapter 1
Memories of Vermont
Family Letter Album
"Be it remembered
that at Brandon
in the said county
on the 11th day
of August, 1805
Daniel Rowley and
Polly Cheney both
An antique postcard of Rutland County,
Vermont
towards the
of said
Brandon
proverbially "Green Mountains". The view
hasn't
were
dulychanged
joined much in over
two hundred years...
in marriage by me
Ebenezer Hubard
Minister of the
gospel."1
F
1 Brandon Town
ship Land Records,
Volume 4, page 361.
Antique postcard of Conant Square, Brandon, Vermont.
Brandon Vermont
by Irene Rowley
This story begins1
in the New England village of Brandon, Rutland County,
Vermont, located at the foot of the Green Mountains and overlooking Lake
Champlain, where a young blacksmith named Daniel Rowley came to town and married
the pioneer's daughter Polly Cheney (also known as Polley) in 1805. After ten years in Ver
mont, they left behind everything to move to Freeport, Pennsylvania. This album features
their lives, reconstructed from their saved letters and papers, as well as photos of some of
their early descendents and pictures of places they knew.
Daniel was born in the area of Canaan, New York in 1782. Daniel's family were mem
bers of the Congregational Church in Canaan. His father Joseph Langrell Rowley, had
served as a coxswain in the navy during the American Revolution and his mother has never
been identified. His mother had died when he was a young child and Joseph had remarried
and was moving west. Joseph was moving west in the 1790's and Daniel seems to have set
off on his own at this time. Daniel migrated to Vermont, possibly by way of Orwell Ver
mont where some of his uncles and aunts lived, settling in Brandon Vermont as a young
man by 1803.
Polly was born in 1786 and lived on a farm in Brandon, one of the eight children
of Edward and Abigail (Hale) Cheney. Edward Cheney was one of the first settlers of
Brandon who had come to town on an ox-sled with his wife and first children from New
Hampshire. He was a deacon and a founding member of the Baptist Church.
Daniel and Polly had many things in common: Both can trace their lineage back to an
ancestor who came to America in the 1600's with the Separatists from England. Both of
their fathers fought in the American Revolution in the old colonies, that had after the war
travelled north into the American frontier. They both grew up in rustic villages where every
one worked hard to cultivate the forested lands and create new towns.
2
18
Home Cooking and Sweets
By
1
2
Soups &
Sides
Larissa Alchin
Main
Course
CornChowder
1
½
½
¼
2
2
1½
¼
¼
1
1
¼
¼
2
green pepper
cup sliced carrots
cup sliced celery
cup chopped onion
cups diced red potatoes
cups water
teaspoon salt
teaspoon pepper
teaspoon thyme
cup grated cheddar cheese
can cream of corn
Roux:
cup butter
cup flour
cups milk
Soups & Sides
Kate’s
15
C
ook all veggies in boiling water for about 20 min
utes. Add cheddar cheese and corn to the pot and
stir well. In a separate small pan make the roux with the
butter and flour. Cook for 1-2 minutes then add the milk
while stirring until thickened. Add to the soup slowly
while stirring. Simmer for a couple of minutes to heat
though.
19
Thank you, Cyndi Reese for the lab