Page Maker Home / Valavan Tutorials / Designing Software / Page Maker / Page Maker NA PAGEMAKER LA TAMIL LA TYPE PANNAA (??) QUESTION MARK SYMBOL VARUDHU ENNA PANNANUM SOLLUNGAA. Adobe PageMaker is the “world's leading cross- platform professional page When you export the file to PDF or to a HTML format, the output file will include a link to the .. The next steps in this tutorial will lead you through changing. Introduction. PageMaker is a document layout program that has extensive typographic controls, page design capabilities, and customization options. You can.
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DTP / Adobe PageMaker - a masterclass tutorial. This tutorial was produced with PageMaker 6 but the advice contained is still useful for more recent versions. Download free courses materials, tutorials training on adobe page maker 70 in PDF files. basic pagemaker - Free download as PDF File .pdf), Text File .txt) or read online aracer.mobi
Psychological tests have shown that taller layouts tend to seem formal, while squatter designs seem more informal. They have also shown that a particular shape, the golden rectangle, tends to be selected as the most aesthetically appealing - a fact the ancient Greeks discovered long before market research. A0 is exactly twice the size of A1, which is twice the size of A2 and so on.
What this means in practice is that an A4 sheet, for example, rotated on its side and folded in half will produce two A5 pages. This has huge advantages in terms of conserving paper and so in keeping costs down. Because the ISO pages are such universal standards they also have the advantage that they will easily fit into their corresponding envelope sizes - and into the post box.
Slightly reluctantly then, I think we should fall into line with the vast majority of users and select A4 as the page size. At least by selecting a landscape orientation we can break out from the absolute norm. The next step is to set up the grid onto which we will fit our text and graphics. With a number of separate categories of events to include, together with background information on the Institute and an eye-catching cover, our single A4 sheet will have to be divided into sections.
Folding in two would only give us four A5 pages, but folding into three will give us six taller sections. These will be slightly out of the ordinary, slightly formal and well suited for carrying large amounts of information. To set up the grid we have to set up the margins and columns. Again many users treat the software's in-built defaults as if they are givens, but each publication will demand different settings.
The general rule for multiple page layouts is to have a wider bottom margin than top and a wider inside margin than out, although like most design rules these can be broken for effect.
It's also important to be as generous as possible with margins as the resulting "white space" should not be seen as wasted, but as a crucial part of the overall look of the document.
Without decent margins your design is always going to feel cramped. In fact it's often worth shrinking your body copy's point-size to gain space to add to margins, but that's a luxury we're not able to afford. Instead we're going to have to be comparatively mean with left, right and top margins of 7mm and a slightly larger bottom margin of 1cm.
The next step is to set the number of columns - three - and the "gutters", the space between columns. Because each gutter is actually going to be a fold we have to make the width exactly twice the size of the left and right margins - 14mm - to ensure that each panel is correctly centred.
With the basic grid ready, we can load up the text to see just what we've got to deal with. PageMaker automatically picks up styles from supported word processors so features like the headings are already picked out. With frame-based packages like Ventura, the text would automatically flow through the columns from beginning to end.
That would be fine if we were producing a book, but for a folded leaflet we need to paste the text in non-consecutive order so that the pages read correctly when folded.
PageMaker allows this to be done easily with its freeform text blocks which are positioned and sized manually. The process demands more intervention, but allows more control. By sizing each text block so that the right text is positioned on the correct panel even if it runs over the bottom of the page, we can get a good idea of what's involved. At the moment the text blocks are all linked so that if I drag up the window shade on one block the overflow text will automatically flow into the next.
To break the links, it's necessary to select each block, cut it and then immediately paste it back. This is important as we need to know roughly the amount of space they are going to require before we take the next crucial step of choosing our body typeface. This decision is determined by a combination of factors. The typeface has to be appropriate to the intended audience, but also suited to the particular circumstances.
In our case this means a typeface with a contemporary but classic feel which reads well at small point-sizes.
The solution I came up with is the sophisticated but highly legible Optima which is a modern interpretation of the Roman lettering on triumphal arches - if only it was the Italian Institute! With the typeface chosen the next step is to choose the point-size and the interline spacing or "leading".
For easy reading of long sections of text, point-size should be between 10 and Unfortunately even at 10 point it's clear that there would be no room for white space - or even the pictures - so I settled on 9. In fact on text-heavy jobs like this that's by no means bad going and it also means that each line contains around 55 letters, within the accepted maximum for comfortable reading of In terms of leading PageMaker defaults to 1.
With our relatively long lines I'd prefer larger leading to make the travel easier for the eye, so I can afford to round it up to 12 points. This body copy leading is particularly important because it sets up the horizontal structure of the grid.
The reader probably wouldn't consciously notice if they didn't - so long as the bottom of the columns lined up - but subliminally the design is tighter and has greater internal logic if they do. In other words, if I want my design to win an award it's a must. The problem is that, as the grid is invisible, it's very hard to work to. However, this can be overcome with a bit of effort and with the help of PageMaker's Grid Manager utility to add repeating baseline guidelines see this month's Real World Publishing article.
The formatting of our body copy is almost complete with only the indents and alignment to be decided. In terms of first line indents these are only really necessary to indicate paragraph breaks, which will be clear enough anyway in our freeform layout, so they can be dispensed with. Setting the text to be justified produces a more block-like and so modern look and has the added advantage that it fits in slightly more copy into the given space.
It will also allow us to add variety and to highlight information by using left-aligned bullet points and dates. Of course all of these formatting decisions could be being applied directly to selected text, but far more powerful is the ability to group attributes as named styles that can easily be applied and edited.
Local overrides can always be added and are then marked in the palette by a plus symbol after the style name. Apart from the body copy, the most important items of text in the design are the headings.
Their relative difference and significance has to be identified which is most easily done by increasing their point-size, emboldening, and centring. This has to be done while still ensuring that the following paragraphs fall back onto the interline grid.
This means ensuring that the combination of each heading's leading and its above and below spacing adds up to a multiple of the point body leading. We also need to clearly identify the separate category headings but, with absolutely no room for manoeuvre, have to find other ways of marking them off.
One of the most obvious ways to do this is by using upper case, but this is generally frowned upon because it interferes with the recognition of word shape that is the basis of easy reading.
For single word category headings, however, this shouldn't be too much of a problem. Used in its bold condensed form this will give the category headings considerable weight while opening up some surrounding white space. With the grid set up and text formatting established, we're now ready to complete the layout by bringing in the graphics.
It's often said that a picture is worth a thousand words and it's true that without them it would be very difficult to catch and keep the reader's attention.
Even so there are limits, and I'm baffled by the urge to introduce lame-brained, badly-drawn clipart on the slightest pretext. If the image adds nothing, drop it. Fortunately that's not a problem as we have a good range of photos and line art covering a wide range of subjects. In terms of positioning and sizing the graphics a number of factors come into play. Obviously the pictures have to be positioned next to their relevant text, but it's important to try and disperse them equally throughout the spread both horizontally and vertically.
Image type - line art and photos - and image subject - people and buildings - should also be mixed to give as much contrast as possible. To achieve this it is often necessary to reorder the text. The size of each image is largely determined by the grid, with graphics either scaled to the full width of the column or, if text is going to flow around them, to half or a third of the column width. At the same time, the actual subject of the images must be taken into account.
Don't blow up a boring photo just to fill up space. On the other hand if you've got an intriguing photo, as we do for the cover, don't waste it. Mug-shots of people's faces might be commonplace, but they actually play an important role by humanising a layout. Even so they should only be used at relatively small sizes.
Also think of any subliminal messages the graphics might be giving. If faces are looking out of design, for example, your readers might well follow suit.
Ultimately what we are working towards is a layout where all the text and graphics are seamlessly combined together in a balanced and internally logical whole. In the meantime we will be happy if we can get them all to fit on the page! In fact there are a number of copy-fitting tools and options at our disposal. The amount of space an image will take up depends largely on its orientation, for example, so if we have a choice of portrait and landscape this gives huge flexibility.
Even if we only have one image it's amazing what a difference cropping can make. Moreover, by intelligent cropping we can often increase the image's interest. On the text side too we also have considerable flexibility. If copy seems short on a page that's not a problem at all as it allows us to add white space around headings and images and generally to let the design breathe.
If we have the odd line or two too much, we still have a number of options. The spacing around headings can often be squeezed.
Text can normally be slightly rewritten without affecting the meaning though this will generally have to be approved. Never kern by more than 0. For more major problems, more extreme measures must be taken.
For two pages in the programme I had to make unwelcome compromises. In one of the events panels I had to run a number of short separate paragraphs together, marking them off with a Zapf Dingbats bullet character. At least this ensured that the interline grid was maintained. However, for the page of general details about the Institute, the sheer amount of text meant that the horizontal grid had to be sacrificed with 9pt text on a I can live with this as the back panel is not really part of a spread, but there goes my award!
Eventually, using all the tricks available - and compromises where necessary - a working layout is achieved. Now we can concentrate on fine-tuning and refining the design to make it more effective. In particular we want to add impact to both graphics and text to help them to catch the reader's eye. The cover image of a building sloping at an incredible angle is already striking, but the effect can be highlighted further by angling the two items of cover text in the opposite direction.
The only way to do this is to skew the text blocks using PageMaker's control palette. The same cover image is used again on the main spread's centre panel, but simply repeating the photo would be a wasted opportunity. Instead new life can be breathed into the image by, for example, cropping in hard to the image's centre of interest, the building. Instead I decided to literally give the image a different spin by rotating it which immediately grabs the eye by breaking out of the grid.
Even better, by straightening the building and rotating the surrounding image, the photo is given a new internal tension and intriguing logic of its own. Another eye-catching image effect is achieved with the Christian Dior fashion image. Originally this was a rectangular photo but the image's centre of interest, the figure, is a much more interesting shape.
In fact as the shape is very irregular, I have had to use Photoshop's more advanced masking controls. To get the text to then flow around the figure, new points can be added and repositioned on the text-wrap boundary by clicking and then dragging with the select tool. Looking at the text to see if we can add impact is less fruitful. Normally I would consider adding dropped capitals or emboldened introductory paragraphs to add interest and colour to the layout.
Each of these "text breaker" features would usually act as entry points, enticing the reader to start reading. However, as our layout is already broken into sections and full of interest, they would be more likely to act as distractions and so give an excuse to stop reading.
The one feature I have used is a couple of bullets to mark off small exhibitions. These have to be added with PageMaker's Bullets and Numbering command - a dialog so clumsy and dated that it would embarrass a shareware word processor.
Apart from the management of text and graphics, the designer's third tool for grabbing, keeping and controlling the reader's interest is colour. Topology and routing. Download free datacenter Network: Topology and routing course material and tutorial training, PDF file on 70 pages. Web API Design. This book is made for students who would like to learn the basics of the three primary Adobe design applications.
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