Multi-page brochure
Deliverable: A twelve-page brochure built on master pages with a baseline grid, using paragraph styles throughout, exported as a print-ready PDF with bleed and crop marks.
Course
The layout tool for anything longer than one page — master pages, styles and grids, so a hundred-page document stays consistent and a late change takes minutes.
6 modules · 6 weeks
Deliverable: A twelve-page brochure built on master pages with a baseline grid, using paragraph styles throughout, exported as a print-ready PDF with bleed and crop marks.
Deliverable: A thirty-page document with running headers, automatic page numbers and a table of contents generated from styles, demonstrated by restyling the whole thing from the styles panel in under a minute.
Deliverable: One finished layout packaged with all fonts and linked images, plus a preflight report showing zero errors, in a folder another operator could open and print from directly.
Every student gets placement assistance — that is what 100% placement assistance means. It is support for all, not a job for all. We do not promise a specific salary, a specific number of interviews, or placement at any named company, and you should be wary of anyone who does.
A one-page flyer can be laid out in almost anything. A hundred-page catalogue cannot, and the reason is revision.
Insert a page into a book at chapter three and everything after it has to renumber. Change the body typeface and eight hundred paragraphs have to follow. Move an image and the text has to reflow. InDesign does all three automatically and the alternatives do none of them, which is the entire argument for learning it.
Everything else in this course is mechanics. Styles are the part that separates a layout artist from someone pushing text frames around.
The third project is deliberately specified to make the point: you restyle a thirty-page document from the styles panel, in front of everyone, in under a minute. Somebody who built it without styles cannot, and the demonstration is more convincing than any amount of explanation.
Placing an image links to it rather than burying a copy in your file.
That means editing the photograph in Photoshop updates the layout, the file stays small, and the printer receives the original resolution rather than a re-compressed copy. It also means a missing link breaks the job, which is exactly why packaging exists and why the last module makes you do it properly.
Publishing houses, magazines and larger studios run InDesign. A lot of neighbourhood presses still run CorelDraw or PageMaker.
Both are real markets and we teach for both. If you are aiming at editorial or book work, this is the tool. If you are aiming at a local press, take CorelDraw first and add this when the work needs it.
Questions
Because neither handles long text well. InDesign threads text across pages automatically, applies a style to a hundred headings at once, generates a contents page from those styles and renumbers everything when a page is inserted. Doing a fifty-page catalogue in Photoshop is possible in the way that digging a foundation with a spoon is possible.
Not strictly, but it helps a great deal. InDesign assembles and lays out; it is not where you edit photographs or draw logos. Most professional workflows use all three, and the course assumes you will bring images and vector artwork in from elsewhere.
They mean a change happens once. On a hundred-page document a client asking for slightly larger body text is either a one-second edit or an afternoon of manual work, and which one depends entirely on whether styles were used from the start. The third project is specified to prove that difference to you directly.
In publishing, editorial and larger design studios, yes. Smaller print shops still run CorelDraw or PageMaker for a lot of work. If your target is a book or magazine publisher, InDesign is the one to know; if it is a neighbourhood press, take CorelDraw first and add this afterwards.
Three details is all we need. A course advisor will call you back.
The job a print shop hires for, taught as the job — typing, layout, design and the preflight checks that decide whether a file prints correctly or comes back.
Photoshop taught around non-destructive editing, so every file you build can be revised later — the habit that separates someone who can use the tool from someone who can work with it.
The industry-standard vector tool, taught around building marks and illustrations properly — clean paths, real typography and files an agency or printer can open and edit.
Design principles first and software second, because employers hire for typography and layout judgement — the tools are learnable in weeks and the judgement is not.
Next step
Tell us what you want to learn and we will help you pick the right course, batch and mode.