WEEK SEVEN

TUESDAY

LESSON:

Sequential Style Sheets 
Object Style Sheets

Aragosta Alla Toscana

Lobster chunks with cannelloni beans, garlic, fresh diced tomatoes and a touch of white wine.

$10.50

Polpetta di granchio allo zafferano

Crab cakes served with a fresh saffron sauce.

$9.95

Vongole alla Diavola

Fresh manilla clams sauteed in a white wine and spicy tomato sauce.

$9.00

Mozzarella in Carroza

Breaded deep fried mozzarella over tomato sauce.

$8.50

Calamari Fritti

Deep fried golden calamari with special spicy tomato sauce.

$7.95

Polenta ai Porcini

Roman style polenta served with a delicate porcini mushroom sauce.

$4.50

Fresh Garlic Bread

Authentic Italian bread served with homeade garlic and butter sauce.

$12.95

Minestrone

Homemade vegetable soup, in traditional Italian style

$5.50

Pasta E Fagioli

Authentic‎ Italian homemade white bean soup with pasta

$5.50

Zappa di Cipolla

Fresh homemade onion soup.

$5.50

Stracciatella Romana

Homemade chicken broth soup with fresh spinach and eggs.

INSALATE (SALADS)‎

$7.95

Insalata Alla Sophia Loren

Lettuce, red onion, tomato, hearts of palm, and avocado tossed in a raspberry vinaigrette dressing.

$6.50

You'll need these images:

And this copy:

YOUNG ADULT AT HEART

After a web post claimed grown-ups should be “embarrassed” to read young-adult novels, fans got mad. And we got even.   Here, Literary Classics reimagined as yo novels.

By Stephen Lee

At the height of Fault in Our Stars fervor—just before the adaption hit screens this month—Slate published an essay by Ruth Graham with the incendiary headline “Yes, adults should be embarrassed to read young-adult books” Graham, who argued that young-adult novels such as Fault were mostly about “escapism, instant gratification and nostalgia,” proceeded to get clobbered on social media. Not-so-young adults, bloggers, Fault fans, and tweeters flaunting the hashtag #NoSHAMEYA took to the internet to berate her, and their message was loud and clear. There’s no shame in Young Adult Lit­—and don’t you dare call it mediocre and cliched.

So who’s right? The fans, it turns out. Sure, there’s plenty of garbage on YA shelves. That’s true of any book category. But not only is Fault as emotionally complex as adult fiction, quite a few books now considered literary classics­—from The Catcher in the Rye to Jan Eyre—might well be classified as YA if they were published for the first time today. Need proof? EW combed the canon for the de facto young-adult reads, and then asked Jason Booher, art director of Blue Rider Press, to reimagine their reads for a modern YA audience. Take that, shamers.

Memoir

I am malala
malala Yousafzai

The Diary of a Young Girl 1947 Anne Frank

I know Why the Caged Bird Sings 1969 Maya Angelou

This Boy’s Life 1989 Tobias Wolf

Angela’s Ashes 1996 Frank McCourt

It’s impossible to compete with the power of a true story, especially Frank’s extraordinary suffering and scaring endurance.

SCI-FI

The 5th wave
RICK YANCEY

Stranger in a Strange Land 1961 Robert A. Heinstein

Dune 1965 Frank Herbert

The Hitchhiker’s Guide to the Galaxy 1979 Douglas Adams

Ender’s Game 1985 Orson Scott Carl

Sci-fi Geeks often get their start with classics that feature teen protaganists, such as Herbert’s epic.

survival

The hunger games
Suzanne Collins

Lord of the Flies 1954
William Golding

Life of Pi 2001 Yann Martel

Never Let Me Go 2005
Kazso Ishiguro

The Twelve 2012 Justin Cronin

Long before Katniss and Peeta, Ralph and Piggy fought to live in Golding’s masterpiece. These plot-driven tales pulse with metaphor and meaning.

romance

Eleanor & Park
rainbow rowell

Jane Eyre 1947 Charlotte Bronte

I capture the Castle 1948 Dodie Smith

The Girl’s Guide to Hunting and Fishing 1999 Melizza Bank

Ah, the pages of young love! If it was prime source material for the likes of Bronte, why the snobbery about authors who explore it now?

coming of age

the perks of being a wallflower
stephen chbosky

The Member of the Wedding 1946 Carson McCullers

To Kill a Mockingbird 1960
 Harper Lee

The Bluest Eye 1970
Toni Morrison

Coming-of age tales have long been literary manna—none more so than Lee’s portrait of the American South.

campus

winger
andrew smith

Lucky Jim 1954 Kingsley Anika

A Separate Peace 1959 Jack Knowles

The Secret History 1992 Donna Tares

Prep 2005 Curtis Sittenfield

Scool campuses are caldrons of camraderie and exclusion, privlege and longing, particularly in Knowles’ midcentury touchstone.

issue

the fault in our stars
john green

The Catcher in the Rye 1951 J.D. Salinger

The Bell Jar 1963 Sylvia Plath

The Chosen 1967 Chaive Potok

Ordinary People 1976 Judith Guest

Characters in these books face cancer, death, faith, and even looming adulthood, which is seared into every page of Salinger’s magnum opus.

Thursday

MID-TERM TEST REVIEW

LESSON: STUDY GUIDE

IMAGES:

TEXT:

Advanced InDesign Study Guide

A styled guide to the
first 8-weeks of DART146.

Shortcuts:

shift return  force break

command C copy

command X cut

command V paste

command Z undo

command + zoom in

command - zoom out

W normal/preview

command 0 fit layout in window

Shift command + < or > adjust type size 

option +up or down arrows adjust leading

option  +left or right arrows adjust tracking 

Nested Styles:

Nested Styles allows you to apply a Paragraph Style with a Character Style (or styles) applied to specific range or ranges of a paragraph. 

All with a single click.

Drop Cap:

You can apply a character style to the drop-cap character in a paragraph. For example, if you want a drop-cap character to have a different color and font than the rest of the paragraph, you can define a character style that has these attributes. Then you can either apply the character style directly to a paragraph, or you can nest the character style in a paragraph style.

Liquid Layout:

Liquid layouts make it easier to design content for multiple page sizes, orientations, or devices. Apply liquid page rules to determine how objects on a page are adapted when you create alternate layouts and change the size, orientation, or aspect ratio.

You can apply different rules to different pages, depending on the layout and the goals; only one liquid page rule can be applied to a page at a time. Liquid Layout is a general term that covers a set of specific liquid page rules: scale, re-center, guide-based, and object-based page rules.

To apply a liquid page rule, select the Page tool  and click a page. Then choose a liquid page rule from the control bar. You can also use the Layout > Liquid Layouts. To preview the effects of the applied rule, use the Page tool to drag the page handles to resize the page. The page snaps back to original size when you release it.

Next Style (Sequential Styles):

You can automatically apply styles as you type text. If, for example, your document’s design calls for the style “body text” to follow a heading style named “heading 1,” you can set the Next Style option for “heading 1” to “body text.” After you’ve typed a paragraph styled with “heading 1,” pressing Enter or Return starts a new paragraph styled with “body text.”

To use the Next Style feature, choose a style from the Next Style menu when you’re creating or editing a new style. 

Character style attributes:

Unlike paragraph styles, character styles do not include all the formatting attributes of selected text. Instead, when you create a character style, InDesign makes only those attributes that are different from the formatting of the selected text part of the style. That way, you can create a character style that, when applied to text, changes only some attributes, such as the font family and size, ignoring all other character attributes.

Alternate Layout:

To create an Alternate layout, use one of these methods: Choose Layout > Create Alternate Layout. Or, in the Pages panel menu, choose Create Alternate Layout.

Object Style:

You can save your frequently used object properties as a style. You can apply these object styles to various objects, such as images, anchored frames, and text frames for consistent size and appearance. For example, you can create and apply an object style to all the anchored frames in a document, or across documents, to make them of the same size.

Object styles include the following properties:

Position and size
(width, height, top, left, and angle)

Fill (fill pattern, tint, and color)

Stroke (line and arrow style, line width)

Text line (alignment)

Text frame (flow properties and
column properties)

Graphics (scaling and resolution)

Equation (alignment, size, and automatic line breaks)

Runaround type and width

Object Placement

Auto Size:

To Apply Auto-size Options. Select a text frame and select Object>Text Frame Options. Click Auto-size, and then choose auto-size options to determine how the text box responds when text is added or deleted. 

Span Columns:

With your cursor in the paragraph you want to work with, go to the Paragraph panel menu and choose Span Columns…then choose a Paragraph Layout from the pull-down menu.

Single Column. This is the default setting and is just the normal behavior of text in a column. 

Span Columns. This is the setting that allows selected text to go across all columns in a text box.

Split Column. This allows selected text to split a column into two columns.

Paragraph rules

The simple premise of a paragraph rule, be it above or below your text, is that it moves relative to the text. As a paragraph level format, a rule is associated with the paragraph type and will follow it faithfully regardless of what edits are applied to the text. You might think of the rule as the original anchored object. And, of course, rules can be incorporated into paragraph styles. 

hyphenation

When you set automatic hyphenation options, you can determine the relationship between better spacing and fewer hyphens. You can also prevent capitalized words and the last word in a paragraph from being hyphenated.

Click in a paragraph or select the range of paragraphs you want to affect. Choose Hyphenation from the Paragraph panel menu. Select the Hyphenate option.