Beautiful and Creative Brochure Designs for Inspiration

Brochures are one of the most powerful marketing tools for companies and organizations. Purpose of brochure may vary from business to business. Some are designed to display services, whereas others are focused on selling a product. Don’t forget, your brochure will act as a first impression of your company for many. Thus, brochure design inspiration can be incredibly valuable for developing brochure design ideas.

As brochures represent the brand image of an organization, you need to make it look as impressive as possible. As Compared to flyer or a handbill, a brochure usually uses higher-quality paper, attractive color scheme and appropriate size. If you’re looking for more of the best design inspiration, then take a look at these excellent examples of Brochure Design.

Supercars Asia 2012

Best of Brochure Design

Foliomania

Segura brochures

Courmayeur Brochure

AVG Anti Virus Brochure

4 Pages Brochure + Trifold

iCafe Brochure Design and Branding

Hands On Brochure

Trifold Brochure – Shidler

Farmers Market Brochure

Twombly Photography

Free Fast Food Restaurant tri-flod Brochure

Guest Brochure

Anchure Brochure

Create a Table of Contents in InDesign

Don't create a table of contents (TOC) by hand! Let InDesign's automatic TOC feature generate it for you. The big bonus (besides no human errors): If your document changes, one click updates the entire TOC!

Written by Sandee Cohen 

 

For many years, I made the tables of contents for my books manually. I would finish the book and then, one by one, I would open the file for each chapter and write down the name of the chapter, the name of the A Heads, and the page numbers for each. It averaged 200 entries for each book's table of contents (TOC). It was a tedious process, but manageable.
Thankfully, Adobe has since added an automatic TOC feature to InDesign. Its dialog box is a little confusing, but by following the tips in this article, you'll master it in no time.
Benefits of the Automatic TOC
There are several benefits to using InDesign’s TOC command:
• InDesign doesn't make typos. Humans, on the other hand, can easily enter an incorrect page number or entry.
• If anyone makes changes to your documents (a new chapter name or additional pages, for instance), it only takes one click from you to update the TOC.
• When you export a PDF from the document, the page numbers in the TOC are hyperlinked to the actual pages in the document. If you want to go to chapter three, you just click on the page number in the TOC.
• When you create a style for a TOC in the InDesign document, that TOC can be added to an ePub.
Preparing the Document for a TOC
You need a page or two in your document that will hold the TOC. Using the Pages panel, insert those pages (sometimes called front matter) in the front of the book. Then select the page where the TOC will start and choose Numbering & Section Options from the Pages panel menu. In the resulting dialog's drop-down Style menu (Figure 1), choose the appropriate numeral style (in my case, that's Roman).

Figure 1. The Numbering & Section Options allow you to set the front matter where a TOC is located to Roman numerals.


Select the page where the main text starts and choose Numbering & Section Options again. Set this to restart at page 1 (Figure 2); that way you can add pages for the front matter without changing the numbers of my main document. I also changed the style to Arabic numerals (Figure 3).

Figure 2. Use the Numbering & Section Options to reset the main document back to page 1 and Arabic numbers.


Figure 3. An example of how the front matter of a document is numbered with Roman numerals while the main body is set with Arabic numbers.


Understanding the TOC Dialog
While the Table of Contents dialog is complicated, you can figure it out with a little exploration.
To begin creating the actual TOC, go to Layout > Table of Contents. This opens the Table of Contents dialog box (Figure 4).

Figure 4. The Table of Contents dialog box at its default settings.


Setting the Title of the TOC
When you first open the TOC dialog box, the Title field default is “Contents.” I change it to the phrase “In this chapter” to describe the TOC entries I have at the front of each chapter in my Visual QuickStart guides. You can insert any word or phrase that makes sense for your book (Figure 5). If you don’t want any description, delete the default entry. It's very important that you make this — and all subsequent TOC changes — in the TOC dialog box. Any manual modifications you make can cause errors in the automatically generated TOC.
Figure 5 . Fill in the Title field with whatever description you want to head up the TOC.


Setting the Style for the Title
Once you have entered a title for the TOC, you need to format it. Move to the right side of the dialog box and click the Style menu to see a list of paragraph styles in your document (Figure 6).

Figure 6. The Style menu for the Title field of the TOC.


Apply the style for the title. If you haven’t created a style in advance, you can use the New Paragraph Style command at the bottom of the list to create a new style without leaving the TOC dialog box.

Choosing the Entries for the TOC
The entries for each line of your TOC come from the lines of text that have been styled with a certain paragraph style. No paragraph style = no TOC entry. For instance, if you want InDesign to automatically list the pages on which each chapter begins, you must apply a paragraph style to the chapter title, chapter number, or some other paragraph at the start of the chapter. For my books, I tell InDesign's automatic TOC builder to look for two paragraph styles: one that's applied to the name of each chapter, and another that's applied to the A heads (main subsections) of each chapter.
To add paragraph styles as entries in the TOC, simply click the name of the style under Other Styles and then click the Add button (Figure 7). The style appears under Include Paragraph Styles. This indicates that the style will be used as an entry in the TOC.
Figure 7. Click the Add button to move a paragraph style from the Other Styles list to the Include Paragraph Styles. This adds the text formatted with this style to the TOC.


As you click each entry, it appears indented in the Include Paragraph Styles list. Ignore the indents, which are only used under a very esoteric situation that I’ll explore later.

Formatting the Entries
Now that you have the entries listed for the TOC, you need to format them with a paragraph style. Confused? I don't blame you. You’re choosing the text formatted with a specific paragraph style to be inserted in the TOC, but that text still must have a paragraph style applied to it (Figure 8).

Figure 8. Use the paragraph style list to format entries in the TOC.


The paragraph style for the TOC entry does not need to match the original paragraph style applied to the text in the main part of document. The paragraph style I use for TOC entries is different than the styles I use in running text; for example, the B head in the running text is 14 points, and the B head TOC entries are 10 points. For the sake of clarity, I name the paragraph style within the document as "B head" and the style for the TOC as "B head TOC".

Viewing all the Setting
Still in the TOC dialog, click the “More Options” button to see all the available controls (Figures 9 and 10).
Figure 9. The abbreviated controls for formatting a TOC.


Figure 10. The complete options available for formatting a TOC.


Page Number Location
Use the Page Number dropdown menu to choose where the page number should appear in relation to the entry: After Entry or Before (Figure 11). You can also choose to omit a page number for the entry, which is helpful if you want to create a list of all illustration captions or photographers in the book, but don’t want to list the pages on which they appear.
Figure 11. Use the Page Number menu to choose where the page number should be located or if you should have a page number at all.


Styling the Page Number
Once you’ve set a location for the page number, you set a character style for the number (Figure 12). This makes it possible to style the number with a color, italic text, or some other indicator.

Figure 12. Use the Style list to the right of the Page Number menu to apply a character style to the page number.


Separating the Entry and Page Number
TOCs need a divider to separate an entry from its page number. The default is a tab character, written as ^t. You can use the drop-down menu to choose a special character, such as an em dash, forced line break, and so on (Figure 13). My favorite is to change the tab to a right indent tab (^y). This forces the page number all the way to the right side of the margin.

Figure 13. The special characters you can insert between the entry and the page number.


Understand, though, that adding a character between the entry and the number does not create a tab leader. The tab leader comes from the tab created as part of the paragraph style applied to the entry.
You’re not limited to the items in the special character dropdown menu: You can insert your own! Say you want a colon after each entry. You simply insert the colon before the tab character so the field reads “:^t”. This adds the colon after the entry. You can also get fancy with the entry between the entry and the page number and type text, such as “On Page”.

Styling the Separator
Just as you can apply a character style to the page number, you can also apply a character style to the separator between the entry and the page number. This isn’t important if your separator is invisible, such as a tab or space. But if a tab leader is part of the paragraph style, you may want to apply a character style that makes the leading periods smaller (Figure 14).

Figure 14. Use the Style list to apply a character style to the separator between the entry and the page number.


Looking at the Levels
Perhaps the most misunderstood section of the TOC dialog box is the setting for Levels. When you add each paragraph style to the Include Paragraph Style, it's indented from the previous entry (Figure 15). That’s because the levels are automatically set to indent the next style.

Figure 15. The indents for entries automatically appear as each paragraph style is added to the list.


However, except in two very specific circumstances, the levels are there solely for display in the dialog box. They don’t affect anything in an ordinary TOC. You can leave the entries indented or you can change them using the Levels control (Figure 16).

Figure 16. Use the Levels control to set the indents for each entry.


Levels don’t do anything to the actual TOC unless the entries are sorted alphabetically (see the next section). In that case, the entries are sorted by alphabetically within each level. Levels are also used when the TOC style is applied as part of an export to ePub.

Sorting Entries
Most of the time, you want TOC entries to appear in the same order they appear in the document: by page number. However, some TOCs don't need page numbers, such as those that list all the photographers or illustrations in a document. In these cases, you might want the entries to be listed alphabetically. That’s where the Sort Entries in Alphabetical Order comes in (Figure 17).

Figure 17. Use Sort Entries in Alphabetical Order to list the items in the TOC in alphabetical order.


Apply the Settings for Each Entry
This may seem like a lot of work, and you're not done yet: You must repeat it for each paragraph style in the document text that you want to show up as a TOC entry. This is probably the most common mistake made in creating a TOC: You set up all the options for one entry, but forget to set it for the others.
Go back to the Include Paragraph Styles area, select a new style, and set all the options (Figure 18).

Figure 18. Each entry in the TOC needs to be set by the Style options. Here the options for the B head have been set.


Setting the Options
The Options settings (Figure 19) are pretty straightforward.

Figure 19. The Options area for the TOC dialog box.


Create PDF Bookmarks creates the bookmark navigational aids in the exported PDF.
Replace Existing Table of Contents allows you to make changes to an existing TOC.
Include Book Documents is available only when the book that contains the open document is open. This setting is important if you want to create a TOC for all the documents in a book.
Run-in puts all the entries in a single paragraph. Each entry is separated by a semicolon and a space.
Include Text on Hidden Layers includes entries from layers that are hidden in the Layers panel. The benefit of this setting is you can include items such as advertisers or photographers that you don’t want to appear in the main body of the document.
Working with Numbered Paragraphs
There’s a slight twist to working with numbered paragraphs. Most people don’t want those paragraph numbers in a TOC. The Numbered Paragraph drop-down menu lets you tell InDesign how to treat them (Figure 20).

Figure 20. Use the Numbered Paragraphs menu to control how numbered paragraphs are handled.


Include Full Paragraph uses both the number and the text for the paragraph.
Include Numbers Only uses just the number for the paragraph.
Exclude Numbers drops the numbers from the TOC and includes just the text for the paragraph.

Saving as a TOC Style
You can save all these settings you've been slaving over by clicking the Save Style button. This opens a dialog box where you can name the style so all these settings are maintained in the document. Then you choose that TOC style when you create a new TOC for the document (Figure 21).

Figure 21. A saved TOC style appears in the TOC Style list.


If you save a TOC style for your document, you have the option when exporting as an ePub to use that TOC Style to create a TOC for the ePub. You don’t have to create a TOC for the document. You just need a TOC style.

The Big Payoff: Automatic Updating
After all this work, you need a big benefit. If you (or anyone else) has made any changes to the main body of your work — text, page numbers, order of items, or paragraph and character styles — simply put your insertion point in the text frame that holds the TOC and choose Layout > Update Table of Contents. The text updates automatically.

Make Text Look Like Chrome

Using nothing more than a gradient swatch in InDesign, you can change text from a flat and boring object to a shiny metallic material that reflects the surfaces around it.

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A highly reflective chrome effect may look like it was tricky to create, but in reality, all you need is a simple gradient fill, using as few as three color stops to create a convincing chrome effect in InDesign.
The key is to create a point somewhere in the gradient where the colors abruptly shift. When you have contrast, you have chrome.
I'll show you five different chrome examples, from basic to elaborate. You'll see how I set up each of them and how they change the look of text when I apply the gradients.



Watch the video below to learn how to bring text to life, changing it from plain, flat white to something that's made out of shiny metal that reflects things.
If you're not sure how to create gradients in the first place, read this primer from Adobe.

Track Down Obscure Glyphs in InDesign

There are many characters that don't appear on standard keyboards. Here's how to enter those hard-to-reach glyphs in Adobe InDesign.

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There are treasures lurking beneath the deceptively simple surface of your fonts—treasures in the form of cool glyphs that will spice up your layouts, or just help them look more professional. However, like any good treasure, you have to work to find these characters; you can't type them as easily as a common number or punctuation you'd find with a quick glance at your keyboard.

Uncommon glyphs (see "The Sweet Sound of Punctuation" from this same issue of InDesign Magazine) come in three categories: First, there are characters you can enter using a keyboard, but only after a lengthy search for the proper key combination; for example, the pilcrow (Option/Alt-7) and the twisted sign of infinity (Option/Alt-5).
Second, there are characters that show up only in particular symbol or pi fonts (see "We Heart Dingbats" from issue 36 of InDesign Magazine). You can still type these on a keyboard, though it takes a lot of hunting-and-pecking to find the key that elicits the correct glyph. It's often faster to open InDesign's Glyphs panel (Type > Glyphs), scroll through the list, and double-click the one you want. Because these symbol fonts usually have only a couple hundred characters from which to choose, it's not onerous to use the panel.
The third type of glyph is beyond the realm of the keyboard, where no arthritic combination of modifier keys will evoke them; the infamous interpunct, for example; or the numero sign, or the sound recording copyright. These can only be found through nefarious means and inserted into your documents through trickery and subterfuge. But don't worry, I'll tell you how.

Step 1. Spy on Your Glyph
Every character in every font is assigned at least two numbers: a Unicode value and a Glyph ID (GID) number. If you know the number, you can find the character. That's important when searching for an odd duck in a flock of thousands of glyphs.
If you know you want the Numero symbol, for example, do an Internet search for "numero symbol Unicode". You'll quickly find a couple thousand results—probably including Wikipedia (Figure 1)—that inform you this character is Unicode 2116.
Figure 1: Wikipedia is just one of thousands of references that help you find a special character's Unicode value.

Unicode numbers are written in hexadecimal, which means each of the four digits may be a number or a letter from A to F. Write down that number; you're going to need it.

Step 2. Find a Dummy Character
Place a dummy character in your InDesign document where you want your special glyph to be. This placeholder can be any character, such as the letter "x". Select the character, then right-click (or Control-click with a one-button mouse) and choose Load Selected Glyph in Find from the context menu (Figure 2). This opens the Find/Change dialog box, switches to the Glyph tab, and inserts all the pertinent info about that selected character for you. (This context menu shortcut is a godsend, as it's such as hassle to figure out the information manually.)
Figure 2: The Load Selected Glyph in Find feature appears only in the context menu.


Step 3. Specify the Code
Now to replace the dummy character with the special glyph. To do this, type the Unicode value into the Change Glyph ID field (Figure 3). Also, choose Selection from the Search field so that just that one "x" gets replaced. Of course, if you want to replace all those characters in your story or document with the special glyph, then set the Search pop-up menu accordingly.
Figure 3: The Glyph tab of the Find/Change dialog box lets you dial in exactly which character you're aiming for.


Step 4. Find a Font that Works
Not all fonts contain the character you need! For example, the Sound Recording Copyright character is in very few fonts. When you type in a Unicode number, InDesign shows the result to you in the Glyph area of the Find/Change dialog box. If it's blank, then you're out of luck. Fortunately, you can also specify a font here. Place your cursor in the Font Family field and press the up or down arrows on your keyboard until you find a font that does contain the character you're looking for (Figure 4).
Figure 4: The first font doesn't contain the character, so the Glyph field is blank (top). Switching to a font like Arial or Apple Symbols shows that you can find the character you want.


Step 5. Repeat versus Copy
When you have InDesign's Find/Change dialog box filled out just right, click Change All. The app swaps the dummy character for the special character and you're ready to move on. If the character appears as a pink rectangle or an "X" in a box, then something went wrong in the last step—the font you chose doesn't include that character after all.
If you need the same character again, you have several choices. You can run through the Find/Change rigmarole again, or you could simply copy and paste that character from one place to another. (To paste the same character into text set in another typeface, use Edit > Paste Without Formatting.)
The Glyphs panel offers another way to reuse characters. Select the special character you inserted and open the Glyphs panel, where the character should now be highlighted. Double-click it in the panel to replace the glyph with an exact duplicate, and—here's the cool part—to add it to the Recently Used area of the Glyphs panel. Once it's there, it's easy to find whenever you need it. You can even create a custom keyboard shortcut for Insert Most Recent Glyph.

Call Up the Character Viewer (if You Can)
The Mac OS has a terrific feature, the Keyboard and Character Viewer, that lets you see all fonts that contain a particular character. To enable the feature, go to System Preferences > Language & Text, and choose Keyboard and Character Viewer from the menu bar. Then navigate through it until you can select the character you're searching for. When you do that, the panel displays that character in every available font (Figure 5). If you can find the character in that panel, you can insert it in your InDesign document (or any other open file) by double-clicking the character. For more on the Character Viewer panel, "see this tip.
Figure 5: The Mac OS Character Viewer panel, while clunky, is a good way to see how a particular character shows up in a variety of fonts. Double-click the character to insert it into InDesign (or any other running program).


Step 6. Faster Methods
Now that you know the Find/Change technique and the secret ways of the Recent Glyphs, I need to let you in on a secret: Once you figure out the Unicode value (see Step 1), there are even faster ways to insert that glyph into a text frame. (However, the previous steps haven't been for nothing, as you'll need the Find/Change technique again by the end of this article!)
In Windows, you can usually type a Unicode character by holding down the Alt key and then typing the Unicode value on the numeric keypad. If that doesn't work, you may need to create a new registry key (a process that gives me the willies, but you can "read about it here).
On the Mac, you can get a similar functionality, but you have to enable it by opening System Preferences, choosing Language & Text, clicking the Input Sources tab, and turning on the Unicode Hex Input checkbox in the list of languages. After that, you can type your special character by choosing Unicode Hex Input from the language menu (up in the menu bar), then holding down the Option key and typing the four-digit code. Don't forget to switch your language back to English or whatever you normally use, or your usual Option- keyboard shortcuts won't work.
If you have to type special characters a lot, try Peter Kahrel's great compose.jsx script. I suggest assigning a keyboard shortcut to the script (using Edit > Keyboard Shortcuts). When you run the script, it displays a small dialog box (Figure 6). Enter the Unicode value and press OK and the script inserts the character for you. That's just one feature of this cool script; learn more about it here.
Figure 6: The Compose.jsx script (which runs on both Mac and Windows) lets you quickly input any Unicode value you want.


Step 7. Alternate Glyphs
Here's one potential problem to be aware of: Within the same font, more than one character may have the same Unicode value. A common example is the bullet character. If you type a normal, boring, round bullet (Option/Alt-8) and then select it, the Glyphs panel highlights that character. The panel also displays a small black triangle next to the glyph, indicating that there are alternate glyphs (Figure 7). Some of these characters share the same Unicode value—that is, they're just "bullets."
Figure 7: The same Unicode number may have a number of variations, but each variation has its own GID value. To find the specific GID number, hover your cursor over the character and look for the tool tip.

Fortunately, InDesign also tracks the GID number. (Note that this is sometimes called CID, though there's no direct relation to CID fonts.) If you use the script or Unicode hex code input methods in the last step, you cannot specify a particular GID, a specific alternate form of that character. But the Glyphs tab of the Find/Change dialog box does work—just change the ID pop-up menu to GID/CID instead of Unicode.

Free For All: Stock Photos, Social Media Profiles, and Calendar Templates

It’s 2012, the year the world is supposed to end. Let’s mark the occasion with fiery explosions, templates for Twitter and Facebook profiles, and - for the more optimistic among you - calendar templates.

Explosions, Fire, and Fireworks Stock Photography
Let’s poke a little fun at the preposterous notion that the world will end on December 21st because a 5,000-year-old calendar allegedly expires on that date. How do we poke fun on Free for All? By giving away free stock photography, of course! Check out these 55 explosive year-starting and world-ending royalty free stock images I collected on Stock.XChang.
Remember: The images are free, but before you can download them you’ll need to register a free account with Stock.XChang.

2012 Social Media Profiles
In the year 2012 (cue Zagar & Evans) a social media presence for creative professionals is essential. The biggest social media are, of course, Facebook and Twitter. Both services have recently altered how they present users’ profiles (yes, again). If one of your New Year’s resolutions isn’t to put your best Facebook and Twitter profile foot forward, it needs to be. And I’ve got some handy tools to help you do just that.
First is a pair of free Photoshop PSD templates from Jon Darke of Every Interaction for Twitter profiles. These excellent templates are 100% pixel-accurate to Twitter’s new profile layout and include easily customized vector objects and components arranged in logical groups and layers. There are even two different versions: one for personal profiles and another for Twitter’s new "enhanced" profiles for brands and advertisers. The templates are compatible with Photoshop CS4 and later.


Facebook’s new user profile page is the much anticipated Timeline layout that presents a user’s life in a vertical timeline, with content flowing in reverse chronological order, most recent down to birth. The timeline is capped by a massive 850x314 pixel "cover photo" of your choosing. For the average Jane’s profile, the cover photo is often a family portrait or a shot taken during a vacation. For creative professionals out to promote themselves, their services, or their brands, however, the cover photo represents a huge branding opportunity. Here are a few tools to help you make the most of the potential of the timeline cover photo.
Naturally, you can start with DIY templates for Photoshop and Fireworks. Nico at Ausgetrock.net offers a simple PSD template of the Facebook timeline. The template includes several layers, making it easy to target the individual components for customization. A similar — but more spartan — Photoshop PSD template comes from Neal Campbell. Neal’s template is also available in PNG format for Fireworks from the same link. If you’re not happy with either of those, there’s a third option from Designrs Hub, also a PSD. All three PSDs are compatible with Photoshop CS3 and later.


If you’d rather not start from a template in Photoshop — a wise choice if you want to include an array of images from your portfolio or an existing Facebook gallery — several free online services can help you build a cover photo in your browser. Two that I like are Timeline Covers and CoverCanvas, both of which offer the following comparable features:
• numerous templates and layouts
• the ability to use one photo or combine many into a single cover image
• the ability to add text to your cover photo
• the option to preview what the image might look like on a dummy timeline
The results I’ve seen from CoverCanvas seem a little more polished, a little more professional than those from Timeline Covers. Timeline Covers, however, is an actual Facebook app, which means it gives you the ability to more easily and more directly access your existing Facebook imagery as well more quickly activate and tweak new designs.


Another couple of semi-automatic cover image design services are Timeline Cover Banner and Pic Scatter. They have fewer features than the aforementioned services, but that might be exactly what you need because they do what they do do (do?) well. Note that Pic Scatter adds the "made with picscatter.com" credit prominently unless you upgrade to their premium service, and Timeline Cover Banner adds a subtle watermark to identify its involvement.


2012 Calendar Templates
Still haven’t made your publication’s 2012 events calendar? Or maybe you want to design some nicely branded calendars for promotional giveaways and you’ve been running late. Fear not, Free for All has you covered — six ways from Sunday.
First, there are the obligatory Microsoft Word and Excel calendar templates for designers and non-designers alike.


Then, for hobbyists, there are 10 templates for Photoshop Elements. Courtesy of Photoshop Elements User Magazine, these templates include standard calendar templates, a seasonal triplet style template, and three styles of the compact CD jewel-case-style desktop calendar.


Moving into the professional arena, there are even more templates and modules available, starting with a pair for Lightroom 3. The first is a print module from Lightroom expert Jerry Courvoisier. You’ll find the module download and concise instructions — as well as a how-to video — on Jerry’s site. Photographer Ed Weaver offers his own take on calendar print templates for Lightroom — again, complete with an instructional video by Matt Kloskowski. Both Jerry’s and Ed’s offerings are excellent templates for promotional or commercial photo-calendars.


For total control over the look and style of a 2012 calendar you’ll need to turn to a page-layout program. There are plenty of free InDesign calendar resources. Let’s start with Nikolay Dimitrov’s, which is a Monday — Sunday European style template. Nikolay’s template is available as an INX file, which can be opened by InDesign CS3 and all later versions.


Next we have an InDesign CS5 and later template from Tim Ngwena. Tim’s template is clean, modern, and ready for customization. Please note that Tim asks you to "pay with a tweet" to obtain his template; in other words, it’s free, but you must send a Twitter status update linking to it or announcing that you’re downloading it. The Adobe Exchange offers another (and tweet-free) INX-format (CS3 and later compatibility) template from user "Graphmaster" (aka Juliana Schaffer Halvorson). This template presents a more common calendar style and includes styles and swatches for easy customization. Moreover, this calendar template has been improved, refined, and honed year after year by user feedback.


Last, there's the venerable Adobe InDesign Calendar Wizard, a Javascript extension that builds a calendar for you based on copious options in the wizard’s dialog box. There are a bevy of formatting and layout options: Calendar Wizard lets you create one-page calendars; 12-month calendars on single or multiple pages; calendars with pictures in cells; previous and next month mini-calendars in unused cells; and calendars with holidays and/or moon phases pre-populated.

But what about the world ending on December 21? You can always leave the last 10 days blank.