Layers 2010-11-12

CREATE INTERACTIVE
PORTFOLIOS WITH
INDESIGN CS5
USE PSDS TO MAKE MOVIE
POSTERS IN ILLUSTRATOR CS5
TIMESAVING FEATURES
TO IMPROVE YOUR
PHOTOGRAPHIC WORKFLOW
Designing
with
Web
Standards
DISPLAY UNTIL JANUARY 18, 2011
Basic rules all Web designers

and programmers should know
True PDF release: storemags & fantamag
storemags & fantamag - magazines for all
CONTENTS]
] NOVEMBER/DECEMBER 2010
[ ] VOL. 6, NO. 6
] WWW.LAYERSMAGAZINE.COM
[ T U T O R I A L S ]
36 ] Digital Photography:
Improve Your Photographic Workflow
—Chris Orwig
42 ] Adobe Photoshop CS5:

Creative Suite Advantages—Dave Cross
48 ] Adobe Illustrator CS5:

Movie Poster—Corey Barker
56 ] Adobe InDesign CS5:

Creating an Interactive Portfolio—Terry White
62 ] Adobe Dreamweaver CS5:

Editing a WordPress Blog with Dreamweaver
CS5—Janine Warner
66 ] Adobe Flash CS5 Professional:

Custom Video on Cue—Paul Trani
18
RADIM MALINIC
[ F E A T U R E ]
30 ] Web Standards
Whether you’re a Web designer, coder, or programmer, this
issue we’ve decided to cater to you. Sue Jenkins expains where
Web standards came from, why you should use them (willingly),
and where you can go for more information about them. While
Web standards mostly deal with the behind-the-scenes issues,
they can also greatly affect a site’s design and how visitors view
a webpage. These standards are set in place for you to generate
the most traffic imaginable. So, let’s stick together and follow
www.layersmagazine.com
the rules! —Sue Jenkins
Page 30
04

05
LAYERS MAGAZINE ][ NOV / DEC 2010

[ D E P A RT M E N T S ]
8 ] Letter from the Editor
12 ] Layers News
18 ] Designer Spotlight
20 ] The Digital Canvas
78 ] Tips & Tricks
90 ] The Back Page
Page 20
[ C O L U M N S ] [ O N T H E C O V E R ]
22 ] Design Makeover: Radim Malinic is a talented graphic
Monster Ball—Jake Widman designer who creates intricate, innova-
tive designs and illustrations. He’s the
creative force behind his company,
28 ] Artistic Expressions:
Brand Nu, and a few of his clients
Illustrative Text—Bert Monroy
include Malibu, Dell, and PlayStation.
Don’t forget to look for his colorful art
54 ] The Art of Type: throughout this issue of Layers.
Stroke, Stroke, Stroke—James Felici [Radim Malinic]
[ R E V I E W S ]
72 ] Boris Continuum Complete 7 AE—Rod Harlan
73 ] HP ZR30w Monitor—Bruce Bicknell
73 ] HP Z600 Workstation—Bruce Bicknell
74 ] Maya Entertainment Creation Suite 2010

—Bruce Bicknell
72
76 ] Adobe Captivate 5—David Creamer
Whenever you see this symbol at the end of an article, it means there’s either additional material or a download
for that story at www.layersmagazine.com. So be sure to visit the website and check it out.
] NOVEMBER/DECEMBER 2010
] VOL. 6, NO. 6
] WWW.LAYERSMAGAZINE.COM
[TUTORIALS]
We’re always adding new tutorials to the Layers website,
so be sure to visit often. And don’t forget to sign up for
our graphics tip of the day. Here’s a small sampling of
some of the tutorials that you can find at the site now:
[PHOTOSHOP]
www.layersmagazine.com/category/photoshop
Photoshop and Illustrator Interaction (Video): Watch how to
use Photoshop and Illustrator together to quickly defi ne
a graphic as a symbol. Corey even shows how to create a
design using various symbol tools and why it’s important
to paste your Illustrator graphic as a Vector Smart Object
in Photoshop.—Corey Barker
Senior Portrait Design in Photoshop, Parts 1 and 2 (Video):

In this two-part series, Jessica teaches how to create a
simple multilayered senior portrait design with several
layer style options, photos, and fonts. She even shows
how to easily place new photos into the already made
design.—Jessica Maldonado
[ILLUSTRATOR]
www.layersmagazine.com/category/illustrator
Everything You Wanted in Illustrator CS5 Artboards (Video):
Navigate through the new Artboards panel in Illustrator
CS5 with Jeff to learn more about its new features. You can
even renumber your artboards now!—Jeff Witchel
Adobe Illustrator CS5: Stroke of Genius (Video): Inter-

ested in learning about the newly overhauled Stroke
panel in Illustrator CS5? Here, Jeff talks about the new
18
dash and arrowhead options, the new Profile settings
RADIM MALINIC
availabe with the Width tool, and how the Flip Along
option is a great timesaver.—Jeff Witchel
[INDESIGN]
[LAYERS TV ] www.layersmagazine.com/category/indesign
Placing Images in InDesign CS5 (Video): Learn a few
Hosted by Corey Barker and Rafael “RC” Concepcion quick tips from RC about placing images in InDesign
www.layersmagazine.com/layerstv to maximize your skills. Watch as he shows different
Layers TV is a weekly video podcast that offers killer tips and tricks to full- importing options, two keyboard shortcuts, and a tip
blown tutorials, and it covers all of your favorite print, Web, and video apps about the Auto Fit checkbox in the Control panel.—
from Adobe.
Rafael “RC” Concepcion
[ S O C I A L N E T W O R K ] [AFTER EFFECTS]
www.layersmagazine.com/category/aftereffects
http://twitter.com/LayersMagazine
Color Control in After Effects CS5 (Video): Getting the
www.facebook.com/LayersMagazine
Want to stay up to date on everything happening at Layers? Of course you right color can be tricky. Watch how to improve video
do. Just follow @LayersMagazine on Twitter and be sure to join our Facebook color in After Effects CS5 through Levels, Vibrance, and the
fan page, as well. Color Finesse 3 plug-in.—Franklin McMahon
06

[ FROM THE EDITOR]
C H R I S { } M A I N
standard procedure
FOLLOWING THE RULES CAN MAKE EVERYONE’S LIFE EASIER
I want to start out this editor’s note by focusing on one word: standards. What are standards and why
should you care about them? You should care about standards because they make sure that most
things in your life just work. How would you feel if you brought home a brand-new Blu-ray player only
to find out it doesn’t work with your HDMI television because the manufacturer decided to use its own
specs for HDMI? Sure, their Blu-ray players work with their televisions, but they wouldn’t work with any
other brand. You wouldn’t be very happy, would you? Well, the same idea holds true for the Internet. When a person visits
a site, she just wants it to work, no matter what platform or browser she’s using. And as the designer or developer you want
to make sure that your users are never frustrated by things that don’t work because once a user encounters a problem,
chances are she’ll never return to your site again.
So we invited Sue Jenkins to tell us about Web standards. Sue is the Creative Director of Luckychair.com and is the
author of seven books, including Web Design All-in-One for Dummies by Wiley Publishing, Inc. In her article, you’ll learn
where Web standards come from, why you should use them, and where you can go to find out even more about them. If
you’re a budding Web designer or a photographer who’s just trying to create a presence on the Web, you’ll want to read
this article. Standards are important, and it’s critical to learn to use standards from the very beginning (and to keep up with
changing standards, as well).
Also in this issue, James Felici and Bert Monroy show two very different ways to take your
[You should care about type well beyond simple keystrokes and kerning. In “The Art of Type” (p. 54), James teaches
how to use the Stroke panel in InDesign to really spice up your text. Bert uses Photoshop and
standards because they layer styles in “Artistic Expressions” (p. 28) to create pillow-shaped letters that would quickly
put any virtual baby to sleep.
The “Design Makeover” is one of our most popular columns in Layers magazine. This
make sure that most things issue, we asked three talented designers to take on a flyer for a Swing Goth event. What is
Swing Goth, you ask? You’ll have to read the article (p. 22) to find out, but the subject allowed
the designers to run free with their artistic visions, giving us some really inviting results.
in your life just work.] If you’re a regular, then you know that every issue we feature an amazing artist and
designer. This issue, we’re proud to share the work of Radim Malinic. Under the name
Brand Nu, Radim has worked with many big-time clients, such as FUZE Beverage, Coca-Cola, Malibu, Dell, and PlayStation.
Radim pushes himself to new limits with every project he works on, and I think you’ll see the results of his determination
and drive as you view his artwork throughout the publication. Read our interview with Radim in the “Designer Spotlight”
on page 18.
We also have lots of great step-by-step tutorials in this issue; for example, you’ll learn how to streamline your photo-
graphic workflow in Photoshop and Bridge (p. 36), use Photoshop with the other Creative Suite applications (p. 42), create
eye-catching movie posters in Illustrator (p. 48), build interactive portfolios in InDesign (p. 56), edit WordPress themes in
Dreamweaver (p. 62), and create cue points in Flash to trigger events in video (p. 66). See, I told you there were a lot.
I hope you enjoy the magazine and that when you’ve finished reading it that you’re a little more productive and you
have a few more creative ideas than you did before you turned that first page. Until next time…
www.l ayer smagazine.com
.
All my best,
Chris Main
Editor-at-Large
08

print
VOL UM E 6 • N UM B E R 6 • P RI N T E D I N US A
w w w .l ay er s mag azi n e.c o m
EDITOR-IN-CHIEF Scott Kelby
EDITOR-AT-LARGE Chris Main

TRAFFIC DIRECTOR Kim Gabriel
DYNAMIC MEDIA EDITOR Rod Harlan
CONTRIBUTING WRITERS Corey Barker • Peter Bauer • Bruce
Everything for the Bicknell • Cyndy Cashman • Rafael

“RC” Concepcion • David Creamer
Dave Cross • James Felici • Sue
Jenkins • Bert Monroy • Chris Orwig
Perfect Print. Paul Trani • Janine Warner • Terry
White • Jake Widman
CREATIVE DIRECTOR Felix Nelson

PRODUCTION MANAGER Dave Damstra
SENIOR ASSOCIATE DESIGNER Taffy Clifford
PRODUCTION DESIGNER Dave Korman
VP, SALES Kevin Agren 813-433-2370

ADVERTISING COORDINATOR Jeanne Jilleba 877-622-8632 ext. 215
ADVERTISING DESIGNER Margie Rosenstein
DIRECTOR OF CIRCULATION Ronni O’Neil
PUBLISHER Scott Kelby

EXECUTIVE PUBLISHER David Moser
ASSOCIATE PUBLISHER Mike Mackenzie
BUSINESS MANAGER Jean Kendra
CHIEF FINANCIAL OFFICER Paul Parry
DIRECTOR OF WEB DEVELOPMENT

AND PROGRAMMING Tommy Maloney
WEB TEAM Justin Finley • Jay Fortner • Karey
Johnson • Fred Maya • Leslie
Montenegro • Kris Olds • Aaron
Westgate
PUBLISHED BIMONTHLY BY Kelby Media Group

333 Douglas Road East
Oldsmar, FL 34677-2922
Phone: 813-433-5010
www.kelbymediagroup.com
info@layersmagazine.com
SUBSCRIPTIONS $29.95 (U.S.) Call (toll-free)

877-622-8632; subscribe online at
COVER DESIGN Cover image courtesy

of Radim Malinic
COLOPHON Produced using Adobe InDesign
Every day low prices CS5, Adobe Photoshop CS5, and

Adobe Illustrator CS5. Body copy
is set in Avenir. Headlines are set in
+
Solex. Lorem ipsum dolor sit amet,
consectetur adipiscing elit. Suspendisse
blandit dapibus suscipit. Quisque vitae
sapien turpis. Vestibulum volutpat
FREE Shipping* congue neque, vitae scelerisque lacus

iaculis nec. Sed tempor interdum felis,
id porttitor dui laoreet nec. Maecenas
turpis massa, venenatis at lacinia eu,
pellentesque a tortor. Morbi aliquam
neque ac erat vestibulum et lobortis
ipsum porta...If you’re a designer or
layout person, you’re probably thinking
we inadvertently forgot to remove some
Greeked text. Well no, we didn’t. We just
wanted to see if: A) you’d even notice,
or B) you even knew what Greeked text
Call us Today! was (you would if you’re over 30 years
old). If you’re not a designer or layout
Located in America's Heartland person, then who cares? We weren’t
(800) 771-9665
talking to you. Neener, neener, neener.
All contents © COPYRIGHT 2010 Kelby Media Group, Inc. All rights reserved. Any
use of the contents of this publication without the express written permission of the
Or Order Online 24/ 7 publisher is strictly prohibited. Layers magazine is an independent journal not affili-
www.itsupplies.com ated with Adobe Systems, Inc. Adobe, the Adobe logo, Acrobat, Adobe Premiere, After
Effects, Dreamweaver, Flash, Illustrator, InDesign, Lightroom, and Photoshop are
either registered trademarks or trademarks of Adobe Systems Incorporated in
the United States and/or other countries. All other trademarks are the property of
*on orders over $99 their respective owners. Some of the views expressed by contributors may not be the
representative views of the Publisher. ISSN 1554-415X

[layers news]
graphics design news • new products • digital video news • other stuff
Adobe announces
Acrobat X
On October 18, 2010, Adobe announced the latest version of their popular PDF solution software, Acrobat X (as in 10) Pro. This new version
has a simplified panels interface (think Photoshop) and a new document view mode. PDF Portfolios (which were introduced in Acrobat 9) are
better than ever and make it easy to combine many different file types into one handy package that can be shared with anyone. And the new
guided actions feature streamlined document workflows and helps users create better, stronger PDFs faster. Acrobat X supports PDF/X-4:2010
and PDF/X-5:2010 (the new version of the PDF/X-4 and X-5 standards). You’ll also find improvements in transparency flattener and in printing
RGB-based documents to CMYK-based printers.
Adobe also announced Adobe Reader X, which benefits from the new simplified panels interface, as well. In other good news, the com-
menting tools are now always on for Reader—you don’t have to activate them on a per-document basis in Acrobat Pro. Reader also includes
improved browser integration, protected mode security, and Android Mobile Reader.
Acrobat X Pro will be available for $499, or $199 for the upgrade. For more information, visit www.adobe.com.
Photoshop Elements
borrows a page from CS5
Adobe recently announced the availability of Photoshop Elements 9. The latest version
of their popular consumer image-editing app has adapted one of the “wow” technolo-
gies that was originally introduced in Photoshop CS5—Content-Aware Fill. The content
intelligence now available in the Spot Healing Brush will have users removing telephone
poles, wires, and those bunny ears from behind your head that your best friend thinks
are so funny from your photos with ease. The same content intelligence also fills in
missing gaps when creating a panorama from multiple images.
Another cool new feature is the Photomerge Style Match. If you have a photo
in which you really like the contrast and color tone and you’d like to apply that to
another photo, Photomerge Style Match will automatically apply those qualities to
that other photo. And with the new Guided Edit options, you’ll quickly be creating
cool effects, such as making elements leap out of the photo in 3D, creating pop art,
or retouching. Photoshop Elements 9 is available now for $99.99. For more informa-
tion, visit www.adobe.com.
Adobe Illustrator
gets its own HTML5 pack
www.LAYERSMAGAZINE.COM
Following up on the Dreamweaver CS5 HTML5 Pack (which is now part of the Dreamweaver 11.0.3 updater), Adobe has announced the Illustrator
CS5 HTML5 Pack. Aimed at designers creating content for mobile devices and the Web (and honestly, who doesn’t design for mobile and Web
these days), the HTML5 Pack allows both designers and developers to take advantage of HTML5 and CSS3 and enhances the integration between
Illustrator CS5 and Dreamweaver CS5. SVG generated by Illustrator can be displayed directly in compatible browsers and Illustrator can be used
to generate CSS code for styling of HTML content. According to Lea Hickman, Senior Director, Creative and Interactive Solutions at Adobe, “The
HTML5 Pack for Illustrator CS5 gives designers and developers the power to deliver high-quality graphic content for the Web that can look great,
no matter what the screen.” The HTML5 Pack for Illustrator CS5 is available for free at Adobe Labs at http://labs.adobe.com.
12

A ton of new gear Web Watch

from Nikon [more cool sites for creatives]
At Photokina 2010 in Cologne, Germany,
Nikon introduced the D7000 DSLR. Sitting
between the Nikon D90 and the D300S,
the DX-format (APS-C) D7000 camera
features a new 16.2-megapixel CMOS
sensor. According to Nikon, the new
EXPEED 2 image-processing engine fuels
the enhanced performance of the D7000,
along with a new 39-point AF system and
groundbreaking 2,016-pixel RGB 3D Matrix
Metering System to deliver amazing image www.adobemuseum.com
quality in a variety of shooting conditions. Adobe Museum of Digital Media:
Additionally, the D7000 DSLR provides full 1080p HD movie capability with full-time autofocus (AF). The world’s first virtual museum dedi-
cated to digital art and innovation
Using Nikon’s exclusive Scene Recognition System, the D7000 analyzes subject information
from a database containing more than 30,000 images to optimize focus, exposure, and white
balance. The camera has a native ISO range of 100–6400, which can be expanded to a Hi-2
setting of 25,600, something previously found only in Nikon FX-format territory. The D7000
DSLR camera will be available throughout the United States beginning mid-October 2010 for
$1,199.95 for the body only and $1,499.95 for the body and lens outfit that includes the AF-S DX
Zoom-NIKKOR 18–105mm f/3.5–5.6G ED VR lens.
Nikon also announced a new Speedlight and a couple of new lenses. The SB-700 Speedlight
builds on the success of the popular SB-600 Speedlight and the advanced functionality of
the SB-900 Speedlight and is scheduled to be available in mid-November for $329.95. The new
AF-S NIKKOR 35mm f/1.4G will appear around the same time for $1,799.95, and the new AF-S
NIKKOR 200mm f/2G ED VR II should be available by the time you read this for $5,999.95. Just www.digitalfamily.com
prior to the show, Nikon had also announced their new D3100 DSLR ($699.95) and four new Training and resources for Web design and
Adobe Dreamweaver from Janine Warner
lenses: the AF-S NIKKOR DX 55–300mm f/4.5–5.6 VR ($399.95), the AF-S NIKKOR 24–120mm
f/4G ED VR ($1,049.95), the AF-S NIKKOR 28–300mm f/3.5–5.6G ED VR ($1,299.95), and the
AF-S NIKKOR 85mm f/1.4G ($1,699.95).
For more information regarding the new DSLRs, lenses, and Speedlight, please visit www
.nikonusa.com.
The new Nikon

COOLPIX P7000
Nikon also introduced the COOLPIX P7000 at
Photokina. The 10.1-megapixel COOLPIX P7000 http://thephotoletariat.com
features a large 1/1.7" CCD sensor coupled with Dedicated to helping photographers with
artistic advice, technical tips, and ways to
a 7.1x Wide Angle Optical Zoom-NIKKOR ED build business in today’s economy
Glass Lens. It adopts Nikon’s new EXPEED C2
high-performance digital image processing engine
to ensure high-quality pictures.
ISO sensitivity ranges from 100–6400 (expand-
able to ISO 12,800 in low noise Night Mode)
to ensure sharp, crisp images when shooting in low
light or photographing fast-moving subjects. The
P7000 also features 5-Way VR Image Stabilization System to minimize the effect of camera shake.
Advanced users will also enjoy the benefits of shooting RAW/NRW files for creative freedom, and
macro abilities as close as 0.8".
The P7000 records HD video at 720p at 24 frames-per-second (fps) with optical zoom and http://lightroomsecrets.com
autofocus control. A COOLPIX first, users can now record audio with an external stereo micro- Adobe Photoshop Lightroom tips,
tutorials, and news, along with the
phone via the microphone input. An accessory microphone or Nikon Speedlight can be mounted occasional article on photography and
on the P7000’s hot shoe. The Nikon COOLPIX P7000 will be available for $499.95. the creative process
[ n e ws ]
Canon makes
Upcoming Events headlines at Photokina
Just prior to Photokina, Canon announced
MAXIMUM PHOTOSHOP CS5 TOUR the EOS 60D DSLR. The EOS 60D has an
Washington, DC (November 8, 2010) 18-megapixel Canon CMOS sensor, Canon’s
Boston, MA (November 10, 2010) proprietary DIGIC 4 Imaging Processor, and
South San Francisco, CA (November can capture full HD video. The vari-angle
15, 2010) 3" Clear View LCD screen allows users to
New York, NY (November 22, 2010) position the screen just about anywhere
www.kelbytraininglive.com they need to capture overhead or low-angle
shots. The 60D can process RAW files right in
PHOTOSHOP CS5 FOR the camera with features that include Picture
PHOTOGRAPHERS TOUR Style, White Balance, Color Space, High-ISO Noise
Chicago, IL (November 9, 2010) Reduction, and more. Photographers can now generate
Denver, CO (December 13, 2010) optimized JPEG files from their RAW files for immediate sharing. The 60D will be available for
www.kelbytraininglive.com an estimated price of $1,099 (body only).
Canon also introduced four new L-series lenses: the Canon EF 8–15mm f/4L Fisheye USM
PHOTOSHOP CS5 DOWN & DIRTY ($1,400; available in January), the new EF 70–300mm f/4–5.6L IS USM ($1,500; available in
TRICKS TOUR October), the EF 300mm f/2.8L IS II USM ($7,000; available in December), and the Canon EF
Livonia, MI (November 12, 2010) 400mm f/2.8L IS II USM ($11,000; available in December). For more information on both the
Sacramento, CA (December 6, 2010) EOS 60D and L-series lenses, visit www.usa.canon.com.
www.kelbytraininglive.com
SCOTT KELBY’S PHOTOSHOP FOR

DIGITAL PHOTOGRAPHERS TOUR
November 18, 2010
The Canon
Washington State Convention & PowerShot G12
Trade Center In more Photokina news, Canon U.S.A., Inc., announced the PowerShot G12 digital camera. The
Seattle, WA PowerShot G12 includes the Canon HS SYSTEM. Canon’s DIGIC 4 Image Processor combined
www.kelbytraininglive.com with the PowerShot G12’s 10-megapixel High Sensitivity CCD sensor, make up Canon’s HS
SYSTEM to enhance image quality and help reduce noise at high ISO levels.
LOCATION LIGHTING TECHNIQUES The PowerShot G12 is also the first PowerShot G-series model to record 720p HD video.
FOR PHOTOGRAPHERS TOUR It offers a full range of shooting and recording modes with new features such as High Dynamic
Ft. Lauderdale, FL (December 3, 2010) Range (HDR) scene mode. With the use of a tripod, one push of the shutter button yields
Phoenix, AZ (December 7, 2010) three sequential images with various exposures, and then combines them into a single
San Diego, CA (December 9, 2010) optimized image.
www.kelbytraininglive.com The Canon PowerShot G12 has a 2.8" vari-angle LCD and a 5x optical zoom lens with
Optical Image Stabilization and wide-angle capabilities starting at 28mm. And as with
PHOTOSHOP CS5 CREATIVITY TOUR previous cameras from this series, the G12 supports RAW capture. The estimated selling
Houston, TX (December 10, 2010) price of the PowerShot G12 is $499.99. For more information, visit www.usa.canon.com.
Portland, OR (December 15, 2010)
www.kelbytraininglive.com
MACWORLD 2011
January 26–29, 2011
New Sigma
Moscone Center camera, lenses, and flashes
San Francisco, CA Sigma announced the Sigma SD1 DSLR, two new lenses, and a couple of new flash units at
www.macworldexpo.com Photokina. The Sigma SD1 is a whopping 46 megapixels with a 24x16mm APCS-C X3 sensor.
Along with the Dual TRUE (Three-layer Responsive Ultimate Engine) II image processing
PHOTOSHOP WORLD CONFERENCE engines, Sigma claims the SD1 quickly processes high-resolution images with high definition
& EXPO and a smooth and subtle graduation of color.
March 30–April 1, 2011 The two new lenses include the Sigma APO 120–300mm f/2.8 EX DG OS HSM and the
Orange County Convention Center Sigma APO MACRO 150mm f/2.8 EX DG OS HSM. The two new flash units include the Elec-
Orlando, FL tronic Flash EF-610 DG ST and the EF-610 DG Super. For pricing and availability, visit www
www.photoshopworld.com .sigmaphoto.com.

[r a d i m ma l i nic ]
[ DESIGNER SPOTLIGHT]
C H R I S { } M A I N
Radim Malinic is a self-taught, award-winning art director, illustrator, and graphic designer
based in London, England. Like many successful artists, Radim didn’t start out as a designer. He has a degree in business management,
and it wasn’t until he was 24 that he turned to full-time design and illustration. His cutting-edge, innovative designs, and bold use of color
has helped boost the visibility of many household brand names, such as FUZE Beverage, Coca-Cola, Malibu, Dell, and PlayStation.
Under the name Brand Nu, Radim has applied his vast skill set to advertising campaigns, product branding, magazine covers, editorial
illustrations, and Web solutions. He treats every project as a brand-new (i.e., brand nu) challenge, and never approaches a brief the same
way twice. His passion to make each project better than the last and his attention to intricate detail shines through in his work.
Layers: You seem to enjoy your freedom as a freelance designer Layers: You use agents to help promote your work and find new
and illustrator. What are the advantages of working for yourself clients. What are the advantages of using an agent, and at what
compared to working for an agency or running your own agency? point in a designer’s career should he start thinking about using
an agent?
Malinic: The biggest advantage is the opportunity to create interest-
www.LAYERSMAGAZINE.com
ing and innovative work. If you work for an agency, you’re part of a Malinic: A good agent can help you reach clients that can be hard to
team and the work gets diluted. Politics and extra people are involved get. Corporations often prefer to deal with an illustrator who has an
in agencies, which can overtake the joy of each project. I opted for a agent. It’s a simple rule because the ad agency has a back up of the
freelance career for many reasons—mainly so I can choose what I do agent’s talent roster; therefore, being represented sometimes makes
and when I do it. Obviously, it’s not a fairy tale scenario. Sometimes you a better pick for the job. I started thinking about getting an agent
you have to work 18-hour days, but I’m a lot happier to be at the when I was ready to take the work up a notch. I learned a lot from my
forefront of the creative tasks in a project. If I need to take time off, previous day jobs and I knew I could successfully freelance. I didn’t
I decide when to take it and when to work. have a dream client list, but I had the right skill set.
18

19
lAYERS MAGAZINE ][ nov / dec 2010

Layers: We’ve interviewed many designers in the past who have a
college degree in a subject totally unrelated to design, but they’ve
always found a way to use that degree to their advantage in the design
industry. Has your degree in business helped you succeed as an artist?
Malinic: My first encounter with the subjects of economics and market-

ing was simply enchanting. Although I dabbled with graphic design
before economics, I chose to study for a business degree. I always
say that a freelancer is a boss during the day and a creative at night.
Having a business management background is handy, but successful
design practice is a combination of common sense, good manners,
and hard work.
Layers: Your work is more about setting trends instead of following

them. Can you tell us a little about your style and how you strive to
create something new and unique each time?
Malinic: I admire illustrators who have one style that they do all
day, every day. It’s as if they’re on a diet eating just apples and never
try anything different. I understand they’re comfortable that way and
most are very successful. But I have the opportunity to do anything
I want, any time I want. It took me a while to get to the point where
I am right now, but I’m enjoying it. So I work to find new ways of apply-
ing the creative ideas, which always carry my signature style. This way
my clients are open to new ideas and let me explore the unexpected.
Layers: You’ve self-published three limited-edition showcase books

of your work. How have these books helped your career? Have they
helped in ways that you never even imagined?
Malinic: They have helped because I did something different

than my contemporaries. We’ll always have nice relationship with
physical objects like books and magazines. For me, each book has
opened a new set of doors and helped me grow. You can change
the content of your online portfolio as often as you like, but the
book stays the same forever.
[CONTACT] Radim Malinic www.brandnu.co.uk All imAges BY RADim mAliNiC

[ gallery]
[ the digital canvas ]

showcasing the design work of our readers
Design: Louis Armstrong Design: ARTrageous Poster

] [ Client: Personal Work ] [ Designer: Wayne Rose ] [ Client: Whistler Arts Council ] [ Designer: Ruth Johnson
] [ Software: Adobe Illustrator CS ] [ Software: Adobe Photoshop CS4 and Adobe Illustrator CS4
] [ http://waynerose.webs.com ] [ www.ruthjohnson.bc.ca
The staff at Layers magazine

appreciates the time and effort
involved in the creative process,
no matter how large or small the
project. With this in mind, we of-
fer you the opportunity to display
your work on The Digital Canvas.
Please submit your print, Web,
or packaging design (jpeg or eps
format) to: letters@layersmaga-
zine.com. Please include name of
www.l ayer smagazine.com
piece, client name (if applicable),

applications used, and any web-
site where our readers can view
more of your work.
Design: Craigslist Casual Encounters Book Cover ] [ Client: HaHa Publishing ] [ Designer: Tara Lynn Price ] [ Cover Illustration: Anthony Walton
] [ Software: Adobe InDesign CS3 and Adobe Photoshop CS3 ] [ www.tlpricefreelance.com
20

21
l AY E R S M A G A Z I N E ][ no v / de c 2010
Design: Jungle Birds ] [ Client: Personal Work ] [ Designer: Yuval Hoshen
] [ Software: Adobe Photoshop CS4 ] [ www.wix.com/yuvalhoshen/yuvalhoshen
Design: ialmostknewyou Design: Spring Float

] [ Client: Personal Work ] [ Designer: Andre Villanueva ] [ Client: Personal Work ] [ Designer: Doug Gilbert
] [ Model: Elissa Villanueva ] [ Photographers: Amanda Childress & April Garzarek ] [ Software: Adobe Photoshop CS4
] [ Software: Adobe Photoshop ] [ www.000-000-0000.com ] [ www.doug-gilbert.com
[ DESIGN MAKEOVER]
J A K E { } W I D M A N
client:
Swing Goth] [www.swinggoth.com
monster ball before

S wing Goth was born out of an attempt to marry partner danc-
ing with modern music. “We dream of a future where dancing
with each other is once again the norm, but we’re unlike other partner
dancing clubs in that we dance to modern music,” said Brian Gardner,
originator and promoter of Swing Goth. Gardner hosts biweekly dance
parties and occasional live-music events in San Francisco—Swing
Goth’s home—and the activity has spread to New York. “We teach
partner dancing based on upper body connection, and we focus on
developing a personal style and flair rather than on perfecting cookie-
cutter footwork,” Gardner said.
Some of Swing Goth’s events, such as this October’s “Ball of
C’thulhu,” feature steampunk bands. Steampunk is a visual aesthetic
and literary genre that, like Swing Goth, combines old and new. “I think
of it as what would happen if the combustion engine and mass produc-
tion were never invented,” explains Gardner. Think of floating airships
or computers with keyboards made out of typewriters. “Aesthetically, it
is said that steampunk is what happens when goths discover brown.”
For the ball flyer, one of the participating bands came up with the
tentacles-and-cemetery theme. Gardner took it from there, populating
the cemetery with ghouls drawn by a friend or images from the public
domain. The flyer will be printed as a 4x6" postcard to be distributed in
clubs, record stores, and the like; and as 8.5x11" posters to be hung in
appropriate neighborhoods.
Gardner likes some aspects of the flyer, such as the tentacles
wrapping around the band, but he worries that it looks too wordy and
doesn’t like the way the text breaks down into horizontal bars that inter-
rupt the eye’s flow. He’d like a flyer that covered the event details but still
gave a feeling of “gentle, dark seduction” between elegant ladies and
gentlemen. We asked three designers to create an appropriately seduc-
He’d like a flyer that covered the
tive—but appropriately spooky—monster mash flyer.
event details but still gave a feeling
of “gentle, dark seduction” between
elegant ladies and gentlemen.
[ ]
Jake Widman is a writer and editor who lives in San Francisco. He’s been covering the intersection of computers and graphic design for about 20 years now—since
back when it was all called “desktop publishing.”
makeover submissions
We’re looking for product packaging or labels, print advertisements, websites, and magazine covers that are currently in the marketplace for
future “Design Makeovers.” So if you or someone you know has a design that you’d like us to consider making over, or if you’re a designer
and you’d like to be considered for a future “Design Makeover,” drop us a line at letters@layersmagazine.com.
22

23

after
DESIGNER: Maria Stephens
www.tigerlillydesigns.co.uk
M y immediate impressions of the original design were that

it was busy, absent of any real focal point, and lacking
impact. I wanted to give it a more professional touch that would
complement the reputation of the promoter and musicians.
I began by stripping the poster down to its basics and identify-
ing what the client liked about the current design: colors, central
image, and dark mysterious vibe. I then looked at what elements
were necessary to the fl yer and reordered them in terms of size
and location to create a more structured hierarchy. I considered
the main focal point of this poster to be the event, theme, and
date, and therefore concentrated the design on these areas. I liked
the cemetery theme as it has a link with the headline act Abney
Park (also a cemetery here in London), as well as being a perfectly
fitting theme for this monster mash.
The overall colors of the poster remain dark so that the white,
green, and yellow text can really pop in the ultraviolet lighting
common in clubs. All the band logos have been displayed using
white text in the style of their logos—this will ensure that they
stand out in nightclub lighting while complementing the central
image rather than detracting from it.
To reinforce the event theme of C’thulhu (a fictional cosmic
entity created by horror author H.P. Lovecraft), stylized ethereal
The tentacles provide a sense of
tentacles were added crawling out from under a headstone. The
tentacles provide a sense of horror and mystery, as well as con- horror and mystery, as well as
veniently creating the perfect frame with which to emphasize the conveniently creating the perfect
main details of the event. The event name and date appear on the
headstone, almost as though they were carved there. frame with which to emphasize
Overall, the final design is a classy, stylish, elegant take on a the main details of the event.
subject matter (Halloween) that can often be cliché and cheesy.
[ A B O U T T H E D E S I G N E R ]
Maria Stephens] [ www.tigerlillydesigns.co.uk
Originally from the beautiful valleys of South Wales, Maria Stephens has spent the last five years honing
her expertise on the streets of London, working her way up through the ranks of design teams and enjoy-
ing both agency and client side projects. With a Masters Degree in Graphic Communication, Maria real-
ized that she could have more fun and greater creative freedom working for herself and founded Tigerlilly
Designs, a boutique design agency with big ambitions, in 2008.
Since its founding, Tigerlilly has worked with start-up entrepreneurs, blue-chip businesses, charities, and classy individu-
als on both sides of the pond. Recently, Tigerlilly nurtured a flourishing relationship with Razor Research, an award-winning
research agency based in London. This partnership has led to work for well-known brands such as Green Giant, Betty Crocker,
and Häagen-Dazs.
Maria lives in Central London with her boyfriend and her basil plant named Fred.
APPLICATIONs USED: Adobe Photoshop CS4, Adobe Illustrator CS4, and Adobe InDesign CS4
[ des i gn make ov e r ]
after
DESIGNER: Kwasi Amankwah
www.kwasi.net
T his project was very interesting to me because it covered

a topic that I truly knew nothing about. Swing Goth was
a whole new world, and before I started any designs I spent time
The toughest part about this project was incorporating all of
the different band logos, with each of them using a different font.
I decided that a dramatic angle would allow me to incorporate the
learning about the culture. Once I had a good understanding of logos as party information more cohesively. The logos and informa-
the scene, I started by coming up with an element to focus the tion were manipulated so that they appear to fit into the same 3D
piece around. space as the illustration’s people. Changing logo one into a spatial
I created a drawing that depicted two people heading to the element allows the different fonts to act as a unit while being so dif-
party. The illustration was a composite of all the characters I saw in ferent from each other. I set the ampersand in Angelic War, which
my research—the female guest, for example, was an homage to one I thought looked like a nice blend between the fonts used in the
of the band members. The figures and the background were colored Swing Goth logo and the Clockwork logo. For the rest of the copy,
in Adobe Illustrator. The blue used was sampled from the original I used Helvetica Neue Bold, Light, and Light Italic. It’s a simple font,
piece, and the line drawing of a graveyard silhouette added a texture but with the complexity of all of the other fonts used I wanted to
to the background. keep the other information as simple and clean as possible.
The illustration was a composite of all the characters I saw in my research…
Kwasi Amankwah] [ www.kwasi.net
Kwasi started as an illustrator and moved into graphic design after gaining a background in Adobe
Photoshop. After getting his Bachelor’s Degree in Art History at the University of Illinois, he moved to
Chicago to attend the Art Institute of Chicago. There he earned his BFA in graphic design, after which
he attended the University of Illinois-Chicago for his MFA.

His diverse background and his love and interest in all different styles of art gives him a unique
approach to his design projects. While he spends most of his time working on graphic design, he also draws, paints, and
belongs to a screen print studio.
After school, Kwasi spent several years on an in-house graphic design team and teaching graphic design at a local college.
Kwasi has now moved into the freelance world and started his own company, At Nine Design. Kwasi resides in Chicago with
his wife and dog.
APPLICATIONs USED: Adobe Illustrator CS3 and Adobe InDesign CS3

24 continued on p. 26

[ des i gn make ov e r ]
after
DESIGNER: Matt Holley
www.mattholleydesign.com
H aving no knowledge of Swing Goth, steampunk, or H.P.

Lovecraft, I was jumping into a completely different world
blindfolded. The name C’thulhu had little meaning to me until doing
the research. This creature was created as a symbol of extreme horror
and evil. While the “Ball of C’thulhu” bears the creature’s name, it’s
an event filled with fun and fantasy.
Looking at the original poster, there are several elements that are
distracting. There’s so much text and so many line breaks that it’s vir-
tually impossible to notice the design. From the cartoon characters to
the poorly beveled tentacles, this poster doesn’t reflect the vibrance
and quality of this event.
Browns and greens gave me the fall feel I wanted, while allowing
me to keep the poster bright, warm, and inviting. I drew my interpre-
tation of C’thulhu as if he were going to a costume party (on paper,
then redrawn in Adobe Illustrator). His plaid suit and paisley tie is what
he grabbed from Goodwill the night before the ball. He’s positioned
on the hardwood floor and is holding a mystical scepter as if he’s the
dancing disco ball of the party.
The header text is Oliver’s Barney, which was the perfect thick-
ness for me to apply the wood grain texture to. The leaves echo
the warmth and fall feel of the wood. Reprise Stamp was used as
the informational text because it’s eroded yet remains as legible as
Helvetica. The header and footer text are both set in a triangular shape
and give a nice sense of balance to the page. Logos were strategi-
cally placed so as not to take attention away from the overall design
of the poster. I’ve always loved the look of screen-printed posters,
and wanted to give this poster a similar vintage look and feel.
I drew my interpretation of C’thulhu as if he were going to a costume party…
Matt Holley] [ www.mattholleydesign.com
Matt Holley is a passionate freelance designer out of Columbus, Ohio. With a broad range of experience
ranging from corporate rebranding to creative marketing and interactive design, Matt brings a clean
approach to design and focuses on getting rid of unnecessary clutter. Clean lines, balance, and sym-
metry are at the forefront of Matt’s design profile.
After graduating from Marshall University with a Bachelor of Fine Arts in Visual Design, Matt moved
to Columbus to pursue his design career. While he enjoys corporate design, nonprofits have always had
a soft spot in Matt’s heart, as his dad and brother are both ministers. He loves using his talents to glorify God and help
local churches grow, and impact their neighborhoods. Matt also enjoys playing music and is part of the Jared Mahone
band, a groove-driven soulful pop band in Columbus. He is recently engaged and looking forward to being married to
his fiancée, Krista.
APPLICATIONs USED: Adobe Illustrator CS3 and Adobe Photoshop CS3
26

[ t h e d i g i t a l s t u dio ]
[ ARTISTIC EXPRESSIONS]
B E R T { } M O N R O Y
illustrative text
The written word has always been considered to
possess great power. There are thousands of differ-
ent fonts available that can give what you’re saying
an additional emotional edge. When you illustrate
text, you can give it impact that tells the story without even reading
the words.
Take a baby announcement, for instance; would you use an Old
English typeface to illustrate it? No! You want something cute. You
want something that says “baby” and not “the Knights of the Round
Table.” A good suggestion would be little pillows that spell out the
word “baby,” or the baby’s name. That’s a great idea, but what if
you don’t have a font that looks like pillows? This is what Photoshop
is for—making your imagination come to life.
STEP ONE: To start, you need to choose a simple font such as Hel-
I M A GE S: © I STO C K PH OTO I LLU STR ATI O N : TA F F Y C LI F F O R D
vetica Bold. In a new, 72-ppi Photoshop document, select the Type

tool (T), choose Helvetica in the Options Bar, and type a message.
Note: Make sure to add plenty of spacing or kerning between the
letters using the Character panel (Window>Character); the outcome
of the text will look best if the letters aren’t so close together. Click
on the Commit icon (checkmark) in the Options Bar when finished.
STEP TWO: Choose Edit>Transform>Scale to modify the shape of

the text. Click-and-drag the middle bottom handle of the bounding
box to scale the text vertically to make it taller, as shown here. Press
Return (PC: Enter) when finished.
[ This is what Photoshop

STEP THREE: Command-click (PC: Ctrl-click) on the text layer thumb-
is for—making your nail in the Layers panel to make it a selection. Choose Select>Save
Selection to save it as an alpha channel (just click OK in the Save
imagination come to life. ]

Selection dialog). At this point, the original text that was entered can
be discarded. Click-and-drag the text layer onto the Delete Layer icon
(trash can) at the bottom of the Layers panel and press Command-D
(PC: Ctrl-D) to deselect.
STEP FOUR: Navigate to the Channels panel (Window>Channels)

and click on the Alpha 1 channel. First, choose Filter>Blur>Gaussian
Blur and change the Radius to blur the channel until the text receives
rounded edges (6.4 pixels in this example). This becomes the basis
for the rounded, pillow-like text. Next, we need to make the text
sharp again with a Levels adjustment.
28

29
ing on a surface. Play with the Distance and Size sliders until you

achieve the exact drop shadow you want. Don’t click OK just yet.
STEP TEN: Click on the words “Bevel and Emboss” in the Styles
list to give the text the feeling of being rounded and soft. Increase
the Depth to 251% to add more contrast. Adjust the Size to 16 px
to give the text a full, rounded effect. Increase the Soften amount to
7 px to soften the edges of the tones. Set the Angle to 120°. Change
STEP FIVE: Choose Image>Adjustments>Levels. In the Levels dialog,
the Highlight Mode Opacity to 99%, and click on the Shadow Mode
the further you move the black Input Levels slider, the thinner the text
color swatch to change the default color to make the pillows seem
will become. The opposite is true by moving the white Input Levels
more baby like; we chose a deep blue (R:46, G:63, B:175). Note: The
slider; the further the white is moved, the thicker the resulting text.
Move the black Input Levels slider to 70 and the white Input Levels
slider to 96. Click OK. The result is a rounded-edged typeface.
STEP SIX: Now we’re going to create the little pillows. Click on the
RGB channel in the Channels panel to activate it and then go back
into the Layers panel and click on the Create a New Layer icon to
create a new layer. Then, navigate back to the Channels panel and
make the Alpha 1 channel a selection by simply Command-clicking
(PC: Ctrl-clicking) on it (or you can go to Select>Load Selection and
select Alpha 1 from the Channel drop-down menu).
deep blue goes with the powder blue of the letters being shown in
this example; your color choices depend on what you’re illustrating.
STEP SEVEN: With the Alpha 1 channel selected, choose Edit>Fill to
Click OK to apply the two layer styles. This will make the text look like
fill it with color. Select Color from the Use drop-down menu, select a
it has the rounded edging usually found on these types of pillows.
powder blue color (R:122, G:207, B:246) from the Color Picker, and
click OK. Click OK again. Don’t deselect just yet; in the next step, we’ll
STEP ELEVEN: Double-click on Layer 2 in the Layers panel to open the
give the little pillows some character by adding trim to the edges.
Layer Style dialog again and click on the words “Bevel and Emboss”
to add a slight adjustment to the settings to make the stroke look
STEP EIGHT: Back in the Layers panel, create another new layer
more natural. Change the Highlight Mode Opacity to 100%, and click
and click on the Foreground color swatch in the Toolbox to select a
on the Shadow Mode color swatch to change the color to brown
trim color. In our example, we chose a bright yellow (R:251, G:246,
(R:100, G:58, B:21). Click OK. The end result is big, fluffy letters that
B:33). Choose Edit>Stroke to open the Stroke dialog, enter 10 px
tell the story.
for Width, select Outside for Location, and click OK. Deselect.
Cute, but not the pillows we’re trying to achieve. We need to add
A few variations along the way can add some excitement. A sug-
dimension to make the text seem like fluffy pillows. Dimension comes
gestion might be the use of a pattern showing various toys to fill
with the use of some lighting effects achieved through layer styles.
the letters rather than a single color. You’re only limited by your
imagination. Photoshop provides you with the tools to create what-
ever you can come up with. Have fun!
STEP NINE: Double-click on Layer 1 in the Layers panel to open the

Layer Style dialog. Click on the words “Drop Shadow” in the Styles
list on the left side of the dialog to make the text appear to be rest-
[ Bert Monroy is considered one of the pioneers of digital art. His work has been seen in many magazines and scores of books. He has served on the faculty of many well-known
institutions, written many books, and appeared on hundreds of TV shows around the world.
]
By Sue Jenkins
With Web Standards
Web standards, simply put, are the basic rules that all Web designers, coders, and programmers
should understand and follow when designing and building webpages. While these standards
mostly deal with coding and other behind-the-scenes issues, they can also greatly affect a
site’s design and influence how visitors access the content on different sites. Above all,
standards help ensure that everyone (including nonhuman Web robots and spiders) can
access every webpage on the Internet—regardless of their browser, device, or operating
system. In this article, you’ll learn where Web standards came from, why you should use
them, and where you can go to find out more about them.
Images: iStockphoto.com Layout Design: Taffy Clifford

31
The birth of Web standards

In the early days of the Internet (back in 1989), before there were
things like search engines, e-commerce, blogs, and social networking,
the World Wide Web was a bit of a free for all where each website
followed the coding whims of the person who made it. For example,
some HTML coders used all caps for their tags to help easily see
the difference between tags and content, while other coders used
“camelCase” for their tags, and still others used all lowercase let-
ters. In addition, some websites were composed entirely of graphic
images placed snugly inside cells of a table and others were made
using a combination of graphics, text, and tables.
On one hand, this do-it-yourself coding environment allowed for
unlimited freedom and creativity. On the other hand, having no rules
to follow frequently resulted in an “anything goes” policy, which
often made Internet users frustrated and confused about how they
should navigate through a site to find the information they were
looking for. To be fair, the Internet did start as more of an informa-
tion sharing space rather than a place to sell and buy stuff, chat with
friends, and express yourself. However, as more people and com-
panies began using the Web to market and sell their products and
services, and more kinds of devices (such as handhelds and screen
readers for the visually impaired) were being used to access the The W3C homepage
Web, it became clear that certain coding rules and standards would
need to be established to help control all the chaos.
So in 1994, that’s what Tim Berners-Lee did. Berners-Lee, if you
• Uniform HTML and XHTML Coding: To improve the presen-
don’t know, is the University of Oxford-educated mastermind who
tation of webpages on Internet-capable devices, standards to
created the Internet as a global information sharing initiative while
working at CERN (the European Organization for Nuclear Research) HTML and XHTML now follow stricter coding rules to improve
in 1989. Over the next several years, his specs for HTTP, URIs (Uni- the accessibility of pages across browsers (Internet Explorer
form Resource Identifiers), and HTML were refined and improved [IE], Firefox, Opera, Safari, Chrome, etc.); operating systems
upon as this new technology spread quickly around the world. (Mac, PC, Linux, Unix); and other devices (screen readers, hand-
By the early ’90s, when many middle-class families owned at least helds, printers, etc.) that access the Internet.
one computer and many businesses had a Web presence, Berners- • Use of DOCTYPEs: By adding a DOCTYPE tag at the top
Lee founded the World Wide Web Consortium (W3C) as an interna- of the code of all HTML and XHTML pages, the browser can
tional vendor-neutral group committed to creating Web standards interpret a webpage as an application in the XML programming
that allowed for device-independent Web access. The W3C’s mission language and thereby present that data within the Internet-capable
is “to lead the World Wide Web to its full potential by developing device as it was coded. This standard is especially important
protocols and guidelines that ensure long-term growth of the Web.” because XML lets programmers create their own proprietary
markup languages through which additional information can be
The World Wide Web Consortium exchanged on the Web.
Since the W3C’s founding, more than 100 W3C recommendations • Use of CSS: Separating content (HTML) from presentation (CSS)
for Web design and applications, architecture, Semantic Web, and user interaction (JavaScript, jQuery, PHP, and other program-
XML technology, Web services and browsers, and authoring tools ming languages) allows designers, coders, and programmers to
have been published on the W3C website. There have also been simplify their code and consolidate their presentation markup in
standards proposed for accessibility, internationalization, mobile one place.
Web, developing economies, and eGovernment. In fact, in 2009
Berners-Lee launched a new organization called the World Wide Other important standards focus on accessibility issues geared
Web Foundation to help support and coordinate further develop- toward making all Web content accessible to the widest possible
ment of the Web to benefit humanity. audience across the widest array of devices. According to the W3C,
A few of the early, more monumental W3C Web standards people with disabilities make up roughly 10% of the Internet’s popu-
included things such as making uniform HTML/XHTML coding lation. Simple coding changes can often make the biggest impact,
rules, recommending the inclusion of a DOCTYPE in the head of such as requiring image tags to include alternate text attributes,
the code, and the promotion of using cascading style sheets (CSS) link tags to have descriptive title and target attributes, and form
to separate webpage form (presentation) from webpage content. elements to use tab order and hot keys to assist with navigation
Here are some specific examples of each early Web standard: through a site without a mouse or standard keyboard.
In addition to laying out Web standards, the W3C website is With CSS, you can quickly create site-wide styles for the tags
chock full of detailed information about HTML, DHTML, XHTML, used to mark up your content, define custom styles to selectively
XML, CSS, JavaScript, jQuery, Ajax, Ruby on the Rails, ARIA, and style elements, and create styles that will automatically be applied
more. You’ll even find details on browser compatibility, document to an element’s ID. Not only does CSS separate your presentation
formats, Web graphic formats, and CSS, as well as more obscure markup from your content, it also centralizes all the style information
documentation on developing technologies like HTML5 and CSS3 into one discrete location (an external CSS file that is linked in the
that have yet to be fully implemented across the Web. Definitely “<head>” to all the pages in your site) and drastically reduces the
spend some time exploring this site. The more you understand file size of your webpages, thereby making your pages load faster
in a browser.
about Web standards, the better you’ll be at designing and build-
Thankfully, nearly all the popular browsers and Web editing
ing standards-compliant websites.
software manufacturers are on board with Web standards, each work-
ing hard (and competitively) to help provide Web designers, coders,
Working with Web standards programmers, and Internet users with the best experience they can.
Web standards have really helped make the job of building web- In fact, for several years now, the top HTML and WYSIWYG code
sites easier. This is especially true when you learn the right way to editors—for example, Dreamweaver and Expression Web—have sup-
do things from the start. For example, when building webpages, ported Web standards by automatically writing standards-compliant
it’s useful to follow a particular logical workflow. First, you get your code. What’s more, the newest and most popular browsers (with the
content on the page and then you mark it up with proper semantic exception of IE) now render properly coded webpages near identically.
HTML (semantic means that you use the right tags to match the
meaning of your content, e.g., “<h1> for Heading 1s”). After that,
you add your CSS to style the content, and lastly, you add any
JavaScript and other programming languages as needed to create
page interactivity and present dynamic data.
One of the earliest and most important Web standards recom-
mended by the W3C is the use of CSS instead of the heavy HTML
formatting tags that designers, coders, and programmers used
before. With the old method, formatting markup had to be wrapped
around every block of text, every graphic, and each object or ele-
ment displayed on the page. (Imagine managing a 30-page website
and having to change all the fonts from Arial to Verdana!) Back then,
it would have meant opening and editing every single page, line by
Dreamweaver and Expression Web
line. By contrast, that same change today would only mean editing
write standards-compliant code
a few lines in your external CSS file.
Unfortunately, this does not mean that if you use a good HTML
or WYSIWYG software program that you’ll be immune from coding
errors. The sad truth is that you’ll still have to deal with things like
display and compatibility problems with CSS and various scripts,
IE-only features, and browser-specific coding issues. The good
news is you’re not the only one out there doing it. In all likelihood,
someone on the Internet has already figured out the solution to
your very problem and is willing to share it. For CSS-related issues,
check out the Adobe CSS Advisor (http://bit.ly/6MsXLN).
Easily link your webpages Adobe CSS Advisor provides solutions to common
to one or more externalCSS files CSS and browser-compatibility issues
32

33
With Web Standards
Besides presentation consistency and device independence, As for CSS3, according to the good folks over at www.sitepoint
another really smart reason to build standards-compliant websites .com, all the major non-IE browsers now support many useful CSS3
is better search engine optimization (SEO), which can both help properties, as long as (for now) it’s used with proprietary code (e.g.,
improve search engine results page rankings and make the content “-moz” or “-webkit”). One amazing thing you can do right now
within the site easier to find for Web visitors. Standards-compliant with CSS3 is set multiple backgrounds for a single div element.
sites provide a more consistent experience to the widest audience
of users across the widest variety of devices and platforms.
Web standards for Flash, HTML5, and CSS3

As cool and interactive as they can be, Flash movies are single
objects that are embedded into a webpage, which means that
none of the content contained within them can be bookmarked,
selected, copied, or saved the way you can with content in a regular
webpage. They also can’t contain any meta tag information like key-
words or descriptions—which means that search engines can’t index
any of the content to help visitors find that content.
As a workaround to building entire sites from Flash, some devel-
opers have begun shifting to including Flash modules inside of regular
sites and using JavaScript, jQuery, and HTML5 to create page interac-
tivity, both of which are easy enough to learn, standards-compliant, and
search engine friendly. For an interesting read on Flash Web standards,
visit www.webmonkey.com/2010/02/use_web_standards_with_flash.
HTML5—which is the new and smarter version of HTML—is now
starting to be supported by the newest and most popular browsers.
HTML5 introduces a bunch of new semantic elements like “<nav>”
and “<footer>,” and adds sweet JavaScript-like interactive func-
tionality through DOM scripting for things like geolocation, audio
and video playback, and drag-and-drop. You can read about all
the differences between HTML4 and HTML5 at http://dev.w3.org/
html5/html4-differences.
Code example of CSS3 used to
create multiple background images
HTML5 semantic tags

from www.html5rocks.com
Example of CSS3 showing four

separate images within a single div tag
What’s more, new CSS3 properties are being introduced

with each browser update so that eventually CSS3 can
be used without proprietary code. As for IE browsers (for
now), IE8 renders CSS2 predictably, and there are whispers
HTML5 drag-and-drop demo that IE9 might get in the game. For details and information
at www.html5demos.com about working with CSS3, visit www.css3.com.
With Web Standards
Where can I learn more? If you’d like to learn more about Web and accessibility
There are dozens of sites on the Web to help designers, coders,
standards, check out the following sites:
and developers learn the rules of the Internet road. Each is dedi-
cated in some form to helping create standards for structural
markup, presentation, scripting, and programming languages,
as well as object models and other markup languages, such Web standards and accessibility resources
as SVG. There are also plenty of books and free online tutorials World Wide Web Consortium (W3C) www.w3.org
such as Designing with Web Standards by Jeffrey Zeldman. World Wide Web Foundation www.webfoundation.org
Web Standards Project www.webstandards.org
Web Standards Group http://webstandardsgroup.org
Web Accessibility Initiative www.w3.org/WAI
Equality & Human Rights Commission www.equalityhumanrights.com
Section 508 www.section508.gov
Web Accessibility in Mind http://webaim.org
Tutorials, references, statistics, and forums

W3Schools www.w3schools.com
JavaScript Kit www.javascriptkit.com
The jQuery Project www.jquery.com
HTML5 www.w3.org/TR/html5
HTML5 Demos www.html5demos.com
HTML5 Reset www.html5reset.org
CSS-Tricks
(HTML5 Innershiv) http://css-tricks.com/html5-innershiv
Introduction to CSS3 www.w3.org/TR/css3-roadmap
Web Safe Font Tester www.fonttester.com/web_safe_fonts.html
DebugBar www.my-debugbar.com/wiki
Web Style Guide www.webstyleguide.com/wsg3/index.html
960 Grid System http://960.gs
Another useful resource is the Max Design’s Web standards HTML/XHTML code validators
checklist (www.maxdesign.com.au/articles/checklist), which can W3C Markup Validator http://validator.w3.org
guide you toward using a valid and accessible markup style with W3C Link Checker http://validator.w3.org/checklink
CSS to create websites that are accessible, usable, and search W3C Log Validator www.w3c.org/QA/Tools?LogValidator
engine friendly. WDG HTML Validator www.htmlhelp.com/tools/validator
CSE HTML Validator www.htmlvalidator.com
CSS code validators

W3C CSS Validator http://jigsaw.w3.org/css-validator
WDG CSS Check www.htmlhelp.com/tools/csscheck
Accessibility validators
Web Accessibility Evaluation
(WAVE) Too www.wave.webaim.org/index.jsp
SortSite Testing Tool www.powermapper.com/products/sortsite
HiSoftware Cynthia
Says Portal www.contentquality.com
W3C Code &
Accessibility Validators www.w3.org/WAI/ER/tools/complete.html
Browser compatibility verification

Adobe BrowserLab https://browserlab.adobe.com

Spoon Browser Sandbox www.spoon.net/browsers
Browershots.org http://browsershots.org
The Max Design Web standards checklist
Web conferences and Web design events
An Event Apart www.aneventapart.com
Sue Jenkins is a professional Web and graphic designer, photographer, and creative
director at Luckychair.com. She is also an award-winning Adobe software instructor South By Southwest http://2007.sxsw.com/interactive
appearing in six training DVDs and author of seven instructional books including Web Mix10 http://live.visitmix.com ■
Design All-in-One for Dummies.
34

RADIM MALINIC
[DIGITAL PHOTOGRAPHY TUTORIAL]

C H R I S { } O R W I G
improve your photographic workflow

Here we’re going to discuss how to improve your photographic workflow with some new timesaving features in
Bridge and Photoshop CS5. Becoming a better photographer is an adventure and lifelong pursuit. Therefore, to
help you reach new horizons in your own photographic workflow, read on.
[CREATE CONTACT SHEETS] [ADD WATERMARKS]

One of the pitfalls of digital photography is that we tend to cap- In the current digital age, watermarks are more important than
ture too many photos. As a result, most of them will end up being ever. A watermark gives you the ability to protect your image or to
lost or buried on a hard drive. The remedy is to create contact reinforce your brand. In Bridge CS5, you can add watermarks in the
sheets for a quick visual reminder. Output module to either create single or multiple image layouts,
To create a contact sheet in Bridge, first choose Window>Work- or Web galleries. This way, when you deliver or send your files digi-
space>Output. (Note: The contact sheet option is in a new loca- tally, they can be protected from unfair use. For a basic text-based
tion in Photoshop CS5.) Customize the panel settings on the right copyright, select PDF, and then in the Watermark section, enable
and after making changes click the Refresh Preview button to see Add Watermark, Place on Each Image, and Insert Text. Enter text in
an updated layout. When satisfied, click Save. the text field and then choose a Font, Size, and Color.
36

37
LAYERS MAGAZINE ][ nov / dec 2010

[CUSTOM GRAPHIC WATERMARKS] [BATCH RENAMING]
Another effective way to use a watermark is to use a graphic, logo, A common need for photographers is the ability to change the
or brand identity element on top of the image. First create a graphic name of their images. The good news is that you can now batch
in Photoshop and save it as TIF or PNG. (Hint: Use PNG when you rename files with more ease than ever while in Bridge CS5. Select
want to have transparency.) Then, in the Watermark section, select one or more images, Right-click on a selected image, and choose
Add Watermark, Place on Each Image, and Insert Image. Click on Batch Rename. In the Batch Rename dialog, notice the two new
the icon to the right of the Path field, select a graphic, and use the options: Presets and Preview. While these are simple improve-
sliders below to customize the size, opacity, and position of the ments, these are great timesavers. Use the Presets drop-down
watermark. This way you have precise control over how and where menu to save, store, and reuse common renaming conventions,
the watermark is displayed. and click on the Preview button for a quick visual of how the file
names will actually appear.
[OPENING MINI BRIDGE] [BECOMING FAMILIAR WITH MINI BRIDGE]

If you haven’t used Mini Bridge, you’ll definitely want to start using The Mini Bridge panel can be relocated or resized just like any of
it. Mini Bridge provides you with the ability to browse, filter, sort, the other panels, and the interface is relatively intuitive except for
preview, and open images from directly inside of Photoshop. a few new icons. Use the Filter icon to choose a range of filtering
To open Mini Bridge, click on the Launch Mini Bridge icon (circled) options, the Sort icon to access options to change the order of
in the Application Bar or choose File>Browse in Mini Bridge. Yet, files, and the Tools icon for image placing options. The View icon
in order to be even more effective, you’ll want to set up a custom (located at the bottom of the panel) allows you to change the inter-
keyboard shortcut. Choose Edit>Keyboard Shortcuts, twirl open face layout and the Preview icon has various preview options. You
the File options, and assign Browse in Mini Bridge a shortcut. This can press the Spacebar to enter Full Screen mode and double-
way, you can quickly (and efficiently) access and use Mini Bridge click on a file to open an image.
whenever you need it.
[EFFECTIVE WORKSPACE CONTROL]
Photoshop is a strong program jammed-packed with features.
8 [EXPANDED LAYER FUNCTIONALITY]
Working with layers and layer style effects in CS5 has been improved.
Yet, the downside is that many features aren’t relevant to your Now you can select one or more layers and then change the opac-
own workflow. The good news is that you can quickly and easily ity of all of those layers at one time. Simply Command-click (PC:
customize a workspace to suit your needs. To create a custom Ctrl-click) on multiple layers and change the Opacity in the Layers
workspace, choose Window>Workspace>Essentials (or whatever panel. In addition, the layer style effects settings (drop shadow,
workspace you want to use) or click on the Essentials button in the stroke, etc.) are capable of being saved with customized default
Application Bar. Note: To access more workspaces in the Applica- settings. To set a default, apply a layer style effect and click on the
tion Bar, click-and-drag the handles (circled) to the left. Make Make Default button in the Layer Style dialog. To reset the settings,
changes in the workspace in regards to panel sizes, positions, or click on the Reset to Default button.
visibility and Photoshop will automatically save the changes.
9 [MAKING SMARTER SELECTIONS]

One of the most significant features in Photoshop CS5 is the
10 [CONTENT-AWARE FILL]
Being able to delete or remove unwanted items in a frame has
ability to refine and improve selections and masks. First, make a long been the desire of photographers. Now this process is easier
selection and then click the Refine Edge button in the Options than ever. First, make a selection of an object with the selection
Bar, or create a mask, Right-click on the mask in the Layers panel, just outside the area of the object—if the selection is too close,
and select the Refine Mask option. In both situations, this action it won’t work well. To increase the selection, choose Select>
will open a Refine dialog. In the Edge Detection section, enable Modify>Expand and use the Expand dialog. Then press Shift-F5
the Smart Radius checkbox and increase the Radius to work on a to open the Fill dialog and choose Content-Aware from the Use
larger edge area. Then, use the Adjust Edge sliders to dial in the menu in the Contents section. Click OK.
exact selection parameters. Click OK when finished.
38

39

11 [CONTENT-AWARE HEALING]
In the previous version of Photoshop, the Spot Healing Brush was
12 [HDR TONING]
HDR and HDR type of effects have taken the photographic com-
primarily relegated to removing small blemishes in a frame. Now it munity by storm. More and more photographers are beginning to
can be used to content-aware fill larger areas. It’s especially good experiment with how they can use these effects to improve their
at removing items that are distractions, which are on top of com- images. HDR toning provides a set of powerful controls that can
plex content—think telephone wires in front of a tree. be used to quickly make subtle or dramatic HDR-like effects. To
To use this tool, select the Spot Healing Brush tool (J), choose use HDR Toning, choose Image>Adjustments>HDR Toning. In
Content-Aware in the Options Bar, and then click-and-drag over the HDR Toning dialog, experiment with the various presets from
the element that needs to be removed. For example, here the gar- the Preset drop-down menu, or simply create a custom effect by
ment strap was removed with a single brush stroke. (Hint: Make modifying the Edge Glow, Tone and Detail, and Color controls.
sure the brush size is slightly larger than the blemish.)
13 [HDR PRO]
Many argue that true HDR has finally come of age in Photoshop
14 [TARGETED ADJUSTMENT TOOL]
The Targeted Adjustment Tool (TAT) allows you to make precise
CS5, and I completely agree. HDR is a valid and powerful tool for adjustments. You can use the TAT with Black & White, Curves,
both creative and corrective purposes. HDR Pro is now stronger and Hue/Saturation adjustment layers. Simply create one of the
than ever giving you controls to deal with common HDR problems aforementioned adjustment layers, select the TAT (circled) from
(like ghosting) and more precise controls over tonal blending. To the Adjustments panel, position the cursor over the area of the
use HDR Pro, capture multiple frames of the same subject at different image you wish to adjust, and click-and-drag. This is one of
exposure settings. Next, select the images in Bridge and choose the most powerful tools in Photoshop, and is something you’ll
Tools>Photoshop>Merge to HDR Pro. In the Merge to HDR Pro use frequently. I recommend you choose Auto-Select Targeted
dialog, use the Edge Glow, Tone and Detail, and Color/Curve sec- Adjustment Tool from the flyout menu. This way, each time you
tions to create the desired effect. open one of the supported adjustment layers, the TAT will be
selected by default.
15 [LAB BLACK-AND-WHITE ACTION]
Photoshop CS5 comes preinstalled with a few features that you have
16 [HUD COLOR PICKER]
In Photoshop CS5 there’s a new way to work with color. The Eye-
to dig around in order to find. One of those features is the incredibly dropper tool (I) now features a color-sampling ring that acts as a
helpful LAB Black & White conversion action. To access this action, visual aid to help determine the correct color. Surrounding the
open the Actions panel (Window>Actions), click on the flyout menu, selected color is a 50% neutral gray ring, which visually isolates
and choose LAB - Black & White Technique. This will load the action and sets apart the color being sampled. In addition, you’ll find a
into the Actions panel. Next, open an image and click on the Photo heads-up display (HUD) color picker, which allows you to quickly
Toner Technique action. Click on the Play icon and the action will choose colors while painting. To open this display, press Control-
run through the various steps, which will help you to create a poten- Option-Command-click (PC: Shift-Alt-Right-click). There are also
tially more compelling black-and-white image. two options for the HUD: the Hue Strip or Hue Wheel. Choose
Preferences (PC: Edit)>General to select the HUD you like best.
17 [BRUSHES AND MASKING]

As a photographer seeking to create more powerful images,
18 [LENS CORRECTION]
In the Lens Correction dialog (Filter>Lens Correction), you’ll see a
learning how to work with masking is key. In Photoshop, masking new tab titled Auto Correction. If your camera profile is available,
provides you with the ability to selectively paint various types of the filter will select a profile for your camera and lens combina-
adjustments. New to CS5 is a set of brushes called bristle tips tion. Select the various types of auto corrections you’d like to
located in the Brush panel (Window>Brush), which helps create have applied and click OK. In the example shown here, you can
more realistic, smooth and clean masks. The bristle tips provide see how even an image captured with a fisheye lens (above) can
the ability to specify precise brush bristle characteristics, which be relatively corrected (below). Note: While typically you won’t be
helps create natural-looking brush strokes. These brushes in addi- using this filter to remove such dramatic fisheye distortion, it does
tion with the other brushes improve how you create masks. illustrate the power and potential of this new feature.
40
[ Chris Orwig, photographer, digital guru, and author, is on the professional photography faculty at the Brooks Institute in Santa Barbara, California. For more information and inspiration,
visit www.chrisorwig.com where you can find out information about his latest books, training, and creative projects. ]
ALL IMAGES BY CHRIS ORWIG UNLESS OTHERWISE NOTED

RADIM MALINIC
[P HOTOSHOP TUTORIAL]
D A V E { } C R O S S
Creative Suite advantages

Needless to say, Photoshop is an extremely powerful tool. Add in the other Creative Suite programs and there’s
even more amazing possibilities. Here we’ll look at how to combine Photoshop, Bridge, and InDesign to create
easily updated contact sheets, and then show you six ways to use Photoshop and Illustrator together.
[CREATE A BACKGROUND] [SWITCH TO INDESIGN]

In Photoshop, create a new 11x8.5" document at 300 ppi and Open InDesign and choose File>New>Document. Deselect
make a background design for the contact sheet using textures, the Facing Pages checkbox, select Landscape for the Orienta-
filters, and whatever else you’d like. We combined images; added tion, click the chain-link icon in the Margins section to disable
a shaded area to enter contact information in InDesign (we set the default settings, and set the Right Margins field to 2 in (this
the blend mode to Multiply and Opacity to 50% in the Layers is where the contact information will go). Click OK. In the Pages
panel); turned the design into a vector smart object (to allow for panel (Window>Pages), double-click the A-Master page and
easy edits after the document has been placed in InDesign); and choose File>Place to add the layered PSD to InDesign. To place
added a Vibrance adjustment layer. Choose File>Save As, set the the file, hold down the Shift key and click-and-drag to draw a box
Format to Photoshop, and enable the Layers checkbox to save the the size of the document. When you release the mouse button,
document as a layered PSD. Click Save. the file will be placed inside.
42

43

[ADD CONTACT INFO] [CHOOSE IMAGES IN BRIDGE]
Still on the master page, choose the Type tool (T) and draw a text Open Bridge and navigate to a folder of images. Command-click
box in the right margin to enter your contact information. Also, (PC: Ctrl-click) 12 images you wish to use for the contact sheet. To
place any logos or other design elements that you want behind make things easy, use labels; press Command-8 (PC: Ctrl-8) to apply
the placed images. Double-click on Page 1 in the Pages panel and labels to the chosen files. Note: Choose portrait or landscape orien-
add any elements that you want to overlay on the placed images, tations—rather than mixing them together—for contact sheets (for
such as an embellishment, as shown here. Tip: Even the embel- our example, we chose landscape only). After the labels are applied,
lishment can be a layered PSD file with a different choice on each click Approved in the Filter panel to show only the labeled images.
layer—choose Object>Object Layer Options to choose a different
layer to display in InDesign.
[OUTPUT IN BRIDGE TO PDF] [PLACE PDF IN INDESIGN]

Choose Window>Workspace>Output. Select the PDF option in Back in InDesign, choose File>Place to bring in the PDF you just
the Output panel, and in the Document section, enter the same created. To place the PDF, use the same method as Step Two
settings as the InDesign document. In the Layout section, enter to place the layered PSD, but draw a box around the margins. If
the information shown here. Don’t worry about getting it right the necessary, nudge the PDF into position. If you added an embellish-
first time; you can click the Refresh Preview button to experiment ment, choose Object>Arrange>Send to Back to position the PDF
with the settings. (Note: To remove the filename, uncheck the behind it. Save your InDesign file. Note: The PDF is a “live” link
Filename box in the Overlays section.) Click Save at the bottom now, viewable in the Links panel (Window>Links).
of the panel to save as a PDF, and click the Save Template icon
beside the Template drop-down menu to save as a template.
[NEW CONTACT SHEET IMAGES]
To create a new contact sheet with new images, go back into
8 [UPDATE LINKED PDF]
Back in InDesign, go to the Links panel and highlight the previously
Bridge and select a new set of images. Repeat Step Four to isolate placed PDF file. Click the Relink icon (chain-link) at the bottom
the new photos you selected. Use the template you previously of the Links panel, navigate to the new (replacement) PDF file,
saved to quickly apply the same settings and then click the Refresh and click Open. The file should update with the new images, be
Preview button to make sure everything looks good. Then save the scaled correctly, and still have the same embellishment (if one was
PDF using a different name than the first set of images. added). Save this InDesign file using a different name. Now any
time you want a new contact sheet, you can repeat this operation:
Create a new PDF using the Bridge Output options and then use
the Relink icon to connect to the new file in InDesign.
[six ways]
©ISTOCKPHOTO/DMITRY ERSLER
1 [COPY-AND-PASTE BASIC SHAPES]

Illustrator doesn’t come with basic shapes that you can use as the
2 [TURN A LOGO INTO A CUSTOM SHAPE]
An Illustrator logo can be built in Photoshop so that it’s always
basis of your artwork, but Photoshop does. In Photoshop, select available as a custom shape. The only catch is that the Illustrator
the Custom Shape tool (nested under the Rectangle tool [U]) and artwork must be one color and must be made into a compound
select a shape from the Custom Shape Picker in the Options Bar. path (which means there cannot be white areas, only holes). Copy-
Remember to enable the Paths icon (middle icon) in the Options and-paste the artwork into Photoshop, choose Path in the Paste
Bar. Hold down the Shift key and click-and-drag to create a path. dialog, and click OK. Choose Edit>Define Custom Shape and
Press Command-C (PC: Ctrl-C) to copy the path, open Illustrator, name the shape. Click OK. Now you can access the logo at any
create a new document, and press Command-V (PC: Ctrl-V) to time from the Custom Shape Picker in the Options Bar and scale
paste the path. In the Paste Options dialog, choose Compound the logo to any size.
Shape (fully editable) and click OK.
continued on p. 46
44

3 [3D TYPE]
Photoshop CS5 Extended has Repoussé, but if you don’t have that
4 [SHARE SWATCHES]
When you need to use a number of specific colors in various
version or haven’t mastered it yet, try this alternative. In Illustrator, applications, use this example. After creating artwork containing
create some type and choose Effect>3D>Extrude & Bevel. Enter swatches in Illustrator, deselect all swatches in the Swatches panel
the desired settings and click OK. Copy-and-paste the results into a (Window>Swatches) and choose Add Selected Colors from the
Photoshop document and choose Smart Object in the Paste dialog. panel’s flyout menu. Choose Select All Unused from the flyout
If you need to tweak or change the type, double-click the Vector menu to highlight the unused swatches, then choose Delete
Smart Object thumbnail in the Layers panel to return to Illustrator Swatches, and click Yes. Finally, choose Save Swatch Library as
and use the Appearance panel (Window>Appearance) to edit the ASE (Adobe Swatch Exchange) and save the swatches. Then, in
3D settings. Once the Illustrator file is saved, it will update automati- Photoshop, choose Replace Swatches from the Swatches panel’s
cally in Photoshop. flyout menu to replace the default swatches with the new ones.
5 [THE PERSPECTIVE GRID]
This example is a bit of a cheat because you can’t copy or export

6 [USE BRUSHES AS DESIGN ELEMENTS]
Illustrator contains extra sets of brushes and symbols that contain

the perspective grid from Illustrator CS5. In Illustrator, click on the some pretty cool—and completely scaleable—graphics we can
Perspective Grid tool or press Command-Shift-I (PC: Ctrl-Shift-I) use in Photoshop. For example, look under Window>Brush
to display the grid. Then use the controls to set up the grid the Libraries>Vector Packs and you’ll find Grunge Brushes Vector
way you want and take a screen capture of it. For Macs, press Pack and Hand Drawn Brushes Vector Pack. These options were
Command-Shift-4 and click-and-drag over the grid. For PCs, hold designed for paths in Illustrator, but you can also drag them from their
down the Alt key and click on the Print Screen button. Locate the panels onto the artboard where they become vector shapes that you
screen capture, open it in Photoshop, and use it as a reference for can copy-and-paste into a Photoshop document. Here, we used
your work. several Illustrator brush shapes to create an interesting border.
46
[ Dave Cross is Senior Developer, Education and Curriculum, for the National Association of Photoshop Professionals. He is the author of Photoshop Finishing Touches and The Photoshop CS2
Help Desk Book, and is featured on a series of Photoshop training DVDs and on Photoshop User TV.
ALL IMAGES BY DAVE CROSS UNLESS OTHERWISE NOTED

]
RADIM MALINIC
[I LLUSTRATOR TUTORIAL]
C O R E Y { } B A R K E R
movie poster
As you may know, I’m a big fan of movie posters and I realized that I always create them in Photoshop. Recently,
I was asked if it’s possible to do them in Illustrator as well. The answer is a resounding yes, and there’s a real
advantage of doing something like this in Illustrator.
©ISTOCKPHOTO/KKGAS
©ISTOCKPHOTO/ICONOGENIC
[PSD FILES FOR ILLUSTRATOR] [CREATE A NEW DOCUMENT]

In this design, we’ll incorporate two photos processed in Photo- In Illustrator, choose File>New to create a new document, click OK
shop into our Illustrator movie poster. Select two photos where to use the default settings, and then choose View>Hide Artboards.
the subjects are facing opposite directions and open them in Select the Rectangle tool (M) and click once where the artboard
Photoshop. Next, convert the images to black and white, boost was to open the Rectangle dialog. Enter 8 in for Width and 12 in
the contrast for a more dramatic effect, add black-to-transparent for Height, then click OK. This is a proportional size to an actual
gradients all around to hide the backgrounds in the photos for movie poster.
easier placement, and save the photos as PSD files.
48

49

[PLACE FIRST IMAGE] [CREATE A CLIPPING SHAPE]
Choose File>Place, locate the first image, and click Place. Choose Select the Rectangle tool and click on the artboard again. In the
the Selection tool (V) and position the image in the upper-left Rectangle dialog, set the Width to 8 in, the Height to 3 in, and
corner of the rectangle. Scale and rotate the image to better fit click OK. This shape is going to be another clipping shape for the
the composition. Click to select the rectangle alone and choose second image. Before placing the second image, select the Shear
Object>Arrange>Bring to Front. Shift-click to select the image and tool (nested under the Scale tool [S]). Double-click on the Shear
press Command-7 (PC: Ctrl-7) to clip the image into the rectangle tool in the Toolbox to open the Shear dialog. Enter –20º for Shear
shape. Now choose the Direct Selection tool (A), click on the path Angle; in the Axis section, set Angle to 90º; and click OK.
of the rectangle, click the Fill color swatch in the Toolbox, and set the
color to black. This will make the image blend with the background.
[PLACE SECOND IMAGE] [GRAPHIC ACCENTS]

Choose File>Place, navigate to the second image, and click Place. Let’s add some graphic accents to the images. Choose the Line
Choose the Selection tool and scale and rotate the image to best Segment tool (\) and click on the artboard to open the Line Seg-
fit in the sheared rectangle. Select the rectangle path and repeat ment Tool Options dialog. Set the Length to 8 in, the Angle to
the same process we used in Step Three to clip the image to the 0º, and click OK. Choose Window>Brushes to open the Brushes
rectangle shape. Remember to use the Direct Selection tool to re- panel. Click on the Chalk – Scribble brush to apply it to the selec-
position the photo inside the sheared rectangle, if necessary. Once ted path.
the image is clipped inside the rectangle, place it in the poster
layout as shown here.
[ADD A STROKE]
Open the Stroke panel (Window>Stroke) and set the Weight to
8 [INSERT TEXT]
Select the Type tool (T) and click on the artboard to set a text
0.5 pt. Shear this stroked path to the same angle that we used in object. In the Control panel, set the Font to Impact and the Font
Step Four using the Shear tool. Note: We’re going to keep all the Size to 100 pt. Type the words “REVENGE-OPS,” highlight the
elements the same angle for a uniform layout. text, and set the Fill color to the same red color we used in Step
Choose Window>Color, click on the Stroke color swatch, and Seven. Also apply the same shear angle that we’ve been using on
choose a red color (R:200, G:0, B:0). Using the Selection tool, move the other elements.
this path on top of the second image. Hold down the Option (PC:
Alt) key and click-and-drag a duplicate stroke to the lower edge of
the image. Scale the width to give these lines some variation.
9 [ADD ADDITIONAL STROKES]

Using the Selection tool, place the text in the poster layout just
10 [ADD ADDITIONAL TEXT]
Next, duplicate the movie title text using the same method as
below the bottom image in the approximate center. Make some duplicating the stroke in Step Seven. Because it’s still editable text
more duplicates of the stroked paths and add them to the top and has already been formatted to the proper angle, it’s easier to
and bottom of the text to continue the theme. Be sure to vary the duplicate and enter new text. We’ll use the tagline “DON’T GET
position and length to add more interest to the text. MAD. GET EVEN.” Using the Selection tool once more, scale and
position the text in the upper-right corner of the layout.
continued on p. 52
50

©FOTOLIA/W14A
11 [INSERT A TEXTURED EFFECT]

With all the graphic elements in place, we can now add texture
12 [MAKE OPACITY MASK]
Choose Window>Transparency, click on the panel’s flyout menu,
to give the text a grungy look. Choose File>Place, navigate to and choose Make Opacity Mask. Note: You’ll see the text disap-
a textured file of your choice, and click Place. Experiment with pear but only because the texture (or mask) file is off to the side.
different textures. Shift-click to select all the red elements (the This makes it easier to select the objects and the texture without
stroked paths and the text), then press Command-G (PC: Ctrl-G) selecting the background shape.
to group them. With the group selected, hold down the Shift key
and click on the texture.
13 [SLIDE TEXTURE TO SEE EFFECT]

In the Transparency panel, you’ll see two thumbnails: one for the
14 [FINISH MOVIE POSTER LOOK]
Remember to click on the art thumbnail to get out of mask mode,
art and one for the mask. Click the chain link icon between the indicated by the bold line around the thumbnail. Finally, add the
thumbnails to unlink the mask and the art, and then click on the all-too-familiar credits at the bottom of the layout to finish the
mask thumbnail to work in mask mode. Select the texture on the movie poster look. Note: If you need to reposition any part of the
artboard and click-and-drag it over the layout. When you release design, you’ll need to use the Direct Selection tool (the Selection
the mouse button, you’ll see the texture show through all the tool will select the entire group and texture as a whole).
red elements.
52
[ Corey Barker is an Education and Curriculum Developer for the National Association of Photoshop Professionals. His expertise in Adobe Photoshop and Adobe Illustrator has
earned him numerous awards in illustration, graphic design, and photography. ]
[ t y p o g r a phy ]
[ THE ART OF TYPE]

J A M E S { } F E L I C I
stroke, stroke, stroke

The InDesign Stroke panel can spice up your type
in surprising ways. Veteran readers of this column
know that I generally take a dim view of electroni-
cally manipulated type. When type is electronically
oblique or expanded, it doesn’t look as though it came from another
typeface, it simply looks fake—ill proportioned and just wrong.
But electronically manipulated, intentionally outrageous type, now
that’s another story. In this issue, we’ll take a look at how one simple
trick—altering a character’s stroke—can create some effects that are
very special indeed.
Stroke panel
The appearance of every character you typeset is a product of three
things: its outline shape (as described in its font); its fill color (usually
I M A GE S: © I STO C K PH OTO I LLU STR ATI O N : TA F F Y C LI F F O R D
black); and the stroke weight of its outline (usually zero). We’ll just
focus on tampering with the last of these.
In Illustrator and InDesign, you can alter the stroke of a character
by simply selecting it and changing its weight in the Stroke panel
and its color in the Color or Swatches panel. Adding a black stroke
to a character creates a fake bold—it’s usually not very pretty. If you
add a white stroke to a character, you make it thinner, which is even
less pretty, especially when carried to extremes.
In InDesign though, you can also apply various types of strokes
to characters—dots, dashes, hash marks—and here’s where the
fun really starts. The key to making it work is to convert the type to
outlines, which turns the text into an independent graphic object—
a compound path—no longer associated with any font. Most of the
rest of the action takes place in the Stroke panel (Window>Stroke).
[The appearance of
every character you
typeset is a product
of three things… ]
The three hard-to-decipher icons in the Stroke panel under

the Align Stroke section define where a stroke will set relative
to the character outline path: Center, Inside, or Outside.
54

55

Various examples
Let’s run through a couple of sequential manipulations for a sam-
pler of what’s possible. The first example shows a simple word in its
native condition set in 72-point Verdana. Select the text and choose
Type>Create Outlines to convert it to a graphic object. Notice that
the text still looks like its old self.
Finally, in the fifth example, something completely different:

a classic inline effect. Set the stroke Weight to 4 pt, the Type to
Thin-Thin, the Stroke color to Paper, the Fill color to black, and
the Gap Color to None. Note: The Paper swatch in the Swatches
panel translates to “see-through,” so the inline rule will take on
For the second example, open the Stroke panel, choose the whatever color paper the type is printed on.
Selection tool (V), click on the text to select it, set the Weight to These examples are just jumping-off points. Using the InDesign
2 pt, and the stroke Type to Right Slant Hash. This creates type tools for creating your own custom stroke types (just choose Stroke
with razor stubble. Under the Align Stroke section, click on the Styles>New from the Stroke panel’s flyout menu), you can conjure
Align Stroke to Center icon so the whiskers overlap the filled por- effects as yet undreamed of.
tions of the characters.
For the third example, make sure the text is selected and change Kerning controls
the stroke Type to Straight Hash. Now open the Swatches panel One last and important thing: When you convert type to outlines,
(Window>Color>Swatches), click the Stroke icon at the top-left you lose the ability to use your normal manual kerning controls for
to apply the color to the stroke, and choose yellow. Return to the adjusting the spaces between characters. To manually kern these
Stroke panel, set Gap Color to red, and Gap Tint to 67%. (Note: The outlines, first deselect everything. Then choose the Direct Selection
gaps are the spaces between the whiskers.) The net effect is type tool (A) and Option-click (PC: Alt-click) inside the character, which
surrounded by an orange and yellow zipper. selects its entire path. Now use your Left and Right Arrow keys to
The final example shows a 3 pt stroke Weight, a White Diamond nudge the selected character one way or the other.
stroke Type, and the Fill color set to None in the Swatches panel, If the nudge increments are too coarse, you can adjust them.
which makes the type itself disappear. Choose InDesign (PC: Edit)>Preferences>Units & Increments.
Then, in the Keyboard Increments section, reduce the Cursor
More variations Key value from its default value of 0p1 to whatever suits you.
This next set of examples follows another pattern. The first example You can specify decimal values down to one thousandth of a
is good old 72-point Cooper Black. In the second example, set the point (0p0.001).
Weight to 2 pt, the Stroke color to white, and Type to Japanese Note that characters with counters—open spaces, as in an
Dots to give the text a perforated edge. Once again, in the Align “o” or “p”—consist of two paths: one for the outer outline of the
Stroke section, click the Align Stroke to Center icon. character and another for the counter. A two-story lowercase “g”
The third example has the same Stroke panel properties as the (as in the Cooper Black font example) has two counters. Yet other
second, but change the Stroke color to green and the Fill color to characters, such as the exclamation point, come in two pieces.
None. Now follow the dots. In the fourth example, set the Weight To select multiple paths, select the first using Option-click (PC:
to 4 pt, the Gap Color to red, and the Fill color to yellow. This looks Alt-click), and then the successive by using Shift-Option-click
like holiday type to me, but I have no idea which one. (PC: Shift-Alt-click).
[ James Felici is the author of The Complete Manual of Typography (Adobe Press), former managing editor of Publish magazine, and contributor to The Seybold Report, Macworld magazine,
PDFZone.com, and Publish.com. ]
RADIM MALINIC
[ INDESIGN TUTORIAL ]
T E R R Y { } W H I T E
creating an interactive portfolio

Whenever I mention creating an interactive document with InDesign, the first thing most people think is, “He
must be talking about making a PDF.” While you can certainly still make interactive PDFs from InDesign, you
can do so much more using the InDesign CS5 interactive features.
[CREATE A NEW WEB DOCUMENT] [CHANGE PAPER COLOR TO BLACK]

We’re pretty used to creating InDesign documents for print in standard I almost never change the paper color in InDesign because it doesn’t
sizes such as Letter and A4. In this case, however, we’re going to the really affect the printed page. It’s more for visualizing how the
Web, so it’s best to start out with a document size that makes sense printed job will look on paper. Now that we can create documents
for a computer display. Choose File>New>Document to create a new for the Web, the paper color does matter as it can be used as the
document. For Intent select Web and for Page Size select 1024x768. background color for your interactive document. Choose Window>
Click OK. Color>Swatches to bring up the Swatches panel and double-click
the Paper swatch. Change the Color Mode to RGB and move the
Red, Green, and Blue sliders to 0 to change the swatch to Black.
56 Click OK.

57

[CREATE NEW MASTER PAGE AND FRAME] [CREATE THUMBNAIL FRAMES]
To speed up production, let’s create a new master page. Choose Next we’ll create 20 frames to hold our image thumbnails, and
Window>Pages to open the Pages panel and select New Master then turn them into buttons to allow the viewer to click on the
from the flyout menu. Enter “Landscape” in the Name field and image they want to see in the big frame above. First, create one
click OK. Now we’re going to create a frame for the large images. 84.23x58.5 px frame, set its Fitting options to the same as Step
Click once with the Rectangle Frame tool (F), enter 1024x615 Three, and press Shift-Option-Command-D (PC: Shift-Alt-Ctrl-D)
px in the Rectangle dialog, and click OK. Position the frame at to duplicate the frame nine times. Use the Move tool (V) to position
the top of the page. With the frame selected, choose Object> the frames and then the Align panel (Window>Object & Layout>
Fitting>Frame Fitting Options. Enable Auto-Fit, make sure the Fit- Align) to align them—we selected all ten frames and clicked the
ting is set to Fill Frame Proportionally, and for Align From click the Distribute Left Edges icon and then the Align Bottom Edges icon.
center box in the grid. Click OK.
[COPY FRAMES AND CONVERT TO BUTTONS] [PLACE 20 IMAGES]

With all ten frames still selected, press Command-C (PC: Ctrl-C) to It’s time to place your 20 best images for the interactive portfolio
copy the frames and then Command-V (PC: Ctrl-V) to paste them. into the 20 button frames. Hopefully, you have all 20 images in
Position these new frames directly above the previously placed one folder—as it will make placing them easier—but if not, gather
frames (leave some space between the two sets of ten)—you should together the 20 best images for your portfolio. I usually use Adobe
now have 20 frames total. Bridge CS5 for this task. Open Bridge, select the 20 images, and
Now its time to convert these 20 frames into buttons so our choose File>Place>In InDesign. This will take you back to InDesign
viewers can click on them. Select all 20 frames and choose Object> with a loaded cursor. Click to place each image in the appropri-
Interactive>Covert to Button. ate frame.
[INSERT 20 ADDITIONAL PAGES]
When we created this document, we started with one page. That
8 [PLACE LARGE IMAGES]
We’ve got our thumbnails and we’ve got 20 new pages to navigate
one page will be our intro page. However, we now need to create between; it’s now time to place those same 20 images that we used
20 additional portfolio pages. Click on the Pages panel flyout menu for the thumbnails into their perspective pages in the large frames.
and choose Insert Pages. For Pages enter 20 and for Master select In Bridge, select the same 20 images as before and choose File>
B-Landscape. Click OK. Place>In InDesign. This will bring you back into InDesign with a
loaded cursor as before. Go to page 2 (the first of your 20 new
pages) and click on the large frame to place your first large image.
Continue placing each large image on the subsequent pages.
9 [CONNECT BUTTONS TO PAGES]

Now we need to wire the buttons to the right pages. In the Pages
10 [SET UP ROLLOVERS FOR BUTTONS]
Optionally, you can set up rollovers for the buttons. It would have
panel, double-click on the B-Landscape page to go back to your been nice to do this ahead of time, but you couldn’t really do it
master page and click the first button to select it. In the Buttons until the images were placed. In our example, we want the buttons
panel (Window>Interactive>Buttons), click on the plus sign icon to be dim until someone rolls over them. With a button selected,
(circled) and select Go to Page. For Zoom choose Fit in Window go to the Buttons panel and click on the Rollover thumbnail in the
and enter the corresponding Page number (2). With the Event Appearance section to activate it. Then, click on the Normal thumb-
set to On Release by default, the document will navigate to the nail to activate it. Open the Effects panel (Window>Effects) and
correct page when a user clicks and releases. It’s probably a good lower the Opacity to 30%. Repeat this step for each button.
idea to name your buttons, too. Repeat this step for each button.
continued on p. 60
58

SCOTT KELBY
11 [INTRO PAGE]
We’ve done all the hard work now. At this point the navigation
12 [ANIMATE TEXT LOGO]
It’s InDesign CS5—we can animate! In our example, we want
of the portfolio is ready to go. All we need to do is go back to our text to fly onto the page (this will work with an image, too).
page 1 and design the intro page the way we want. Keep in mind, First place the text or your logo on the page where you want it
this is the first page that viewers will see when they visit your port- to be at the end of the animation. Then, bring up the Animation
folio, so you probably want a description and possibly an opening panel (Window>Interactive>Animation) and choose a Preset for
photo. You may also want to consider providing a link back to your how you want the logo to animate onto the page (we chose Fly
main site—just select the frame you want to use, go to Object> In From Top). Note: Click the Preview Spread icon (circled) at the
Interactive>Convert to Button, select Go to URL for the action, bottom of the Animation panel to test the animation.
and type in the URL.
13 [CREATE ANOTHER BUTTON]

At this point, we have no way to get from the intro page to the
14 [EXPORT TO SWF]
Use the Preview panel (Window>Interactive>Preview) to test every-
first page of the portfolio. We need another button—this can thing at this point. Fix anything that you want to tweak and then
either be text or an image. Create an object that can be turned choose File>Export. Name your file, change the Format to Flash
into a button (in our example, we’re using the word “Portfolio,” Player (SWF), and click Save. In the Export SWF dialog, change
which we’ve already typed on the page). Once it’s in place on the the Page Transitions to Page Turn (this allows the user to manually
page, go to Object>Interactive>Convert to Button. Use the But- turn the pages in addition to using the navigation buttons) and
tons panel to set the action to go to page 2 (as we did with the enable the Include Interactive Page Curl checkbox. Click OK. Once
previous buttons). Tip: You can have this button fly in using the exported you can update the SWF/HTML to your website and link
Animation panel, as well. to it or embed the SWF on an existing page.
[ In his current role as Worldwide Creative Suite Design Evangelist for Adobe Systems, Inc., Terry White evangelizes the Creative Suite to customers around the world. He’s also the
author of Secrets of Adobe Bridge and co-author of InDesign CS/CS2 Killer Tips and The iPhone Book, 4th edition. Check out his tech blog at http://terrywhite.com/techblog. ]
60 ALL IMAGES BY TERRY WHITE UNLESS OTHERWISE NOTED

RADIM MALINIC
[ DREAMWEAVER TUTORIAL ]
J A N I N E { } W A R N E R
editing a WordPress blog with Dreamweaver CS5

One of the most dramatic improvements to Dreamweaver CS5 is the ability to edit WordPress themes,
but before you can get WordPress (or Joomla! or Drupal) to work, you’ll need to set up your computer as a
Web server. It’s a lot of technical steps, but once you get all this set up, you’ll be able to use all of the great
design tools in Dreamweaver.
[WEB SERVER AND DATABASE SOFTWARE] [LAUNCH MAMP]

To run WordPress, you need a Web server, a MySQL database, After you download, install, and launch MAMP, a little window
and PHP installed on your local computer. It’s also best to have the opens with controls to turn the Apache server and MySQL data-
Firefox Web browser, so be sure to install it if you haven’t already. base on and off. Give them a second to get going and MAMP will
On a Mac, you can get everything you need in one nifty package launch the Firefox Web browser. If the browser doesn’t open auto-
at www.mamp.info. If you’re on Windows, go to wampserver.com/en. matically, click on the Open Start Page button. You’ll know that
Because of the limited space in this column, these steps are spe- the server is working on your Mac when you see the Welcome to
cific to the Mac, but the process is similar for both platforms (and MAMP screen in your browser window and http://localhost/8888/
you’ll find special instructions for Windows users in the Dreamweaver MAMP in the address bar.
Help Center on my site at www.DigitalFamily.com).
62

63

[SET SERVER PREFERENCES] [CREATE A MYSQL DATABASE]
This is an optional step to remove the 8888 from the local URL: In Next, you need to create a database. Don’t worry, it’s not as hard
the small, floating MAMP window, click Preferences, then click the as you may imagine because WordPress builds all of the tables for
Ports tab, and click the Set to Default Apache and MySQL Ports you. With MAMP open in Firefox, click on the phpMyAdmin tab
button. This changes the port from 8888 to 80. Click OK. Anytime at the top. In the Create New Database Field, enter a name (don’t
you make a change to the server setup, or if things just don’t seem use spaces or special characters). Make note of the name. Better
to be working right, restarting the server often fixes the problem. yet, copy it so you can just paste it into WordPress when you get
Click the Stop Servers button, wait a minute, and then click the to Step Eight (you’ll need to enter it exactly). Click the Create button
Start Servers button to restart the server. Click the Open Start Page and you’ve created a database (WordPress takes care of the rest).
button to refresh the browser with the simplified URL.
[DOWNLOAD AND INSTALL WORDPRESS] [COPY FILES INTO THE HTDOCS FOLDER]
Next, go to WordPress.org (not WordPress.com) and download If you’re creating a single blog, simply copy all of the files in the
WordPress (it’s free and it’s a quick download.) Unzip the Word- WordPress folder you unzipped into the htdocs folder (inside
Press folder and you’ll find all of the files and subfolders for a new the MAMP folder). If you’re working on multiple blogs, or if your
blog. There’s really nothing to install but you’ll need to copy these blog is part of an existing Dreamweaver site and you want to
files into the root folder of your local Apache Web server. On a work on all of the files together, you can create subfolders in the
Mac, the htdocs folder inside the MAMP folder inside the Applica- htdocs folder. Then copy the entire WordPress folder into the
tions folder is the root folder of your local server. (More on copying subfolder within htdocs as well as any Dreamweaver site files.
these files into the htdocs folder in the next step.) This way you can work on them together in the same root folder
in Dreamweaver.
[OPEN WORDPRESS IN FIREFOX]
Now it’s time to open the blog in a Web browser on your computer.
8 [CREATE A CONFIGURATION FILE]
Click the Create a Configuration File button and follow the Word-
Make sure that the Apache server and MySQL database are still Press instructions. On the screen where you have to enter the name
running in the background (you can always check the floating MAMP of the database, enter the exact name you entered when you creat-
dialog). In Firefox, enter the URL: http://localhost/ followed by ed the database in Step Four. In both the MySQL User Name field
any subfolder names you added to the htdocs folder. Note: The and the Password field enter “root.” Note: All MySQL databases
http:// isn’t optional, and you don’t use www. Also note: If you come with the user name and password “root.” Unless you’re wor-
didn’t change the preferences in Step Three, you’ll still need the ried about someone hacking your blog on your local computer,
8888, so your URL would be something like this: http://locahost/ there’s no reason to change them. Leave the last two fields in the
8888/foldername. Don’t panic when WordPress returns an error. WordPress setup page as they are and click Submit.
9 [INSTALL AND SET UP WORDPRESS]

Click Run the Install button and fill in the WordPress Welcome
10 [SET UP YOUR BLOG IN DREAMWEAVER]
Once you have the Apache server and MySQL database working
screen. I recommend you don’t use “admin” as the Username and and you’ve installed WordPress, you can set up your blog so that
that you take note of your user name and password because you’ll you can edit it in Dreamweaver. You set up a blog much as you
need them to access your blog even on your local computer. would set up any site in Dreamweaver. Choose Site>New Site.
Follow the rest of the WordPress instructions and you’ll soon find Give the site a name (this name is just for your reference). Click
yourself at the WordPress Dashboard. From here you can do all on the Browse for Folder icon at the far right of the Local Site
the things on your local computer that you can do on a remote Folder field and browse to find the htdocs folder in your MAMP
server with a WordPress install, including creating and editing folder in the Applications folder. If you created a subfolder for
posts, downloading and changing themes, adding plug-ins, etc. your site, select that folder. Don’t click Save yet.
64

65

11 [SET UP THE TESTING SERVER]
With the Site Setup dialog still open, click the Servers category
12 [SAVE SERVER SETTINGS]
In the Web URL field at the bottom of the Server Setup dialog,
on the left. Click on the small plus sign (+) near the bottom of type http://localhost/ (again, adjust this name to include any
the servers dialog to add a new server (just as if you were setting subfolder names you may have added to the htdocs folder). Note:
up a remote server connection). Enter a name, such as “Testing You’ll need to add 8888 if you didn’t change the preferences in
Server” (again this name is just for your reference). From the Con- MAMP in Step Three. Click Save. The dialog closes and the server
nect Using drop-down list, choose Local/Network (not FTP). is added to the Servers list in the Site Setup dialog. Important: Next
With Local/Network selected, the rest of the options will change. to the server name are two checkboxes for Remote and Testing.
Again, use the Browse icon (folder) to find the site folder. If you Uncheck Remote and check Testing. Then click Save to complete
didn’t create a subfolder, it should be Applications/MAMP/htdocs. the setup.
13 [OPEN THE INDEX.PHP PAGE]

Choose File>Open and select the index.php file in your Word-
14 [EDIT YOUR BLOG IN DREAMWEAVER]
If you got through all those steps, congrats! Setting all that up is
Press blog folder (you can also open it by double-clicking on the complicated, but you only have to get it right once. Dreamweaver
index.php page in the Files panel). Expect a blank screen—this saves your server settings and you can now take advantage of all
doesn’t mean you’ve made a mistake (necessarily). In tiny text at of the wonderful CSS and PHP features in Dreamweaver to edit
the top of the workspace, look for the message: This page may your blog theme. (Note: You still want to create and edit posts in
have dynamically-related files that can only be discovered by the the WordPress Dashboard.) When you get the theme design the
server. Click the Discover link, then click Yes. Finally, click the Live way you want it, you can copy just the CSS file to your remote
View button at the top of the workspace to make Dreamweaver Web server, or use the WordPress export/import features to move
act like a Web browser and display the dynamic WordPress page. the entire blog from your local server to a remote server.
[ Janine Warner has authored more than a dozen books about the Internet, including Dreamweaver CS5 for Dummies. She’s also the host of a growing collection of
training videos on Dreamweaver and CSS at KelbyTraining.com. To learn more about Janine’s books, videos, and speaking engagements, visit www.DigitalFamily.com. ]
RADIM MALINIC
[F LASH PROFESSIONAL TUTORIAL]

P A U L { } T R A N I
custom video on cue

In this tutorial you’ll see how easy it is to bring video and graphics together for a seamless, custom experience using
Flash Professional CS5. You’ll learn how to import video, apply a custom skin, and create your own video buttons
without writing any ActionScript code. Then you’ll learn how to add cue points, making synchronization between
video and graphics a snap. Let’s take a tour of these capabilities.
[OPEN STARTER FILES] [CONVERT VIDEO FOR USE IN FLASH]

Download the exercise file for this tutorial at www.layersmagazine The most common video file format used in Flash is the FLV format.
.com and unzip it onto your desktop or another location of your To convert a video file to FLV, launch Adobe Media Encoder CS5
choosing. Inside of the ZIP file you’ll find files named video.fla and (found in the Applications folder on a Mac, the Program Files folder
intro.mov, as well as a final folder that contains the completed on a PC). Click the Add button on the right, locate the intro.mov
files for reference. Open the video.fla in Flash CS5. Notice that in file that you downloaded, and then select Open. Select FLV | F4V
the Library panel (Window>Library) there are already graphics from the Format column, then select FLV – Match Source Attributes
created that will be used in this tutorial. (High Quality) from the Preset column.
66 [If you’d like to download the file used in this tutorial to practice these techniques, visit www.layersmagazine.com and navigate to the Magazine section. All files are for personal use only.]

67

VIDEO COMPLIMENTS OF ADOBE TV
[CUSTOMIZE FLV EXPORT SETTINGS] [IMPORT VIDEO INTO FLASH]
To customize the export settings for a video, click FLV – Match Now it’s time to import the intro.flv into the video.fla. Choose
Source Attributes (High Quality), which you just selected in the File>Import>Import Video. When you’re asked where the video
Preset column. Notice how you can trim the video, resize it, and file is, select On Your Computer, click Browse, locate the intro.flv,
even adjust the bitrate settings for both audio and video. In this and click Open. Select Load External Video with Playback Com-
case, you need to ensure that the alpha channel from the original ponent; keeping the video external will keep the SWF that loads
video gets encoded into the exported video. Under the Video tab it small in file size. Click Continue and you’ll then be able to select
on the right, select Encode Alpha Channel, then select OK. Lastly, a custom skin for the video. Choose the second skin, MinimaFlat-
in the Output File column, save the file as “intro.flv” in the same CustomColorAll.swf, and then click the Color swatch to open the
location as the original intro.mov (set by default), and then click Color Picker and select a red to tint the skin. Click Continue.
Start Queue.
[FINISH IMPORTING VIDEO] [EDIT VIDEO PARAMETERS]

The final import screen notes that a Flash Video component will All of the video controls for the imported video are active on
be created on the Stage while an SWF file for the skin will be the Stage. Click the play button (or press the Spacebar) to play
placed in the same location as the FLA file once you publish the the video. With the video selected, open the Properties panel
SWF. If you’re going to upload this project to a Web server, than (Window>Properties) and notice how you can modify various
both the intro.flv and the skin SWF need to be uploaded once the video parameters. Confirm that autoPlay is selected, and note
project is published. Click Finish and the video with the selected that both skinBackgroundAlpha and Volume are set to 1, which is
skin will appear on the Stage. Test the movie (Control>Test Movie> 100% in Flash. Change the volume to 0.5 so it will be set to 50%.
Test) to watch the video. Close the playback window after watching
the video.
[ADD specific VIDEO CONTROLS]
In the Properties panel, click the pencil icon next to the name of
8 [CUSTOMIZE VIDEO CONTROLS]
Double-click the Play/Pause button on the Stage to enter its symbol.
the Skin to modify it. Select None for the skin and click OK. In Double-click it again to enter the PlayButton symbol. Notice how a
the Timeline panel (Window>Timeline) select the video controls Normal, Over, Down, and Disabled Play button appear. Each one
layer. Open the Components panel (Window>Components) and of these buttons can be customized to your liking. Change the green
expand the Video folder. Click-and-drag the PlayPauseButton and outline to red in the Over and Down buttons. (To change the color,
the VolumeBar to the lower-left corner of the Stage. double-click a button twice, click the green outline to select it, and
then change the Fill color to red.) Click on Scene 1 at the top-left
to go back to the Stage.
9 [ADD A CUE POINT]

In order to sync up graphics with video, you’ll need to add cue
10 [ADD MULTIPLE CUE POINTS]
Next, play the video and when the presenter says “agencies”
points in the video. With the video selected, go to the Properties (about nine seconds in) add another cue point. Rename “Cue
panel and near the bottom you’ll find the Cue Points section. Point 2” to “agencies.” Around 15 seconds in, when the presenter
Using the Add ActionScript Cue Point icon (+, plus sign) you’re says “nonprofit,” add another cue point. Rename this one as
able to add cue points to the video at certain times. Play the video, “nonprofit.” Your cue points should look like the image above.
and when the presenter says “John,” add a cue point. Notice that
“Cue Point 1” was added at about one second. Click on the name
of the cue point and rename it “john.” Notice you can also edit
the cue point time if needed.
continued on p. 70
68

11 [ADD A CUE POINT EVENT]
Now you need to have Flash “listen” for these cue points that
12 [ADD GRAPHICS]
Next, you need to add the graphics that will be displayed based
were added. But first you need to give the video an instance on the three cue points. Open the Library panel and notice the
name. Select the video and at the top of the Properties panel, john, agencies, and nonprofit movie clips. Select the john layer in
name the video “intro.” Now, open the Code Snippets panel the Timeline and then click-and-drag the john movie clip to the
(Window>Code Snippets) and expand the Audio and Video Stage. Use the Properties panel to set both the x and y position
folder. With the video still selected, double-click on the On Cue to 0. Next, drag the agencies and nonprofit movie clips to their
Point Event. This will add the ActionScript shown above which will appropriate layers and make sure their x and y position are set to
basically show the names of the cue points in the Output panel. 0. Test the movie and note that all the movie clips have animation
Test the video to see it in action. and play at the same time.
13 [SET UP GRAPHICS]
Since you don’t want all the movie clips to appear at the begin-
14 [DISPLAY GRAPHICS BASED ON CUE POINTS]
Now you can modify the cue point event listener. Change the
ning of the movie, you need to set their visibility to false using trace statement to a conditional statement that will listen for a cue
ActionScript. In order to control the movie clips with ActionScript, point. If a cue point is “heard,” the appropriate movie clip will
they first need instance names. Select the john movie clip and become visible and the animation will play. Type in the Action-
in the Properties panel give it an instance name of “john.” Give Script shown above and test your movie.
the agencies movie clip an instance name of “agencies” and
the nonprofit movie clip an instance name of “nonprofit.” Select
the first frame of the Actions layer and open the Actions panel
(Window>Actions). Using those instance names, set the visibility
of each movie clip to false as shown above.
70
[ Paul Trani is a Flash Platform Evangelist at Adobe as well as an award-winning interactive designer, Adobe Certified Instructor, courseware developer, and Lynda.com trainer.
He also runs a Flash-related blog at www.paultrani.com and can be followed on Twitter @paultrani. ]
[layers reviews]
the straight scoop on all the latest graphics gear
Boris Continuum
Complete 7 AE
MORE THAN 200 FILTERS FOR AFTER EFFECTS
Boris Continuum Complete 7 AE (BCC) for Adobe After Effects
and Premiere Pro brings more than 200 filters to Macintosh and
Windows versions of Adobe’s CS5, CS4, and CS3 suites. This latest
version features 11 new filters, including an audio-driven keyframe
generator, a new OpenGL particle engine, a 3-way color grade filter
(with built-in keying and masking tools), a new video noise reduction ate. These include the ability to Generate 3D extruded shapes from
tool, a spline-based warp filter, and still and video morph technology. imported AE spline path mask shapes, full support for the camera
More importantly, each BCC filter has been reengineered for 64-bit and lighting system in After Effects, spline-based still and video
operating systems and OpenGL acceleration. morph technology, and filters such as Smooth Tone, DV Fixer, and
While many reviews of software plug-ins oftentimes focus on listing Pixel Fixer that help “repair” digital artifacts that are becoming all
a bunch of the effects found in the package (which are all found on too common. There are also complimentary 3D particle effects (to
the manufacturer’s website anyway), I want to focus on the underlying those already found in AE), including Particle Array 3D and Pin Art
technology improvements found in version 7 of BCC. Graphic soft- 3D, and automated optical image stabilization that works without
ware manufacturers are moving away from coding their applications the use of point trackers. When you add in video noise reduction
to run on the CPU (central processing unit) in favor of having them run that uses video clip spatial and temporal information and more than
on the GPU (graphics processing unit) of your video card. OpenGL is 3,500 presets across all of the filters, you have quite a complete and
an industry standard for defining 2D and 3D images and it works well powerful package!
on all graphics cards from both NVIDIA and ATI. In particular, OpenGL The complaint from some users of previous versions has been the
excels in rendering a large number of polygons and supports 3D slow rendering of effects and the overall value of the package. With
cameras, lights, textures, and bump features. So it’s best suited for 3D rewritten code for 64-bit operating systems and optimized OpenGL
extrusions as well as composites and geometric image distortions like acceleration, Boris has certainly improved its overall speed of the
those found in 3D text, lens flares, and particle systems. product. (You can see speed gains at www.borisfx.com/Adobe/
These are the exact types of filters and effects found in BCC 7. In bccae/upgrade_reasons.php#gains.) At $995 retail for more than
fact, each BCC effect found in version 7 has been reengineered for 200 filters you’re paying less than $5 per filter in the BCC 7 package
the new and faster 64-bit operating systems and includes optimiza- and upgrades are only $295 from any older version of BCC. While
tion for OpenGL acceleration. It is this new underlying technology you can certainly find more specialized packages of plug-ins that add
acceleration that I believe is the biggest selling point for BCC 7 for even more advanced customization parameters (at a much higher
price), I believe Boris Continuum Complete 7 AE gives you the most
both new and existing users. The results are noticeable and very
much appreciated by anyone using effects as part of their everyday effects for the best value available in today’s market.—Rod Harlan
workflow. If you’re interested in learning more about OpenGL accel-
erated effects and graphics in Boris FX products, you can download Company: Boris FX Price: $995 (Upgrade: $295)
the white paper at www.borisfx.com/download_files/OpenGLAccel- Web: www.borisfx.com Rating: ● ● ● ●
eratedEffects.pdf.
Hot: 64-bit; OpenGL optimization
There are also a lot of nice little touches throughout the plug-in
set that any working motion graphics designer will really appreci- Not: Complicated activation process
72

73

HP Z600 Workstation HP ZR30w Monitor
30" DISPLAY FOR CREATIVE PROFESSIONALS
SMALL, POWERFUL DESKTOP COMPUTER
What gets a creative person (designer, animator, photographer, etc.)
There are only a few words to describe this new box from HP: The drooling when you’re talking about hardware? A monitor with enough
Z600 is smoking hot! HP is taking the challenge of more power in a real estate to block the sun, and HP has just given us another reason
smaller footprint to the next level with the Z600. I’ve tested many to spend more time inside with the new 30" HP ZR30w Monitor. Not
larger boxes and have to say that with the Z600 loaded for review, it only has HP given us a sweet monitor, they’ve done it at a reasonable
gave those other boxes more than they could handle in performance price compared to other monitors in the market.
and function. The ZR30w incorporates the S-IPS (Super In-Plane Switching) panel
As with previous boxes I have reviewed, I expected something that offers significantly better color reproduction and wider viewing
more the size of a mini fridge, but I got a box that actually fit under angles than cheaper monitors. It’s capable of delivering more than
my desk without turning it sideways so it wouldn’t hang out. And, 4 million pixels and 1 billion displayable colors. What can it do? Right
surprisingly enough, the heat displacement was about half the out of the box this was pretty amazing and the difference was very
output of my workstation because it’s liquid cooled (which is very noticeable in my various tests using Lightroom, Photoshop, Maya, a bit
impressive and annoying at the same time). of Dead Red, and some HD trailers. The colors were vibrant and the
The specs for the HP Z600 came through as a midlevel box that blacks looked great. There were no lags while playing the video games,
includes Windows 7 Professional 64-bit OS; Xeon 2.66 GHz Quad- which is quite impressive in itself. I could go on and on about the great
Core CPUs (12 MB cache/1333 MHz); the awesome NVIDIA Quadro features, but I need to give a quick rundown on some of the important
FX3800; 12 GB of DDR3 1333 ECC RAM; a 160-GB SATA 10K with specs, as well. The ZR30w has 2560x1600 resolution, 16:10 aspect ratio,
two 500-GB drives running RAID 0; a Creative X-Fi Titanium audio and a 1000:1 contrast ratio with a 7 ms response time. It has connectors
card; and a slot-loading DVD+/-RW drive (something that all boxes for DisplayPort and DVI-D, as well as an onboard 4-port USB hub.
and laptops should have). Needless to say, this machine was up to This is one impressive monitor that I would pick over one with the
every task I threw at it. I exported a 5-minute, high-quality render fruit logo, even if they were the same price (they’re not). Its performance
in record time while trying to tax the system by creating website on the applications that I use daily was unsurpassed by any monitor that
mockups in Flash and Photoshop. The Z600 breathed a little heavy I’ve tested, worked on, or owned. Any professional who wants a great
but came through with flying colors. monitor at a reasonable price should definitely take a long, hard look at
Simply put, I obviously was much more impressed with this box this one. You won’t be disappointed.—Bruce Bicknell
than even I thought I could be. The features included didn’t fail to
impress and considering this is a midlevel box, the series can handle
Company: Hewlett-Packard Price: $1,300
whatever your professional needs may be.—Bruce Bicknell
Web: www.hp.com Rating: ● ● ● ●
Hot: Design; price; S-IPS panel; flexible stand
Company: Hewlett-Packard Price: $5,521 as tested
Not: No OSD; only two connectors (DVI and DisplayPort)
Web: www.hp.com Rating: ● ● ● ● ●
Hot: Form factor; video card; configuration; speed
Not:
[ reviews]
Maya Entertainment
Creation Suite 2011
3D MODELING AND ANIMATION SOFTWARE
You have to love the way Autodesk assembled all of the essential
software in your creative pipeline into one package. Maya Entertain-
ment Creation Suite 2011 doesn’t disappoint and takes another step
forward in creating a more seamless workflow for artists. Packed with
everything you need to create amazing animation, character models,
rendering, and special effects, the Creation Suite includes Maya 2011,
Mudbox 2011, and MotionBuilder 2011. There’s also a version of the
suite that comes with Autodesk 3ds Max in place of Maya 2011, and
you can purchase 3ds Max individually to fulfill all of your animation
needs. With this release, Autodesk really stepped up the game with
some great new features.
Maya 2011
There are a ton of new features and enhancements in all of the pro- with the only obstacle being their imagination. What really stands out
grams. While we can’t hit them all, I’ll touch on a few of them. The on the new version is the ability to integrate other Autodesk programs
first thing that users will notice in this release is the new interface effortlessly into Mudbox. You can now import models from Soft-
that includes new menus, as well as dockable windows that can be image, 3ds Max, and Maya with their weighted skeletons that remain
customized and moved to fi t your workflow. The overall icon and fully intact with complete control in Mudbox’s posing system. Other
tool placement is consistent with previous versions, so users will be features include increased speed with the posing toolset, plus a ton of
familiar with them. This creates a more user-friendly workspace and new paint brushes and tools to help expand your creativity.
is a much-needed improvement. MotionBuilder has received its fair share of enhancements as well.
One of my favorite additions is the HumanIK retargeting solver that’s It has always been a strong tool to have in your arsenal for providing
brand new to Maya 2011. This feature was previously only available in real-time animation, and with this release Autodesk has made it even
MotionBuilder and you had to jump to it in order to map or retarget better! This will help with those large scenes and characters that have
animations between characters. Now you can do it in the program and slowed down the process in the past.
increase speed and productivity. Once again, there’s not enough space on the page to really explore
Other new features include an improved File Browser which makes the vast new features of the Maya Creation Suite 2011. The new fea-
navigating much easier when trying to find files on your computer. tures are another great step forward for Autodesk and you definitely
There are some performance enhancements that are sure to get your owe it to yourself to check it out as it’s more than worth the upgrade.
—Bruce Bicknell
attention as well. For you Mac users, the introduction of 64-bit support
should get your attention. This will lead to a significant bump in perfor-
mance for sure! A new interactive viewpoint makes frame rates several Company: Autodesk, Inc. Price: $4,995
times faster, and nParticle shows an improved speed as well. Web: http://usa.autodesk.com Rating: ● ● ● ● ●
Hot: Integration between apps; interface; 64-bit for Mac;
MotionBuilder and Mudbox 2011
new brushes/tools
Mudbox has to be one of my all-time favorite programs because it’s
Not:
the ultimate sculpting tool. It allows artists to create amazing results
74

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Early Registration Deadline: Friday, Feb. 25, 2011
[ reviews]
Adobe Captivate 5
E-LEARNING SOFTWARE NOW CROSS-PLATFORM
Adobe Captivate is a program that allows the creation of online dem-
onstrations and interactive assessments, usually of other software
programs, but it can be used for presentations, too. Although Cap-
tivate has been around for a quite some time, this is the first version
available for both Macintosh and Windows.
Whether you’re upgrading a Windows version or purchasing the
first Macintosh version, Captivate is a powerful program that does
more than just record a video of your onscreen actions. When you
simply click the mouse, Captivate creates screen captures then adds
mouse animations and captions; of course, it can do full motion record-
ing (FMR) either automatically when required or be set to FMR all the
files can be imported with layer support, audio files can be edited with
time. The slides can then be customized with text captions, buttons,
Soundbooth (or directly in Captivate), and Flash-created SWF files can
click boxes, rollover captions, and more.
be imported.
Captivate 5 sports a new Adobe interface with new panel work-
My biggest complaint with version 5 is that the round-tripping
spaces. Once you get used to the new interface, it’s much more
doesn’t work if you already own Photoshop, Soundbooth, and Flash
productive than in older versions. Other new features include Master
(from the CS5 Master Collection, for example). That makes no sense
Slides and Object Styles—the former is similar to PowerPoint Master
to me and I hope this is addressed in a future update. (Of course, one
Slides and the latter is similar to InDesign Object Styles. The Master
could argue that Captivate should be part of the Master Collection.)
Slide feature allows the creating of masters that can be applied to
Flash video can be imported, and to make the importing of other
individual slides as required; when the masters are updated, the
formats easier, Captivate now includes Adobe Media Encoder. If you
individual slides update, too. The same principle applies for Object
don’t like recording your own audio, you can turn your slide notes into
Styles—these styles are for the individual objects on the slides and
spoken text with the text-to-speech converter.
update globally.
Creating scored quizzes has always been one of the useful features
Speaking of PowerPoint, PowerPoint presentations can be imported
of Captivate. These quizzes can create branches in the presentation
into Captivate with almost all of the PowerPoint animation intact,
allowing the user to continue viewing the Captivate project or review
plus you can link to the PowerPoint file so edits in PowerPoint can be
a section all over again based on the quiz score. In the past, the quiz
updated back in Captivate. Other programs that allow round-tripping
scores could be sent to a Learning Management System (LMS) or to
include Photoshop, Soundbooth, and Flash, but unfortunately, you
an email address. New to version 5 is the ability to also upload the
have to have the full eLearning Suite to round-trip with these programs
presentations to Acrobat.com and collect the data with the new Quiz
(all of these programs are included in the eLearning Suite). Photoshop
Results Analyzer. This feature is very useful for small groups that don’t
have the need for an expensive LMS.
Output is normally as a SWF file, although interactive PDF and
noninteractive Flash video file formats are available, too. The SWF file
can include custom skins and a table of contents (ToC), plus multiple
Captivate SWFs can be combined together into a single SWF presenta-
tion with Aggregator.—David Creamer
Company: Adobe Systems Incorporated Price: $799 (Upgrade: $299)

Web: www.adobe.com Rating: ● ● ● ●
Hot: Powerful demonstration & interactive training program
Not: Round-tripping only available with eLearning Suite
76

R ADIM MALINIC
[ TIPS & TRICKS]
more hot tips for the coolest applications

[Adobe Photoshop CS5] [Adobe Illustrator CS5]
B Y P E T E R B A U E R B Y D A V I D C R E A M E R
POLYGoNAL QUICK SWITCH KEEPING IT IN PERSPECTIVE

To temporarily switch to the Polygonal Lasso tool while If you spend any time customizing a perspective grid, be
working with the Lasso tool (L), press-and-hold the Option sure to save it as a preset by using the View>Perspective
key (PC: Alt key), release the mouse button, move the Grid>Save Grid as Preset menu. These presets will be
cursor, and click to add anchor points. When you want to available for future use under their respective categories
switch back to the Lasso tool, press-and-hold down the (One, Two, or Three Point Perspective). If you need to edit
mouse button, release the Option key (PC: Alt key), and the settings, don’t use the View>Perspective Grid>Define
drag. The Option (PC: Alt) key also toggles between the Grid menu—that just makes a one-time change. Use the
Polygonal Lasso and the Lasso, and between the Magnetic Edit>Perspective Grid Presets menu; select the desired
Lasso and the Lasso. (To switch from the Magnetic Lasso preset and click Edit or Delete (as usual, you can’t edit or
to the Polygonal Lasso on the fly, press-and-hold Option delete the bracketed presets).
[PC: Alt], release the mouse button, then click to add
anchor points.) LAYER UPON LAYER
Ever wonder what that little circle to the right of each layer
MINI-ME FOR BRIDGE in the Layers panel was for? It’s for applying effects to an
Mini Bridge is a great way to view a folder of images with- entire layer rather than a single object at a time. Just click
out having to leave Photoshop. Keep in mind that Bridge it to target the entire layer. When an object is created or
must be running in the background for Mini Bridge to func- moved to the layer, it will have the effect automatically
tion. If you close Mini Bridge and want to reopen it, remem- applied; conversely, when an object is moved from the
ber that you won’t fi nd it listed with the other panels in layer, the effect is removed.
www.LAYERSMAGAZINE.COM
the Window menu; it’s found in Window>Extensions.

OFF THE GRID
THE OTHER MINI BRIDGE Wish Illustrator had a Create Grid feature like InDesign?
You have an alternative to Mini Bridge, too. Open Bridge, Use the Rectangle tool (M) and draw a box to the desired
press Command-Return (PC: Ctrl-Enter), and Bridge jumps margin size. Use the Object>Path>Split into Grid feature
to Compact Mode. Bridge will float on top, enabling you to set the number of rows and columns along with the
to view a folder’s content while working in Photoshop (or desired gutter (it’s a good idea to turn on Preview); click
any other program). With Bridge active, press Command- OK when satisfied. Finally, convert the grid to guides
Return (PC: Ctrl-Enter) to exit Compact Mode. using the View>Guides>Make Guides menu. (There’s an
78

79

option to create guides in the Split into Grid dialog, but it a list as you normally would but instead of selecting the
makes larger guides than necessary—I prefer the neater List option in the Properties panel, select Menu. In the List
Make Guides option.) You may want to lock the guides Values dialog, set up your Item Labels to be the sections
(View>Guides>Lock Guides) or put the guides on their own of the website you want to navigate to, and the Value to an
locked layer to prevent movement. HTTP address. Once your list is set, click on the plus sign in
the Behaviors panel (Window>Behaviors) and select Jump
Menu from the list. This will convert the drop-down list into
a menu that will take you to a new area.
[Adobe InDesign CS5]
B Y D A V I D C R E A M E R USE ADD MEDIA QUERIES
If you’re working on a Web layout that will be seen on vari-
SPLITSVILLE ous types of screens, check out the Multiscreen Preview
Although the Span Columns feature in CS5 requires the use panel (Window>Multiscreen Preview) in Dreamweaver. Click
of a master text frame or at least a single text box set to on the Add Media Queries button in the panel, and you’ll
2 columns (Object>Text Frame Options), the Split Column be brought to a dialog that lets you assign individual CSS
feature can work on any text box. This can be useful when files to the size of the screen they’ll be viewed on. This will
you need to run some text in multiple columns inside the give you a way to tailor the experience for a user based
main column and don’t want to bother inserting a table (and on what device they’re using.
having to cut-and-paste all the text). (Note: The Span and
Split options can be found in a drop-down menu near the SHARE MY SCREEN
center of the Paragraph Formatting Control panel. It’s set to If you get stuck with anything in Dreamweaver CS5 and you
None by default.) know someone that may be able to help you out, select
Window>Extensions>Share My Screen. This is a new free
WHERE’S WALDO feature in CS5 that allows you to send a connection request
If you need to find out where a style has been used in a to someone—offering you a virtual meeting. That user can
document, there are a few ways to hunt it down. First, you even take control of your application and help you sort out
can use the Find Format section in the Find/Change dialog whatever problem you may have.
(Edit>Find/Change); second, you can change the style
color to a spot color, then use the Separations Preview
panel (Window>Output>Separations Preview) to locate the
styles (you may have to make a custom spot color and edit
the style if the color is used elsewhere); finally, you can use [Adobe Flash CS5 Professional]
Cross-References (Window>Types & Tables>Cross Refer- B Y C Y N D Y C A S H M A N , P H . D .
ences) to show all paragraphs in a style (you should create

a temporary text frame to see the actual page number). DON’T CONFUSE FLASH WHEN LOADING EXTERNAL TEXT
Avoid using Microsoft Word when creating and saving a text-
INDENT TO NOWHERE only file (.txt) for loading. It adds additional information to the
When creating a bulleted or numbered list, don’t use the file that interferes with the file correctly loading. Instead, use
Indent to Here command (Type>Insert Special Character> TextEdit (Macintosh) or Notepad (Windows) to create the file.
Other>Indent to Here) to indent multiline lists. Instead, If you make changes in a text file’s content, be sure to save
learn to use paragraph styles to control your indents— the file before testing it in Flash. Otherwise, the changes will
mainly the Left and First Line Indent. Although the amounts not be displayed.
will vary depending on many factors, including font size, try
setting the Left Indent to 0.375 in and the First Line Indent ROLL THE BONES
to –0.25 in (that’s a negative number). The tab setting will Use the Properties panel to navigate the hierarchy of an arma-
automatically resolve itself. ture. The first bone of an armature is the parent. Any bone
linked to it is called the child. Select a bone in an armature
then click the arrows in the Properties panel to move through
the hierarchy and select a child. In addition to making it easy
to select a bone, the Properties panel displays the properties
[Adobe Dreamweaver CS5] of each bone or node.
B Y R A F A E L “ R C ” C O N C E P C I O N
APPLY A FILTER IN THE MOTION EDITOR

CREATE A JUMP MENU FOR NAVIGATION Open the Motion Editor by clicking the Motion Editor tab to
There will be times when you’ll need a compact navigation the right of the Timeline tab (or by choosing Window>Motion
for a specific site. The best way to accomplish this will be Editor). Click the plus sign next to Filters and select a filter from
with a jump menu. Go into your Forms section in the Insert the menu (you may need to scroll down to find Filters). The
panel and click on the Select (List/Menu) button. Create filter will be applied to the instance throughout the tween.
81
For advertising information, please contact Kevin Agren,

VP, Sales at 813-433-2370 Fax: 813-433-5013
Email: kagren@kelbymediagroup.com
I N D E X O F A D V E R T I S E R S
4 Over, Inc.. . . . . . . . . . . . . . . . . . . . . . . . . .85

www.4over.com
[F] Nik Software, Inc.. . . . . . . . . . . . . . . . . . . . .47
www.niksoftware.com
[A] Fotolia . . . . . . . . . . . . . . . . . . . . . . . . . . . . BC
www.fotolia.com
[O]
Adorama Camera, Inc. . . . . . . . . . . . . . . . .11
www.adorama.com [I] onOne Software . . . . . . . . . . . . . . . . . . . . . 9
www.ononesoftware.com
Artistic Photo Canvas . . . . . . . . . . . . . . . . .71 iStockphoto.com . . . . . . . . . . . . . . . . . . IFC–3 Overnight Prints. . . . . . . . . . . . . . . . . . . . . .25

www.artisticphotocanvas.com www.istockphoto.com www.overnightprints.com
[B] I.T. Supplies . . . . . . . . . . . . . . . . . . . . . . . . .10 [P]

www.itsupplies.com
B&H Photo. . . . . . . . . . . . . . . . . . . . . . . . . .89 Peachpit Publishing Group . . . . . . . . . . . . .27

www.bhphotovideo.com [K] www.peachpit.com
Berthold Direct . . . . . . . . . . . . . . . . . . . . . .51 Photoshop World Conference & Expo. . . 75

Kelby Training . . . . . . . . . . . . . . . . 80, 82–84
www.bertholdtypes.com www.photoshopworld.com
www.kelbytraining.com
Boss Logo . . . . . . . . . . . . . . . . . . . . . . . . . .87

Kelby TV. . . . . . . . . . . . . . . . . . . . . . . . . . . .88 PrintRunner . . . . . . . . . . . . . . . . . . . . . . . . .86
www.bosslogo.com
http://kelbytv.com www.printrunner.com
[C] [R]
[M]
CAR-FRESHNER Corporation . . . . . . . . . . .45
www.carfreshner.com Really Right Stuff . . . . . . . . . . . . . . . . . . . . .41
MacMall . . . . . . . . . . . . . . . . . . . . . . . . . . . .53
www.reallyrightstuff.com
www.macmall.com
Corel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .61
www.corel.com Media Graphix. . . . . . . . . . . . . . . . . . . . . . .69
[S]
www.mediagraphix.com
[D] Shutterstock. . . . . . . . . . . . . . . . . . . . . . . IBC

www.shutterstock.com
Media Lab, Inc . . . . . . . . . . . . . . . . . . . . . . 35
www.medialab.com
[W]
Dahle North America . . . . . . . . . . . . . . . . .88
www.dahle.com
Mpix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Digimarc. . . . . . . . . . . . . . . . . . . . . . . . . . . .59 www.mpix.com Wacom. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7
www.digimarc.com/passion www.wacom.com/americas
[N]
[E] [Z]
National Association of
Epson . . . . . . . . . . . . . . . . . . . . . . . . . . .16–17 Photoshop Professionals . . . . . . . . . . . . . . .77 Zoo Printing . . . . . . . . . . . . . . . . . . . . . . . . .88
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Every attempt has been made to make this listing as complete as possible. However, its accuracy cannot be guaranteed.
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[THE BACK PAGE]
HERE’S YOUR CHANCE TO BE PUBLISHED IN THE
PAGES OF LAYERS MAGAZINE!
Would you like the chance to get published in the pages
of Layers magazine? You would? Then all you have to do is
send us your artwork. That’s right—just attach your favorite
piece to an email and click Send. And if we think it’s cool
too, we’ll publish it in our “Digital Canvas” section. As we’ve
mentioned before here on the back page, we love showcas-
ing the work of our readers, and we know our readers love
seeing their work in print. So whether it was work for a client,
or something you did in your spare time, send it. We like
illustrations, Web designs, magazine and book covers, product
designs, brochures, posters, and the list goes on and on.
As you know, it would be impossible for us to publish everyone’s
work, but that shouldn’t stop you from taking the chance; it only
takes a few minutes to send us an email. And even though we can’t
publish everything, we still appreciate viewing the incredible illustra-
tions and designs that are being created by our readers.
Just send everything to letters@layersmagazine.com with a
subject of “Digital Canvas.” For each piece you submit, let us
know the title, client’s name (or personal work), all the appli-
cations you used (including version numbers), and a website
where readers can see more of your work. Turn to page 20
of this issue to see exactly what we need and to admire the
work of other readers.
[ SUBMIT YOUR WORK TO

LETTERS@LAYERSMAGAZINE.COM ]
THE DESIGN MAKEOVER

By the way, we’re also always on the lookout for talented designers
for the “Design Makeover.” Every issue, we ask three designers to
create a fresh new look for a design currently in the marketplace.
We’ve redesigned everything from logos to webpages to maga-
zine covers to product labels.
This is our most popular column, and it’s the first page most
of our readers turn to when they receive their latest copy of the
magazine. So if you want a chance to show your skills to the world,
just drop us a line at letters@layersmagazine.com with a subject of
“Design Makeover.”
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CREATE INTERACTIVE

Basic rules all Web designers

42 ] Adobe Photoshop CS5:

48 ] Adobe Illustrator CS5:

56 ] Adobe InDesign CS5:

62 ] Adobe Dreamweaver CS5:

66 ] Adobe Flash CS5 Professional:

the rules! —Sue Jenkins

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LAYERS MAGAZINE ][ NOV / DEC 2010

20 ] The Digital Canvas

78 ] Tips & Tricks

90 ] The Back Page

73 ] HP ZR30w Monitor—Bruce Bicknell

73 ] HP Z600 Workstation—Bruce Bicknell

74 ] Maya Entertainment Creation Suite 2010

Senior Portrait Design in Photoshop, Parts 1 and 2 (Video):

Adobe Illustrator CS5: Stroke of Genius (Video): Inter-

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True PDF release: storemags & fantamag

EDITOR-IN-CHIEF Scott Kelby

EDITOR-AT-LARGE Chris Main

CONTRIBUTING WRITERS Corey Barker • Peter Bauer • Bruce

Everything for the Bicknell • Cyndy Cashman • Rafael

CREATIVE DIRECTOR Felix Nelson

VP, SALES Kevin Agren 813-433-2370

DIRECTOR OF CIRCULATION Ronni O’Neil

PUBLISHER Scott Kelby

DIRECTOR OF WEB DEVELOPMENT

PUBLISHED BIMONTHLY BY Kelby Media Group

SUBSCRIPTIONS $29.95 (U.S.) Call (toll-free)

COVER DESIGN Cover image courtesy

COLOPHON Produced using Adobe InDesign

Every day low prices CS5, Adobe Photoshop CS5, and

FREE Shipping* congue neque, vitae scelerisque lacus

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True PDF release: storemags & fantamag

A ton of new gear Web Watch

The new Nikon

SCOTT KELBY’S PHOTOSHOP FOR

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lAYERS MAGAZINE ][ nov / dec 2010

Malinic: My ﬁrst encounter with the subjects of economics and market-

Layers: Your work is more about setting trends instead of following

Layers: You’ve self-published three limited-edition showcase books

Malinic: They have helped because I did something different

[CONTACT] Radim Malinic www.brandnu.co.uk All imAges BY RADim mAliNiC

[ the digital canvas ]

Design: Louis Armstrong Design: ARTrageous Poster

The staff at Layers magazine

piece, client name (if applicable),

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Design: ialmostknewyou Design: Spring Float

monster ball before

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lAYERS MAGAZINE ][ nov / dec 2010

M y immediate impressions of the original design were that

T his project was very interesting to me because it covered

The illustration was a composite of all the characters I saw in my research…

he attended the University of Illinois-Chicago for his MFA.

APPLICATIONs USED: Adobe Illustrator CS3 and Adobe InDesign CS3

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H aving no knowledge of Swing Goth, steampunk, or H.P.