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SMMM$B7O;HIC7=7P?D;$9EC ((S Design Makeover:
Plaster Surgery—Jake Widman

(.S Artistic Expressions:


Q J K J E H ? 7 B I S Warp Versus Warp—Bert Monroy

*.S Adobe Photoshop Tutorial: +*S The Digital Camera:


Adventures in Close-up Photography
Nesting Smart Objects for Multimask Effects
—Rick Sammon
—Deke McClelland

+.S Adobe Photoshop CS3 -(S The Art of Type:


The Power of the Ballot Box
for Photographers:
—James Felici
Black & White Fine-Tuning—Seán Duggan
/,S Digital Video Solutions:
,(S Adobe Photoshop CS3 FW][)&
Video in Photoshop—Rod Harlan
for Designers:
Going in Circles—Matt Kloskowski

,,S Adobe Illustrator CS3:


Blueprint-Style Text—Corey Barker Q : ; F 7 HJ C ; D J I S Q E D J > ; 9 E L ; H S
-*S Adobe InDesign CS3: '&S Letter from the Editor With a traditional background in drawing
Judge a Book by Its Cover—Terry White and painting, Daniel Johnson now lives
'*S Layers News in a digital world as Art Director at Nine-
.&S Adobe Acrobat 8 Professional: times: An Advertising Design Company.
PDF for Graphic Files—Taz Tally )&S The Digital Canvas Check out our interview with Daniel
on page 32 and look for his incredible
.,S Adobe Dreamweaver CS3:
)(S Designer Spotlight artwork throughout the magazine.
Troubleshooting CSS—Janine Warner
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/(S Adobe Flash CS3 Professional: ''*S Tips & Tricks
Made-to-Order Text—Lee Brimelow
''.S Creative Suite Q&A
/.S Adobe After Effects CS3:
Where There’s Smoke...—Steve Holmes

'&(S Adobe CS3 Production Premium:

)(
DANIEL JOHNSON

Professional Color Correction Q H ; L ? ; M I S


—Richard Harrington

'&.S Adobe Premiere Elements 4


—Richard Harrington

'&/S Canon SELPHY ES2 Printer


Q 9 E L ; H  I J E H O S —Steve Baczewski

)*S Always Look on the Bright Side of Life '&/S Eye-Fi Card—Steve Baczewski
Is it possible to take a picture without any lights? Of course it
is, but your final image probably won’t be very compelling. Joe
McNally shows you how to make your images whisper or shout ''&S PDF2ID 1.1—David Creamer
with just the right lighting, so grab your umbrellas and turn on
mmm$bWo[hicW]Wp_d[$Yec

your cameras.—Joe McNally ''&S PUB2ID—David Creamer

''(S Power Stroke—Dave Huss

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*&S In a Flash
The concept behind the Adobe Creative Suites is to use all the
applications in concert. And now that Flash is part of the band,
RC demonstrates just how well it harmonizes with Photoshop, Whenever you see this symbol at the end of an article, it means there’s either additional material or a download
Illustrator, and After Effects.—Rafael “RC” Concepcion FW][)* for that story at www.layersmagazine.com. So be sure to visit the website and check it out.
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so be sure to visit often. And don’t forget to sign up for our
graphics tip of the day and to read RC’s daily blog, Living
in Layers. Here’s a small sampling of some of the tutorials
that you can find at the site now:

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www.layersmagazine.com/category/photoshop
Sharpening Using High Pass Filter: Adding just a little extra
degree of crispness to your images can really make them
pop.—Mark Fleming

Curvy Cross Processing in Photoshop CS3: Adopted from


the color darkroom of old, cross processing creates a
unique color shift, giving your images a very retro look.
—Mark Fleming

Quick Selection and Refine Edges, Parts 1 & 2 (Video):


Learn how to use the new Quick Selection tool and the
Refine Edge command in Photoshop CS3 to make selec-
tions like a pro.—Chris Alvanas

Q?BBKIJH7JEHS
www.layersmagazine.com/category/illustrator
Brushed Metal Effect in Adobe Illustrator (Video): Using the

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DANIEL JOHNSON

Gradient Editor and Graphic Styles in Adobe Illustrator, you


can create a brushed metal effect that you can apply to any
shape or text.—Scott Weichert

Q B 7 O ; H I  J L S Q<B7I>S
www.layersmagazine.com/category/flash
Hosted by Corey Barker and Rafael “RC” Concepcion Controlling the Timeline with ActionScript 3: Learn how to
www.layersmagazine.com/tv
use event listeners and event handlers in ActionScript 3 to
Episode 26: Learn how to choose the right Wacom tablet, plus
control your buttons in Flash.—Cyndy Cashman
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special guest Larry Becker talks about the National Association of


Photoshop Professionals (NAPP).

Episode 25: Transform a video clip into a stylized image in Photo-


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shop Extended, and learn how to get your video files on the Web www.layersmagazine.com/category/dreamweaver
using Flash and Dreamweaver. Cascading Style Sheets—Choosing the Right Selector: Learn-
ing the differences between the various style selectors can be
Episode 24: See how to use Illustrator to re-create a complex geo- a challenge in Dreamweaver. Learn about the most common
metric pattern from an eye-catching print ad. options and how to use them.—Janine Warner

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It’s kind of weird to start off an Editor’s note by asking you to turn to the back
page of the magazine, but…could you turn to the back page? The reason why
is I want you to see the work of the first winner of our “Layers Back Page Design
Contest.” While you’re there, I hope this makes you think, “Hey, I’d like to see
my stuff back there.” And that’s why we put directions on how to enter the
contest on that very same page, because next issue we’re doin’ it again. Go ahead and check it
out now. I’ll wait.

Q?\oek^Wl[d¼jX[[d
Okay, pretty nice stuff, eh? (Hey, it could be you next issue—but not if you don’t enter your
work.) Now, onto this issue, which has a feature story from my photography hero and author of
the highly acclaimed The Moment It Clicks, Joe McNally. We got Joe to take us into the studio
to talk about different lighting setups and how to get different looks from that gear, and he covers
Xoj^[i_j[h[Y[djbo" everything from hard light (which is hot now) to soft light, glamour light, and…well, you’ll see (it
starts on page 34).
Also in this issue, RC Concepcion has a special feature on Flash and how it’s integrated with
?j^_daoek¼bbX[ the other apps in the Adobe Creative Suite. RC takes us through a sample workflow, as well as
interviewing one of the industry’s top Flash designers Lee Brimelow from Adobe about ActionScript 3
and the future of Flash. Very cool stuff—it kicks off on page 40.
WcWp[ZWj^emckY^ We have Photoshop guru Deke McClelland delving into the world of Photoshop smart objects
and smart filters. In this special feature, Deke shows how to use more than one mask with multiple

Yeebijk\\_ij^[h[\eh smart filters that have been applied to a single layer. His technique of nesting one smart object into
another can give you a lot of creative control. Check it out on page 48.
Of course, all our regular columns and articles are here in the magazine, but I want to take you

b[Whd_d]Wbbe\7ZeX[¼i outside the mag for a minute to the Layers website. The site has absolutely taken off since the first of
the year (thanks to all the amazing stuff RC uncovers in his daily blog, not to mention that each week we Create. Collaborate. Execute.
bWj[ije\\[h_d]i°S
post a new episode of Layers TV, where RC and Corey Barker share their latest tips on everything from
Dreamweaver to Photoshop to InDesign, Flash, After Effects—you name it). If you haven’t been by the
site recently, I think you’ll be amazed at how much cool stuff is there for learning all of Adobe’s latest
We’re there with technology every step of the way.
offerings, and making the most out of the Creative Suite. It’s all at www.layersmagazine.com.
I also want to invite you to check out my daily blog if you get a chance. It’s more Photoshop and We know that when it comes to creating, you don’t want anything to stand in your way. Especially technology.
photography centric, so if you’re into Photoshop or photography, you’ll feel right at home. It’s at
At CDW, our personal account managers can put technology to work for you. We carry a wide variety of product
www.scottkelby.com.
categories to assist you with creating, collaborating and storing your work. And our account managers can answer
questions and help you through every step of the process. So when it comes to creativity, we’re there with whatever
All my best, you need, whenever you need it.
mmm$b Wo[h icW]Wp_d[$Yec

Scott Kelby
Editor and Publisher

CDW.com/digitalflow 800.399.4CDW

©2008 CDW Corporation

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Dreamweaver, Flash, GoLive, Illustrator, InDesign, Lightroom, and Photoshop are

1.800.771.9665 www.itsupplies.com either registered trademarks or trademarks of Adobe Systems Incorporated in

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the United States and/or other countries. All other trademarks are the property of
their respective owners. Some of the views expressed by contributors may not be the
representative views of the Publisher. ISSN 1554-415X
Visit www.mpix.com to see our full line of photographic and press products.
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In partnership with 18 digital design agencies worldwide, Adobe has to develop standards and best practices that will move the entire
introduced the Society of Digital Agencies (SoDA). The society’s stated industry forward.
mission is to advance the digital design profession through knowl- SoDA members are planning to address issues such as techni-

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edge sharing, education, and advocacy, and to drive much-needed cal complexity, rapid changes in content distribution, scaling issues,
experiment, try new things, make changes, and if they don’t like the
standards. Adobe, which provides much of the software used by digi- timelines, and technology’s impact on budgets—all of which affect
result, to easily go back to the original version.
tal agencies worldwide, is supporting the group as the organization’s the quality, innovation, and accessibility of digital media.

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Lightroom 2 beta also adds multiple monitor capability, improved

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official launch sponsor. For more information on SoDA and Adobe’s involvement with the
print package functionality, 64-bit support for Mac OS X Leopard and
The increasing demand for interactive experiences presents both group, visit www.societyofdigitalagencies.org. To read an interview with
Microsoft Vista, and improved Photoshop integrationw.
opportunities and challenges for digital design agencies. The SoDA Jay Wolff of odopod about SoDA, visit www.layersmagazine.com and
Adobe treated the attendees of Photoshop World, Orlando to There are also improved organization tools. For instance,
plans to bring them together to address the issues they face and click on Columns.
a demo of their new public beta of Lightroom 2. According to the new Library module will have a keyword filter that can be
Adobe, the company was so pleased with the results from the used to refine searches and help organize photo collections.
first Lightroom beta program that they decided to repeat the
process before rolling out a final version of Lightroom 2.
One impressive new feature included in Adobe’s demo was
Lightroom 2 beta also introduces Smart Collections, which use
common keywords to organize photos and filter photo searches.
Lightroom 2 beta is available to all current Lightroom cus-
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the Localized Correction brush that allows users to make nondestructive
edits by painting with a brush to adjust very specific areas of a photo.
tomers. Those who don’t already own a copy of Lightroom can
download a free 30-dial trial version of the new beta. For more
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Nondestructive, localized editing in Lightroom allows photographers to information, visit www.adobe.com/products/photoshoplightroom. AKVIS LLC announced the update of AKVIS ArtSuite to version 3. then add a color shade to it; replace
As in previous versions, ArtSuite offers Edge Effects for adding colors on an image; or add a texture

Bepcf!mbvodift!! The environment also works with other Adobe creative products, photo frames to digital photos, but it has also added some other so that the image looks like it’s drawn
enabling users to add Adobe Flash SWF files to Director projects, artistic effects. The software can generate a large number of effect on a canvas, brick wall, corrugated

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play them in Director and Shockwave, and edit them with Adobe versions with its 15 effects and Pattern Library. Photo frame samples paper, etc.
Flash CS3 Professional. that come with ArtSuite can be tailored easily to any photo. For a free trial, AKVIS offers 10 days
Director 11 boasts new features, including support for Adobe ArtSuite’s Artistic Effects allow users to experiment with photos. For of fully functional use. AKVIS ArtSuite is
Flash 9 technology and bitmap filters to simplify adding character- example, users can convert a photo to a black-and-white image and downloadable from http://akvis.com.
Adobe has released the upgraded Adobe Director 11 software,
the company’s authoring tool for building interactive applications istics, such as shadowing or glow, to text or images. The product
and rich content. Using Director 11 or a combination of Director offers language support with both JavaScript and Lingo, as well as
11 and the Adobe Shockwave Player, digital media creators can an enhanced script browser to break out the code and code snip-
author and then publish content for the Web, CDs/DVDs, and the pets with drag-and-drop capability. For more information, visit www
desktop simultaneously. .adobe.com/products/director.

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In a bold move, Adobe expanded its reach to make their image-
editing technology freely accessible to an online audience. The newly
released Adobe Photoshop Express public beta is a free rich Internet
application (RIA) that allows users to store up to 2 GB of images, make
edits to their photos, and share them online, including downloading
and uploading photos from social networking sites such as Facebook.
During the public beta period, Adobe will solicit Photoshop Express
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user feedback on product features and functionality, which will continue of sample photos with visual hints showing different variations of
to evolve over time. the added effect.
Photoshop Express is designed for the general Web user. In a few Photoshop Express also offers sharing options, including uploading
clicks, Photoshop Express allows anyone to make standard edits, such as photos and slideshows in your own online gallery hosted by Adobe, or
blemish and red-eye removal, converting to black and white, cropping, posting photos to social networking sites and personal blogs without
and resizing. No experience is required. Even users with limited photo- having to leave the application. Adobe Photoshop Express beta is avail-
editing knowledge can simply select what looks best from a lineup able now for free at www.photoshop.com/express.

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The new Live Pen plug-in from Zero-One, Inc. provides a flexible approach to creating vector
lines and shapes of varying width. The software, designed to extend the capabilities of
Adobe Illustrator, may prove of interest not just to type creators but to a broad spectrum of
illustrators and designers, because it lets users control the width of a path at any point. Pen
anchors can be added, deleted, and moved as required, along with options for creating new
pens and mixing different pen types.
Live Pen for Windows Illustrator CS, CS2, and CS3 can be purchased for $99 at the Zero-One
site. A Mac version will be available in the summer. A trial version is available for download at
www.01-lab.com/livepen.html.

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Online community for artists to share and
view art

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X-Rite and Pantone, major players in color-correction technology, have introduced ColorMunki,
a new product designed to address issues of color creation, control, and communication. The
ColorMunki portfolio includes three versions: ColorMunki Photo, ColorMunki Design, and Color-
Munki Create. A combination of software and hardware, these products give users the flexibility
to produce color with reliability.
The first element in the portfolio is ColorMunki Photo, which helps photographers calibrate
displays, projectors, and printers; measure ambient light; and capture spot colors. The next
element, ColorMunki Design, allows designers to select, specify, and store color palettes in a
iuuq;00qbjoufsgbdupsz/dpn calibrated environment. Palettes can then be imported into design applications including Adobe
A place for artists, designers, and
photographers to discuss and share
Photoshop, InDesign, and QuarkXPress.
all things Painter The third element, ColorMunki Create, is an affordable, simple starting point for designers
Underground 300 by Claudia Salguero
whose primary requirement is color palette creation. It provides monitor calibration only with
basic functionality, and offers spectral color selection
from system-level color pickers, inspirational
images, color harmonies, and keyword
searches. All three solutions are sup-
ported by www.colormunki.com, an Created with Painter. Made by hand.
online portal where designers and
photographers can experience key A genuine work of art is the unique expression of the artist’s
ColorMunki software capabilities.
imagination and hand. Each stroke is distinctive, and each piece
is one of a kind.
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A blog centered on automating Adobe
Photoshop, Illustrator, and InDesignf what Gjy!gpdvt!bgufs!! The world’s most Corel Painter X is the ideal tool for turning your photographs into
can be done in Mac Office
! tobqqjoh!uif!tivuufs! stunning paintings. Featuring the new RealBristle™ system that

Refocus Imaging, Inc. (www.refocusimaging.com) is a start-up company that’s generating


buzz with its new digital imaging technology. The technology, which stems from the work of
company founder and Chief Executive Ren Ng, is an example of computational photography
POWERFUL models classical brushes right down to the individual bristles, and
an array of art materials and textures that mirror the look and feel
of their traditional counterparts, Painter offers unlimited creative

Natural-Media
®
that augments traditional image capture with computers. freedom. The result? An original work of art, every time.
By fitting a camera’s image sensor with a special lens and then processing the result-
ing data with new methods, Refocus Imaging’s technology will let photographers fix their painting and illustration software Visit www.corel.com/layers to experience Painter X and download
photos and exercise new creative control after the shutter is released. your free 30-day trial today.
In examples demonstrated by Refocus Imaging, sliders are used to change the point
of focus in a photograph from foreground elements to those in the background. These
examples also show how a user could bring different areas of an image into focus by clicking
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Blog/Photoshop site showcasing on them. Refocus could be the next big step in photography: transforming the camera into
Photoshop tutorials a powerful computational platform.
®
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?d:[i_]d9I)FheZkYj_l_joJekh SneakPeek Pro from Code Line Communications (www.code-line.com) is a Quick Look plug-in for
May 8, 2008 graphics files. The plug-in has a redesigned interface and Quick Look is promising Creative Suite
Broward County Convention Center users a richer experience with new features, such as the ability to select a background color
Ft. Lauderdale, FL for images with transparency, improved preview generation and control, support for the INX
www.kelbytraining.com interchange format in InDesign, support for non-Roman text, and much more.
SneakPeek Pro will allow designers running Leopard to preview their graphics documents from
F^ejei^ef9I)Fem[hJekh the Finder, Mail, open dialogs, and anywhere Quick Look is supported. In addition to rendering
May 13, 2008 a preview, the plug-in also gives you in-depth information on CS3 documents such as fonts used,
Connecticut Convention Center linked images, and color swatches defined.
Hartford, CT The update is free for all registered SneakPeek Pro users. Unregistered users that have tried
www.kelbytraining.com SneakPeek Pro in the past can try it again with a new 15-day trial period.

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May 16, 2008
Sacramento Convention Center
Sacramento, CA
poPof!Tpguxbsf!qsfwjfxt!
www.kelbytraining.com ofx!GpdbmQpjou!
FocalPoint from onOne Software is a selective-focus and
>EM:[i_]d9ed\[h[dY[ vignetting plug-in designed to help photographers easily
May 18–21, 2008 blur or vignette areas of an image. The plug-in provides
Hynes Convention Center photographers with a way to create realistic depth-of-field
Boston, MA control, plane-of-focus control, and selective focus to
www.howconference.com any image after it’s photographed. This onscreen control
makes it fast for photographers to choose the “sweet
F^ejei^ef9I)\eh spot” of focus and then control how much and what kind
F^eje]hWf^[hiJekh of blur they’d like to add. Blur choices include a standard
Chicago, IL (May 19, 2008) defocused look as well as a blur that simulates motion.
Nashville, TN (May 22, 2008) FocalPoint can also be used just for vignetting—with-
San Francisco, CA (May 28, 2008) out blurring the image. In addition, the FocusBug allows
www.kelbytraining.com users to tilt the chosen sweet-spot aperture in 3D, simulat-
ing the tilt effect of a view camera or tilt-shift lens.
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You Still Don’t Have to Be a Pro


Designed for use with Adobe Photoshop and Photoshop Elements, FocalPoint is available
May 30, 2008 at www.onOnesoftware.com.
Washington State Convention &
Trade Center

to Shoot Like One


Seattle, WA
www.kelbytraining.com
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May 30, 2008
DTP Tools has released version 2 of Page Control, its plug-in for Adobe InDesign. In addition
Jacob K. Javits Convention Center
New York, NY
to the original abilities to create multiple page sizes within one document, the new version The Digital Photography Book, volume 2 by Scott Kelby
brings improvements, such as vertical spreads for the easy creation of flip-up documents, Best-selling author, Scott Kelby, is back with an entirely new book that picks up right where his
www.kelbytraining.com
as well as content resizing options.
best-selling The Digital Photography Book, volume 1 left off. In The Digital Photography Book,
New features include the ability to rotate pages for more convenient combinations of
Le_Y[iJ^WjCWjj[h0M[X portrait and landscape pages, resize or rotate page content with each page, and anchor volume 2, Scott reveals nearly 200 tricks and techniques that will get you remarkably sharper,
:[i_]d9ed\[h[dY[ nonresized objects to sides, center, or corners. more dramatic photos, and transform your work from snapshots to gallery prints. Cover Price: $24.99*
June 10–13, 2008

1999 1499
With the plug-in, you can also resize every page in a document individually, create land-
Loews Vanderbilt Hotel scape and portrait pages in the same document, automatically resize pages according to the $ * $ *
Nashville, TN master page, customize pasteboard sizes, and print or export to PDF while retaining page sizes.
Kelby Training Price: NAPP Member Price:
www.voicesthatmatter.com/ Page Control for InDesign CS, CS2, and CS3 on Mac and Windows is available for download
webdesign2008 at www.dtptools.com/pagecontrol. *All prices in US dollars. Copyright © 2007 Kelby Training, Inc. – all rights reserved. Adobe and Photoshop are registered trademarks of Adobe Systems Incorporated.

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Viveza is the latest addition to Nik tonality with Color Control Points. Using sliders, photographers can
Software’s line of photographic plug-ins quickly adjust the brightness, contrast, saturation, red, green, blue,
for Adobe Photoshop and Photoshop hue, and warmth of their digital images.
Elements. Viveza is designed to allow The software is also compatible with the smart filter feature in
photographers of all skill levels to pre- Photoshop, and Viveza’s Selective tool can brush any light and color
cisely select and control the light and changes into an image using the brush tools in Photoshop. It also
color in photographic images. has pressure-sensitive features for Wacom Pen Tablets.
Some key features include new U Viveza installs as a Photoshop or Photoshop Elements plug-in
Point technology, which allows users to and will be available for Macintosh and Windows operating systems,
easily control an image’s color, light, and including Leopard and Vista (www.niksoftware.com).

Tippu!mpx-!bjn!ijhi! laced video, apply the Magic Bullet Frames plug-in, and get quick,
high-quality frame-rate conversions with the look of true 24p film.

xjui!Nbhjd!Cvmmfu!Gsbnft Magic Bullet Frames features motion-adaptive and field-


blended modes for quality footage at high speeds that delivers
Red Giant Software, developer and publisher of professional digital great looking, artifact-free output. Letterboxing and line offset
video plug-ins, has released Magic Bullet Frames. According to controls are included in the Frames tool and can be used to create
the company, this software gives users the ability to shoot low-cost mattes and adjust the image inside the letterbox area. For more
video and then get the expensive look of film right in Final Cut Pro, product information, visit http://redgiantsoftware.com/magicbul-
Motion, or Premiere Pro. Video editors can start with ordinary inter- letframes.html.

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Olympus has revamped its EVOLT digital SLR line with the new E-420.
This 10-megapixel camera is claimed to be the smallest and lightest in
its category, weighing 13.4 oz. The company is marketing the E-420 as
a camera that can be used like a compact point-and-shoot, while still
offering all the control of a full SLR.
Improvements over the earlier E-410 include both a shadow-cor-
rection function and a new onscreen autofocus feature. Also new to
the E-420 are a larger, 2.7" LCD, face detection for portrait shots,
and better handling of automatic white balance. a 14–42mm f/3.5–5.6 lens and should be accompanied by a $700
The camera is scheduled to ship in May, starting at $500 for a edition with a fixed-focal length, 25mm f/2.8 lens, equivalent to 50mm
body-only version. A more common kit version will sell for $600 with on a conventional film camera.

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Users also have the option to burn HD video and slide shows on
standard DVDs.
Toast 9 introduces Roxio Streamer for on-the-go entertainment,
As the public’s use of high-definition (HD) media grows, more and more which allows users to stream video content stored on their home Mac
consumers need assistance in getting HD content onto their portable to a Wi-Fi connected iPhone or iPod touch or any Internet-connected
devices. Roxio is offering Toast 9 Titanium to help in this area. Mac or PC. Using Toast 9, users can capture streaming audio for
Toast 9 allows consumers to record content from HD camcorders recording Internet radio.
and favorite HD programming from TiVo, DVRs, and Elgato’s EyeTV Toast 9 Titanium and the High Definition/Blu-ray disc plug-in are
devices to Blu-ray disc. available from Roxio at www.roxio.com.

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I tanley Rachwal started his Venetian plastering business about


three years ago, after doing the work on a part-time basis for
two years before that. “I started my plastering business at the tender
Any plasterer can use the material, says Rachwal, but the trick
is in learning to apply it to achieve the desired effect. Some of the
finishes require him to apply up to three different kinds of putty in
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age of fifty,” he says, “because I wanted to do something different.” just the right way.
Rachwal describes Venetian plastering as “the latest faux-finish After three years, Rachwal has confidence that his business will
craze,” one that’s been popular in the United States for about seven survive and he’d like to replace his original logo, which he just
years. But the technique itself has been around for thousands of years— slapped together quickly to have something to put on a business
long before Venice was an important city. Evidence of the method has card. He likes how the current logo, based on a photo of a Roman
been found in ancient sites in Iran, Turkey, Egypt, and, of course, Italy. column he found on the Web, suggests the antiquity of the process.
Venetian plaster starts with mined limestone that’s heated, dried, But he doesn’t feel that it really portrays what he does. He would
and crushed. The rock powder is then mixed with water, and after like a new, hipper logo that communicates the idea that Venetian
some time it becomes a sort of putty. Different substances (sand, ash, plastering is an actual work of art, not just a faux finish. We asked
ground marble) can be added to the mixture to change the appear- three designers to come up with a logo and business card that say
ance of the putty. When a plasterer such as Rachwal applies the putty “hip” and “today,” as well as “timeless” and “Old World.”
to a wall, it dries into a hard, marble-like surface.
cially since this is a relatively new business. I also wanted to evoke the

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modern with the historical, the new with the traditional.
HWY^mWbmekbZb_a[Wd[m"^_ff[h The ancient Italians used to plaster their walls and paint them in
be]ej^WjYecckd_YWj[ij^[_Z[W distinctive styles. Most of the paintings are lost to antiquity, but some
remain, like those preserved at Pompeii under the ashes of Mount

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he current logo design for Timeless Finishes could be improved, Vesuvius. Using the Pen tool in Illustrator, I drew a female figure in the
mehae\Whj"dej`kijW\WknÄd_i^$ in my opinion, for a variety of reasons. The graphic treatment style of some of those preserved paintings. Hopefully, the woman will
of the column on the website feels more anthropomorphic than archi- provide a talking point for Timeless Finishes’ owner and customers.
tectural, causing a disconnect between the intended purpose of the I thought a more Italian- or Roman-inspired font would be suit-
image and the message it’s trying to convey to prospective clients. able, so I set the company name in ITC Mona Lisa Solid. The rest of
The tagline, extending into the photo, disrupts the balance of the the type is in Myriad Pro for a modern contrast.
graphic treatment, and the wide tracking of the company name (also The new cards contain personality and history, and in turn will
on the business card) doesn’t seem to have a clear purpose. create a lasting memory that should put Timeless Finishes at the fore-
I wanted to make the business card and website work together to front of a prospective client’s mind. Reaching for the card will be easy
make a branding statement with at least one consistent element, espe- because it’s distinctive and the information is clearly outlined.

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feliciA started her career at an early age, winning numerous art and writing contests. They afforded her the
opportunity to study illustration and design with Alan E. Cober and Anita Kunz while earning her BFA with
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honors at State University of New York at Buffalo. She later went on to earn her MFA, magna cum laude, at
cWa[el[hikXc_ii_edi the Academy of Art University in San Francisco in Computer Arts: New Media.
We’re looking for product packaging or labels, print advertisements, and magazine covers that are currently in the marketplace for future feliciA describes herself as a visual communicator and technologist because she combines her skills as
“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 an illustrator, designer, interactive designer, and programmer to create complete packages for a variety of clients. She actively
you’d like to be considered for a future “Design Makeover,” drop us a line at letters@layersmagazine.com. engages in sketching, illustrating, and visual journalism. She continues to draw on the computer using Adobe’s Creative Suite
and one of her Wacom Tablets as if it were her artbox.

Q
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.”
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J he old logo looks more like a slogan than a proper logo, and it’s
not as upscale as the client’s work product. Furthermore, there’s
no balance or consistency between the version on the business card and
the version on the website—the latter is almost playful, which I don’t
think represents the client’s artisanal techniques. The font for the company name is Michelangelo BQ, a Venetian-style
I wanted to create a logo that would reflect the look of materials font designed by Hermann Zapf to be a titling font for Palatino. It goes
used in a “timeless finish.” For the background, I scanned a piece of well with the architectural image. For the tagline, I chose Herculaneum,
paper and applied different filters in Photoshop until I got a mottled which made me think of Rome and Roman orthography. For the rest
effect reminiscent of the walls commonly seen in Rome and throughout of the business card I used Optima Regular and Bold. Optima is clean,

FINALLY...
the Mediterranean. I added a classical architectural image taken from fresh, and easy to read, which is very important when you want to send
the west pediment of the Temple of Zeus at Olympia, built around 470 a message to clients. It also doesn’t call attention to itself and away from
B.C.E., depicting the Battle of Lapiths and Centaurs. the type in the logo. AN EDUCATIONAL
STROBE SYSTEM
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Born and raised in Mexico City, Reynaldo Gonzalez came to the U.S. when he was 21. In 1994, he met an
illustrator who introduced him to the field of design. Inspired, he began his quest to become a graphic
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designer: in 1998, he received an Associate’s degree in graphic design, specializing in print design, from
Platt College in Cerritos, CA, and he has continued his studies in the field at Santa Monica College.
As a freelancer, Gonzalez has worked for many sizes and types of companies and ad agencies, including
Deutsch and Guess. He credits his cross-cultural experience with his versatility and ability to view tasks from varied angles. He
loves his work and is still inspired by the creative process.

7FFB?97J?EDiKI;:0 Adobe Photoshop CS2 and Adobe Illustrator CS2

(* continued on p. 26
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M hen I design a logo, I always begin by doing a black-and-white


version and then add color later. My feeling is that a logo
needs to look great in grayscale as well as color, since a logo gets used
I elected to create a vertical business card to keep the layout clean
and modern. With the exception of the logo, I kept all the type (set in
in so many places, not all of which use color (such as invoices, newspa- Adobe Minion) left-justified for a more professional look and took the
per ads, etc.). Working this way also helps to keep the design simple. liberty of adding the title of “artisan” underneath the name. I think
I decided to combine a slab-serif or “Egyptian” font (Mido) with an adding this title helps communicate the immense skill and training
intricate ornamental flourish to convey the skill and Old World artistry that it takes to master the Venetian plaster technique. I incorporated
used in the work. The organic tones of the colors I selected, a rich a textured background from a stock photo house, similar to the effects
chocolate brown and a deep orange, suggest the natural materials used achieved with the plastering technique, to add depth and interest. An
in the process. I decided to dispense with the tagline “yesterday’s wall oversized, screened-back version of the flourish from the logo rounds
finishes...today” to further simplify the logo. out the design on the back of the card.

Q 7 8 E K J  J > ;  : ; I ? = D ; H S
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After serving as the senior designer for an in-house design department, Russel Hempel left to start
Daring Escape Designs, a small studio committed to helping small businesses succeed. Russel has
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done work for a variety of clients, ranging from a website for a punk rock band to a catalog and
marketing material for a high-end barbecue grill manufacturer. When he’s not cranking out fantastic
design work, Russel can be found spending time with his wife, Dena, and their two sons, Noah and
Hayden, in the beautiful southern California sun; playing guitar; or working on his 1921 Craftsman home.

7FFB?97J?EDIKI;:0 Adobe Photoshop CS3 and Adobe Illustrator CS3

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C F S U ! | ~ ! N P O S P Z

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Every new release of our favorite applications
brings with them a variety of features that leave
us wondering how we ever managed to live with-
out them. A perfect example of this is a really cool
command that was introduced in Photoshop CS2—Warp. Found
under Edit>Transform, Warp allows you to bend things in a variety of
ways. My good friend Corey Barker, whose writing always graces the Manhattan. This meant there had to be additional dents here and This gave me sufficient space for distorting the net of the can to
pages of this magazine, has demonstrated some fantastic uses of this there in the trashcan. achieve the 3D effect I was looking for, plus the added dents. Once
powerful feature. Like some other items in Photoshop, however, Warp Employing the Warp command in Photoshop would have applied you have your mesh, you can use the Direct Selection tool to select
started somewhere else in the Adobe suite of products. a mesh composed of nine panels. This mesh would have been suf- and manipulate any individual point in the grid, or you can click-and-
ficient to distort the wire art into the curvature needed for the can drag an entire section of the grid. Here you can see how some of
Nblf!b!nfti as shown here; but the desired dents added a complexity that this the sections of the mesh have been moved, causing the net of the
Illustrator also has this feature but with far more power than the procedure in Photoshop could not handle. trashcan to distort in specific areas.
one found in Photoshop. It has the ability to warp objects via
a user-defined mesh. This incredible command is found under
Object>Envelope Distort and is called Make with Mesh.
To demonstrate one of the times that I found this tool indis-
pensable, let me refer to my painting Oyster Bar (left). We’re
going to focus on the trashcan in this scene. It has a wire net
body that needs to conform to the curvature of the can.
C F SU ! N P O S PZ

QKdb_a[j^[F^ejei^ef
Ep!ju!jo!Jmmvtusbups
l[hi_edj^Wj¼ib_c_j[Zje Since the wire netting was created in Illustrator in the first place, The beauty of all this is that you can work at any size in Illustra-
warping it there made perfect sense. I selected the entire wire net tor without sacrificing resolution. Once you copy-and-paste the
d_d[fWd[bi"?bbkijhWjeh and went into the Envelope Distort function (Object>Envelope object into a Photoshop file, it rasterizes to the resolution of the
Distort>Make with Mesh). When you choose this feature, a dialog Photoshop document. I tend to work in Illustrator at 400% of what

b[jioekYh[Wj[WicWdo The basic shapes were generated in Illustrator. The following


pops up allowing you to determine the number of sections the
mesh for warping will contain. Unlike the Photoshop version that’s
I need for the painting. I then reduce the object to 25% and export
it over to Photoshop.
image shows the frame for the can and the wire net that I created limited to nine panels, Illustrator lets you create as many panels as
fWd[biWioekj^_daoek¼bb for it. The wire net was created in a separate layer. (Yes, Illustrator you think you’ll need to do the job. (Note: The maximum is actually The bottom line is that no single program does it all. It’s best to get a
has layers too.)
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2,500 panels, but that’s probably more than you’ll ever need.) I chose thorough working knowledge of the entire Creative Suite so you can
d[[ZjeZej^[`eX$S It was necessary to distort the mesh to follow the curvature of a total of 10 Rows with 10 Columns (for a total of 100 panels). take advantage of the best that each program has to offer. !
the trashcan. If this were all that I needed to do, then the Warp
command in Photoshop would have been sufficient. There was,
however, one detail that made it difficult—I wanted the trashcan to
be old and worn. The scene is, after all, a busy corner in midtown [ 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. ]

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Q J>;:?=?J7B97DL7I S
TIPXDBTJOH!UIF!EFTJHO!XPSL!PG!PVS!SFBEFST

Illustration: Beautiful Rain


] [ Personal Work
] [ Designer: Angel D’Amico
] [ Software: Mixed media using acrylics, pen and
ink, and spray paint scanned and manipulated
in Adobe Photoshop
] [ Website: www.angeldamico.com

Digital Illustration: Analog Groove Digital Illustration: Ethereal


] [ Personal Work ] [ Personal Work
] [ Designer: Erwin Haya ] [ Designer: Kevin White
] [ Software: Adobe Illustrator ] [ Software: Adobe Photoshop CS3
] [ Website: www.onesickindividual.com ] [ Website: www.umamidesign.com
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Digital Illustration: The BreakOut ] [ Client: Exit Strategy magazine ] [ Designer: Digital Illustration: Wycinanki ] [ Personal Work ] [ Designer: Angel D’Amico
Angel D’Amico ] [ Software: Mixed media using pen, pencil, photos, water- Software: Mixed media using spray paint scanned and manipulated in Adobe
color and acrylics scanned and manipulated in Adobe Photoshop ] [ Website: Photoshop and Adobe Illustrator ] [ Website: www.angeldamico.com
www.angeldamico.com

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 offer you the opportunity to display your work on The Digital Canvas. Please submit your print, Web,
Website: The Asura ] [ Client: The Asura ] [ Designer: Andre Weier ] [ Software: Adobe Flash and Adobe Photoshop ] [ Website: www.nalindesign.com or packaging design (jpeg or eps format) to: cmain@layersmagazine.com. Please include name of piece, client name (if applicable),
applications used, and any website where our readers can view more of your work.

)&
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B O O J F ! | ~ D V T I J O H

E! bojfm!Kpiotpo!
Layers: Do you start your illustrations on paper and scan in your
sketches or do everything digitally?
started his career early, graduating from Brigham Young University with a
Johnson: That depends on the subject matter. Much of what I do
BFA in Illustration. Working as an Art Director at Ninetimes, an advertising design firm in Northern California, he mostly lives in a digital world,
for work is very industrial, so I can start blocking the image out
working more with pixels and vectors than charcoal and pencils
digitally. For something more organic, like a person or animal,
I would probably sketch it out on paper first.
Layers: I see you were formally trained in traditional drawing and painting. How has
that helped you as a digital artist? Layers: How did you get into designing for multimedia? Did you
learn these skills in school or OJT?
QJ^[h[¼ideikXij_jkj[\eh Johnson: There’s no substitute for basic artistic skills like drawing, color, perspective, and
Johnson: My first real job as an artist was with computer games, so
composition. Software can’t correct these areas if the artist doesn’t understand them first.
This traditional training is what gives the art life and makes it stand out from the rest. that involved cel animation, rotoscoping, and sound editing. At the time,
XWi_YWhj_ij_Yia_bbib_a[ there wasn't much of that kind of instruction in schools, so it was all very
Layers: Did your style change at all when you went digital? much on-the–job, seat-of-your-pants kind of training. I started working
ZhWm_d]"Yebeh"f[hif[Yj_l[" Johnson: A little bit. I look at computer graphics as a medium, like acrylic, gouache, or with Adobe Flash years later while doing websites and animation. But particularly complex or if we need to do variations with different views.
pencil. Each medium has its strengths and weaknesses, and the artist has to find out what since I was out of school, I had to learn by buying books, attending train- But unless the final product is animated, everything ends up in Photoshop.
WdZYecfei_j_ed$S they are and work within those parameters. I spent years fumbling around with paint ing seminars, and trial and error.
Layers: What advice do you have for artists who are considering
mmm$B7O;HIC7=7P?D;$Yec

programs, trying to figure out how to get them to do what I needed. Of course, to some
degree, you never completely move beyond the need for learning by experimentation. Layers: Do you you start your 3D work in 2D applications, like updating their skill sets to compete in a digital world?
Photoshop and/or Illustrator, or do everything in the 3D software?
Johnson: Just do it. Take classes to learn Photoshop, Illustrator, or 3D
Layers: What applications do you work with regularly? Do you have a favorite? Johnson: Again, that depends on the project. For years, the agency packages. But you may have a hard time finding instruction on how to
Johnson: Adobe Photoshop is the primary tool I use, and much of what I do is done where I work was strictly 2D, so everything was done that way. The skills really illustrate digitally, so experiment to see how you can modify the
completely in it. Other programs I use, as the need arises, are Adobe Illustrator, I learned in perspective and drawing classes really came in handy then. techniques you learn to do what you want. And for artists who like to
MAXON Cinema 4D, Flash, and Adobe After Effects. Photoshop is probably my Now that we have Cinema 4D, some projects start out in 3D, if they're draw and paint, a tablet and stylus are a must have.
favorite app, but—like most digital artists—I have a love-hate relationship with it. [CONTACT] Daniel Johnson http://home.comcast.net/~danjohn8 All images by Daniel Johnson.

)(
5J?OBII>P So put a lid on
’em. Stuff ’em in the
Nothing like an umbrella: compact; easy to carry; and turns a harsh,
blaring, Klaxon horn of a direct strobe into something smooth and trunk. Use a VariStar, or
easy and invariably pleasing. It’s so automatic, such a standard, that something like it that has
it’s usually the light baffle or tool most photographers use first, right a backing, and corral the
when they’re learning. explosion of the strobe.
Put up an umbrella! Easy to do, lightweight, and the results are The result is still a soft
light, but one that has

!IT>VP
much more certain than a Florida ballot. That’s a big reason the
umbrella is often included in a primer lighting kit—you know, pack, direction and glow. Some
head, charger, umbrella. of the glow comes from
There are umbrellas galore: white bounces and white bounces the fact that when you use
with a black removable backing that can be used as a reflective the umbrella in this way,
source, then stripped of the back and turned toward the subject you’re effectively moving
and used as shoot through. (Useful tip: When using one of these the light source closer to
puppies, a handy way to gradate the light gently down the person your subject.
of your subject is to strip off only half of the black backing, leaving
the bottom part of the brollie opaqued out. That way, your subject’s
face is f/8, shoulder area f/5.6½, chest f/5.6, belt buckle f/4, and so
forth. There’s something disconcerting about having someone’s face
just as bright and well lit as someone’s tie, especially given some
An umbrella produces an
people’s taste in ties.) average, clean, nice light.
To continue, there are zebra-striped umbrellas (give your subject

look on the bright side of life a tan!); silver umbrellas for the fashionistas; and umbrellas of all
surfaces with a soft Velcro-on covering (think shower curtain material)

SCOTT HOLSTEIN
over the business end, spreading and diffusing the light.

7n?dZBXCVaan So, the upside of umbrellas again is they are light and portable,
handy, easy to rig, and they spread and diffuse the light nicely, softly.
Downside? They spread and diffuse the light nicely, softly.
That’s a bad thing? Sometimes. It depends on the mission of the
Then, keeping it simple, bring in a fill card. We use Lastolite
photo. For the elementary school teacher of the year, it’s perfect.
(www.lastolite.com), which makes a whole range of size and color
For the surfer dude wearing a tight Speedo and more tattoos
bounce cards. As you see in the picture, we have that puppy very
than a NASCAR vehicle that you’re shooting for this year’s fashion
close to the face, just out of
spread, maybe not. For that, you might want hard, harsh, wild light.
frame. Used effectively, it’s
There are tools for that as well.
just like creating another light,

Jh^c\a^\]iidbV`Zndjge]did\gVe]nheZV` !KLQEBO4EFKD>?LRQ5J?OBII>P
without actually using a light.
An umbrella is an average,
>]VkZhV^Yi]^hVb^aa^dci^bZhÅa^\]i^hdjgaVc\jV\Z#>iÉh]dllZheZV`#I]Z From an average distance and height, umbrellas produce an aver- go-to, everyday light source.
But used effectively, it can pro-
iddahlZjhZdcadXVi^dcVcY^ci]ZhijY^d[dgbi]Ze]gVh^c\VcYi]ZhigjXijgZ! age, clean, nice light. Nothing wrong with it, but nothing particularly
“glowy” or special about it either. But there are umbrellas and there duce above average results.

^[ndjl^aa!Wjii]Za^\]iÅ]Vgh]dghd[i!Wa^cY^c\dgbjiZY!eVaZdg[jaad[ are umbrellas, as I have indicated.


A variation on the umbrella theme could be the VariStar, which
XdadgÅ^hl]ViheZV`h!l]^heZgh!dgh]djihidi]Zk^ZlZghd[djge]didh# comes in the Elinchrom Ranger lighting kit (www.elinchrom.com).

I]ZcZmi[ZleV\ZhVgZVaaVWdji]dlidl]^heZgdgh]dji!VcY]dlidXgV[i Call it a poor man’s softbox. With the VariStar, the umbrella is used
as a shoot through, with the white diffusion pointed at the subject.
idcZ!gVc\Z!^cÓZXi^dc!VcYY^gZXi^dcidl]ViZkZga^\]ihdjgXZndjb^\]iWZ But, as you’ll note in the picture at the right, there’s a black covering

jh^c\#LZÉaah]dlVcYiVa`VWdjiY^hiVcXZd[hdjgXZidhjW_ZXi!i]Zh]VeZVcY stretched across the backside of the umbrella.


This does a couple of things: It eliminates a lot of back scatter
h^oZd[i]Za^\]i!VcYl]Zi]Zg^iÉhWdjcXZY!ÒaaZY!dgY^gZXi#;gdbjbWgZaaVh and indiscriminate wash all around the studio, which is a good thing
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idhd[iWdmZhidgZÓZXidgh!lZÉaah]dlVl]daZWjcX]d[hij[[^ci]ZhijY^dVcY if you’re trying to craft a particular look to the light. With an open-
ended umbrella in a white-walled studio, man, it’s a free-for-all. Pho-
]dlidjhZ^i# tons everywhere, and once they’re out, they’re tougher to catch than
a fart in a bag. They careen off the walls and ceiling, filling the model
7ji Vii]ZZcYd[i]ZYVn!Vaad[i]Vi^h_jhiÆhij[[#ÇI]ZgZVabZhhV\Z^h in places you don’t want filled and generally softening or obliterating Add a bounce card with
^ci]Za^\]iVcY]dllZjhZ^i#?jhia^`ZX]ddh^c\djgldgYh!lZX]ddhZdjg the nature of the light you’re trying desperately to create. As they
buzz by your ears, you can distinctly hear them saying “Nahh, nahh,
an umbrella and it's like
adding another light.

a^\]i#>iÉhjeidjh]dla^kZani]ZXdckZghVi^dc^h#

SCOTT HOLSTEIN
nahh, nah…” and giving you the Bronx cheer.

)*
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SCOTT HOLSTEIN
Hard Light. I mean hard, badass, tough-guy light. Clint Eastwood light.
Hot highlights. Deep shadows. Makes somebody’s laugh lines look like
the Grand Frikkin’ Canyon. This is “You-lookin’-at-me?” kind of light.
You can use this type of light on certain faces, such as the
aforementioned actor whose iconic face and pulsing forehead vein But the floor, what about the floor? A big source hovering just off
has graced many a movie screen. But, you can also use it for a hard, the floor like this is going to heat up the lower-right corner of your
clean fashion look, especially when your model has cheekbones that photo, giving it a dangerous and distracting starboard list. Remember
look like she swiped ’em from Mount Rushmore. I mentioned a tactic of shading the bottom half of the umbrella to
So here’s the thing (and I’ve said this many times); shadows give achieve falloff and gradation? Same principal here, except writ large in
mystery and depth and shape and dimension. Not showing some- the size and shape of a piece of 4x8' foam core. Two of these gaffered
thing can be just as evocative as showing it. Shadows help you do together at the edges form what most studios call a V-flat. Very handy.
this. Shadows are your friend. Take a shadow to lunch. Or, bring it to White on one side, black on the other. Use ’em to corral a light; gobo
the studio and watch it play.
You introduce shadows to your frame very easily when you use a hard
4EB3LCQ?LU!"LULC,FDEQ4E>QhP3LCQ the lens; flag a background; bounce a light; or, as you see here, shadow
the floor.
Oh, we are wacky, us photogs. Always coming up with catchy names for
light. Making a light hard isn’t difficult to do. Keep the source small, and
common household objects. (Well, at least around my house.) Believe it or not, there's a fashion model under that hat!
move it as far away from your subject as you can. Voilà! Ze hard light!
In this instance, our lady friend is standing in front of a bank of
Let’s tackle a delicate subject right off the bat, eh? When it comes
to softboxes, size matters. Big time. Again, depending where you’re
(>OA3LCQ"FD3J>II
windows on the long side of an L-shaped studio. The light in ques- So we took a look at the feel and look of a big softbox as it applies to
going with your photograph, bigger is most likely better when it comes
tion is way over in the short side of the L, firing through a different set the human form. And we saw the setup there. So how about the face?
to softboxes. (Softbox is the terminology of choice now. When I was
of windows, heading outside (come back!), and then reentering the What’s the effect of using a softbox the size of a city block on the
coming up in this industry, they were often referred to as light banks,
studio through the set of windows in front of her. By the time it takes human face? Well, outside of the fact that you can make somebody
or just simply banks.)
this journey (about 50–60 feet) and gets to her, the light has punch who looks like they kiss moving trains for a living look good, you can
Okay, just like umbrellas, they come in almost innumerable sizes
and impact, and whatever it hits is gonna throw a shadow. also light the face, the clothes, and the background in one shot.
and shapes: small boxes, big boxes, squares, rectangles, octagons,
Time to throw some stuff into your picture! The last thing you Take a look. That’s it. The whole nine yards. Done. Finito. Spiked
strips, deep ones, shallow ones, white insides, silver insides, and ones
want to do is create this shadow maker and then put nothing there the Octa about ten feet from the model; ran a long cable release
with interior baffles and some (rare) without. Whew!
to make shadows. What you see on her and the far wall is the mix of to the cappuccino bar in the fancy-pants studio we were renting;
There are also hot boxes. By that, I mean certain light sources that
windowpanes, pieces of the walls, and for good measure, I threw a ordered a no foam, wet, half caf, extra hot, double sprinkle jasmine
come along and are the box or source of the moment. (This would also
ladder in harm’s way. Just to break it up a little. Just for a measure of tea made from leaves that were already on the ground and therefore
extend to the current crop of BRIESE type, or the parabolic sources
unpredictability. Just to make nice to the shadows. not murdered; and read my Daily News while clicking away.
like a Broncolor Para, which are definitely the au courant lights of
choice, especially among the fashion crowd. They’re often as big as a
hot air balloon and about as wieldy.)
The “hot” box that’s pretty much an industry standard is the
Elinchrom Octa, which is big (almost 75") and redirects the light
source away from the subject and into a sea of silver, which then
punches (more like a love tap) the light back to the subject through
diffusion. Very soft. Very wrapping. And very perfect when you want
to wring the sumptuous utmost out of a set of curves, such as those
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presented in the form of our model with the hat.


Speaking of the hat, it’s wild and beautiful, and also shades her face
almost completely and thus presents a lighting problem. Small source?
Something with a hard edge? Shadow detail goes south, along with

SCOTT HOLSTEIN
her face. But with a big source, such as the Elinchrom Octa, luxurious
and liquid, all those photons do a slow, lovely stroll over your subject,
instead of a quick, hard sprint. The result: your photo’s got legs, just like
she does.

),
+(
Kidding, but not overmuch. I mean, this light forgives a lot of sins, The ring light does produce harsh shadows, except they’re all
!S>FI>?IBIFDEQ½>KV'. )/
not to be too Catholic about it. It lights the face beautifully. Look at directly behind the face or shape, and hence you can’t see them. So the

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the rotation from highlight to shadow! (These things get me excited.) effect is “shadowless” but hard and punchy. Notice the catch light in her IFDEQQE>QhP>S>FI>?IB½
It’s one light! No muss, no fuss. There’s not even a fill card involved. eyes. It’s right smack dab in the middle of the pupil, meaning I got the
Plus, she’s standing 25' from the backdrop and it’s lit to a nice, subtle ring beam on to the middle of her face, eyeball level. Go low with this I’ve used lots of lights over the course of 30 years
gray. Gradual falloff is a wonderful thing. light, you’ve got looming shadows all of a sudden and way too much in the field. Big strobes, small strobes, as well as
Compare and contrast this source to the feel and look of the ring information about what’s going on inside the nostrils. Go high with it, hot lights, constant sources that can vary from small
light. This is a whole different story. This light needs constant atten- again, potential for weird shadows, especially around the nose. Using handheld battery types to huge 16 K movie lights
tion and hands-on devotion to detail. No having a coffee whilst using this light is like using a hammer. Best to hit the nail on the head. that require their own crew and source of electricity.
this barnburner. Tip this light a bit, and you get radically different, And other types of illumination:

'I>JLRO,FDEQ
and potentially disastrous results. Tip the Octa a touch—so what?
Matches: The old Marlboro Man trick. Strike a
That low glow is very mysterious, very exotic, very Hollywood. Ever match, cup it in both hands, and move close to
notice how evocative low light is? We see it and gravitate towards it right the face.
away. It’s intriguing. Maybe it comes from our ancestors, whose main
source of light and safety came from the campfire glowing at their feet. Car headlights: Great for things by the side of
Or maybe it comes from the theater. Going to a show is a special the road, or to flare down the block for back-
night, right? We get all dolled up and go to the show. Often, on stage, lighting a wet city street. Use neutral-density gels
the actors and actresses are lit up with low light (they don’t call ’em foot- to control the output, or color gels for effect.
lights for nothing) and are radiating with sumptuous, evocative light.
Or maybe it’s fear. Push a low light hard, and you zip right past Rearview mirror from a car: Unscrew that puppy
Guys and Dolls on Broadway all the way to Dracula’s lair. Lots of low and catch light with it and you can form a band
light makes things Halloween creepy, and gives your subject a look that of highlight right across the eyes.
haunts your dreams.
SCOTT HOLSTEIN

The warning light on top of the Empire State Build-


ing: If you can make the climb, it’s a nice, red glow.

Lots and lots of candles: In Jaipur, I photo-


graphed the Festival of Lights for National
Geographic, where all the important buildings
are totally lit up with nothing but candles.

Lasers: Ever go to a rave? Use the lasers to


paint bodies.
Wherever it comes from, this type of light stirs emotions. Use it right,
in combination with an overhead source, you can produce magic, and
Unjacketed fiber optic cable: I once wrapped the
make your subject look like she just walked out of the pages of Vogue.
body of Jackie Joyner-Kersee in fiber optic cable
When mixing with an overhead light source, think of yourself as a chef,
for a cover of Sports Illustrated Kids.
carefully mixing just enough high and low to bake this particularly
beautiful cake.
You see the sources are very close to the model. The larger source
is overhead because in this combo, it’s de facto the main light, hence
bigger than our low fill. Say, for instance, it’s running at f/11. That will tell
SCOTT HOLSTEIN

you to start your low fill at f/8. Good rule of thumb—the low fill is a stop
under the main.
Is that right all the time? Hardly. Depends on the size of your sources,
the proximity, the look of the model—all sorts of things. But it’s a good
starting point.
This is where the modern power packs really help out. You can tick
those puppies up and down in tenths of stops until you get the feel
of the light to your liking. It also helps if you shoot tethered in the
studio. That way, you’re looking at big images on your laptop, instead
of parsing out the frame on the LCD on the back of the camera.

SCOTT HOLSTEIN
And when you do mix it right…oh, boy, “Hold the presses!
Schweetheart, get me rewrite.” Get the right low glow and you’ve
got a one-way ticket to Glamourville. ■

[ ]
Joe McNally is an internationally acclaimed American photographer and longtime photojournalist. From 1994 until 1998, he was LIFE magazine’s staff photographer, the first one in 23 years. McNally
is known for his ability to produce technically and logistically complex assignments with expert use of color and light for editorial and commercial assignments. His work has appeared in National
Geographic, Sports Illustrated, Newsweek, Fast Company, and many others. As part of his teaching activities, he conducts numerous workshops around the world. McNally has also released a new
book, The Moment It Clicks: Photography Secrets from One of the World’s Top Shooters (New Riders Press).
Ring lights produce "shadowless," hard, punchy effects.
ALL IMAGES ©JOE McNALLY
*'

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F ne thing is for certain—Flash has come a long way in a very short time. From the mind of Jonathan Gay at
FutureWave Software, Flash started as a standalone application called SmartSketch in the mid ’90s, and it eventu-
ally evolved into an application for creating vector-based animations to leverage the rise of a new medium called
the Internet. (For some cool reading on the back history of the development of Flash, check out “Flash Tenth Anni-
versary” at www.adobe.com/products/flash/special/flashanniversary.)
Fast-forward to 2008 and it’s almost impossible to visit the Web without coming across Flash in some form. It has become
the de facto standard of the new user experience on the Internet. Designers and photographers use Flash to present their
creative visions in an animated form; and musicians and video professionals take advantage of its current toolset to stream
compelling content to the largest possible audience. In fact, the penetration of Flash in the market stands at more than 98% of
Internet-enabled machines—surpassing Java, QuickTime, and Windows Media Player.
In December of 2005, Adobe acquired Macromedia and ushered in a new union of print and Web design applications by
placing the most popular tools under one roof. Then, in 2007, Adobe launched one of its most ambitious upgrades to date—the

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Adobe Creative Suite 3. The most anticipated feature of this upgrade was the inclusion of Flash—and Adobe didn’t disappoint.
And the best part was just how well the Adobe applications integrated with Flash.

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:i\Xk`m\J\Xlj`k`\\i% @ccljkiXkfiXe[=cXj_ Illustrator is also a great place for you to work with text, and
with recent changes, you can now copy-and-paste text right into
Illustrator CS3 has gone through some changes that create a tighter the Flash interface and the text remains editable. If you happen to

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fit between itself and Flash CS3. Flash is, after all, a vector-based make changes to the text that Flash doesn’t support, it will auto-

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animation program, so it would only seem natural that Illustrator matically turn the text into a series of drawing objects collected
would be the first program to benefit from the Macromedia acquisi- into a group. You’re guaranteed to see in Flash what you’ve cre-
tion. I have to say, I was pleasantly surprised with the new integra- ated in Illustrator.
tion. Working with Illustrator designs in Flash couldn’t be easier!
The first thing that you’ll notice when working with both Illustrator
and Flash is that copying-and-pasting artwork has been greatly
improved. When pasting into Flash, anchor points, paths, colors,
gradients, and clipping paths now come in flawlessly. This is a boon
to designers who have libraries of vector creations and want to make
the jump to online multimedia development.
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Symbols have also been modified to maximize the compatibility Another great timesaver in this import process is the option
between the applications. Select an object in Illustrator, drag it into to create movie clips for each layer, and the ability to give each a
the Symbols panel, and you’ll be prompted with a dialog where specific instance name. It’s also a good idea to check the box to After Effects may not necessarily be the first application that comes After Effects also has the option to export your compositions
you can name the symbol, specify whether it’s a Graphic or a Movie Set Stage Size to Same Size As Photoshop Canvas because it takes to mind when you think of Flash development, but it may surprise with keyframes as cue points when you export as Flash Video (FLV).
Clip, set the Flash Registration point, and Enable Guides for 9-Slice away the guesswork of setting up the Stage. When you click OK, you just how much it’s used to create compelling effects. After Effects This makes it easier to set up events based on a specific time in
Scaling. Now when you copy-and-paste the symbol into Flash, all of all of your assets will be imported into the Flash file, and you’re supports FLV and SWF, among other popular formats. This is ben- the composition. You can also import SWF files into After Effects
the legwork for creating a symbol is automatically done for you. ready to begin coding. eficial when you need to create quick animations but don’t want to as vector images with alpha channels—a boon for quickly creating
invest the time creating them using ActionScript. engaging content based on your existing content.
For example, let’s say that you want to create a quick text anima-
tion for use in Flash. Rather than work with the Timeline in Flash,
take advantage of the multitude of text animation presets available in

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After Effects CS3. Choosing Browse Presets from the Effects & Presets
panel’s flyout menu in After Effects launches Bridge, where you can
select from premade effects. Double-click on the effect you’re looking
for and it will be automatically loaded into After Effects. 8Gif]\jj`feXcNfibÒfn
Nicholas Da Silva of ZOOLOOK (www.zoolook.com) is a
©ISTOCKPHOTO/DAVID TURTON

great example of individuals combining all of the Adobe


Creative Suite with great success. He starts his artwork
using a sketchbook and pencils, calling upon his roots as
a traditional artist. Then he moves between Adobe Illustra-
tor CS3 and Photoshop CS3 to refine his designs. He also
uses After Effects to animate his characters; features such
as Motion Blur let him create eye-catching story transitions
and make movement naturalistic. For final animation and

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While Flash CS3 continues to be a vector-based animation program,
output, Da Silva takes his work into Flash. For more on
Da Silva and how he takes advantage of Flash and all the
Adobe applications, visit www.layersmagazine.com and
bitmap images have long been a staple of interactive multimedia navigate to the Columns section.
experiences. To that end, Flash and Photoshop needed a way to
work together in a more organized manner. Adobe succeeded in
this is by allowing Flash to import the layer structure of a PSD file Importing an Illustrator file into Flash will also prompt a similar
and create movie clips of the elements. dialog. One difference is an extra checkbox offering the option to
When you import a Photoshop document into Flash (File>Import>
Import to Stage) that contains layers, layer groups, and text layers,
you’ll notice in the Import dialog that all of the layers and layer
import any unused symbols you may have in the Illustrator file.
If you’re currently using Photoshop CS3 Extended, you have
the option to create animations using the Animations Timeline
When you’re done editing your text, click on File>Export>
Adobe Flash (SWF) to save your animation. The dialog that appears
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Now that we spent some time talking about how the different pieces
groups have been preserved. You have the option to import indi- panel and saving those files as video. After creating the animation, allows you to choose how you want Flash to handle unsupported of the puzzle interact with one another, let’s take a look at a project
vidual layers, as well the ability to select multiple layers and merge click on File>Export>Render Video, and you’ll be presented with a features—Rasterize or Ignore. You can also specify whether or not that incorporates all four applications to produce a quick movie in
them. You can import each layer as either a bitmap image that dialog to save your video file. Select the Flash Video (FLV) format to loop the movie clip. Flash. (If you’d like to follow along, you can download the project
holds supported layer styles or import them as a flattened bitmap and click Render. You’ll then have an FLV file that you can import files from the Magazine section at www.layersmagazine.com.)
image. You can also double-click on the layer names directly in this back into Flash CS3.
dialog and rename them. HI:EDC:/ Create a new 800x400 composition in After Effects.
Set the Frame Rate to 30 Frames Per Second and the Pixel Aspect
Ratio to Square Pixels. While you won’t be using the entire Stage,
this will allow you the option to ease text in and out if you choose
to do so.

after
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After making those changes, import the file into an FLA project
in Flash CS3 and then work with the movie clip in the same manner
you’d work on any other imported clip. This not only saves you time
when working on a composition, but also lessens the learning curve
by using effects that are already created for you.

*(
HI:EILD/ Click on the flyout
menu in the Effects & Presets
panel, and select Browse Presets
to open Bridge. Open the Text
folder then the Lights and Optical
folder. Double-click on the Bubble
Pulse effect and click OK. At this
point, all you need to do is double-
click on the text and replace it with
the text you want to use.
Export this file as a SWF file in the
project directory. Our beginning text
has been created. If you don’t have
After Effects CS3, I exported a file
for you to use in the download files
called if_intro_finished.swf.

HI:EI=G::/ Open the Illustrator file, if_logo.ai. You’ll notice that and setting a center registration point would also be convenient
there’s a shape already set up for you. We want to convert that here in this step. Be sure to turn off the checkboxes for any layers
shape to a symbol. Select the shape and drag it into the Symbols you don’t want to import. After you import your background image,
panel, giving it a name of “if_logo,” type of Movie Clip, and a drag it to the bottom of the layer stack.
center registration point. Click OK.

HI:E;DJG/ Without closing the Illustrator file, open Flash CS3 and

Behind every
create a new ActionScript 3.0 file. In the Property inspector, set the HI:EH:K:C/ Once you’ve completed the imports, go to Control>
Stage to 800x400 pixels and the Frame Rate to 30. This will match Test Movie. Now you’re ready to work with the individual compo-
the settings that you’ve made in After Effects and ensure you have nents on the Flash Stage, animating each, or manipulating them
a smooth graphic animation. Go back to your Illustrator file and
copy the symbol. Back in Flash CS3, paste the logo into frame 1 of
with ActionScript.
great canvas print
Layer 1. Double-click the name Layer 1 and change it to “if_logo.”
is a great canvas printer.
HI:E;>K:/ To bring in your After Effects content, click the Insert
Layer icon to create a new layer for the element, then choose File>
Import>Import to Library. Select the file you want to import (in this Dramatic sophistication. Awe-inspiring color. A luxurious depth and texture that begs
case, if_intro_finished.swf) and click Import to Library. This will bring to be admired, touched, and brought home. Your photography and digital artwork
the clip into the Library, allowing you to drag it out to the Stage. will exude these remarkably saleable qualities when meticulously reproduced on the
Once you drag it to the Stage, rename Layer 2 to “if_text.” world’s finest inkjet canvas by the imaging experts at Artistic Photo Canvas. We combine
the most advanced, earth-friendly materials with image-handling skills and customer
HI:EH>M/ The Photoshop file (moon.psd) can be imported in the service unmatched by our imitators. This level of quality and care has never been so
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same manner, but you don’t need to create a new layer for it. When
affordable, with pricing that enables you to profit handsomely from your work.
you choose File>Import>Import to Stage and select the Photoshop
file, you can select the layer(s) that you want to import and Flash
will automatically place it on its own individual layer. Double-click
on the layer you want to import (in this case, the middle layer) and “Bongo Lounge”
rename it “if_background.” Creating a movie clip of if_background Max Kelly
www.maxkellyart.com
[Adobe Illustrator CS3 & Photoshop CS3]
24" x 36" Gallery Wrapped Canvas Print

**
Toll Free 1.888.99.CANVAS | www.ArtisticPhotoCanvas.com
K_\8Zk`feJZi`gk*C\Xie`e^:lim\1
8e@ek\im`\nn`k_C\\9i`d\cfn
O hile many of the developments within Flash have been
positive, the latest release of Flash CS3 sports the newest
scripting language ActionScript 3. Redesigned from
the ground up, ActionScript 3 has been designed to make the
development of projects more streamlined, more efficient, and
Layers: Many people are willing to learn Flash, but there’s a con-
sistent push for people to learn ActionScript. How necessary is it
that a user learn ActionScript? Couldn’t I just use the Timeline to
animate things?

more powerful. By making many of these changes, however, some Brimelow: You should absolutely use the Timeline for animation.
of the most basic of actions in Flash require a significant amount Some projects require little or no ActionScript code. But if you’re
of re-learning. Placing actions on symbols and portions of Timelines looking to start a career working in Flash, learning ActionScript is
isn’t allowed anymore, often relegating the scripting to reside in one an absolute necessity. It’s really just a matter of how complex your
frame of the project, or a separate file altogether. project needs to be. The more complexity, the greater the likeli-
This push toward the programming side has left many users of hood that you’ll need ActionScript to help you build it.
the application struggling with the learning curve and wondering if
the application’s ease-of-use has come to an abrupt end. Veteran Layers: What are some of the immediate benefits of learning
programmers of ActionScript 2 find themselves with a new language ActionScript 3?
that requires a back-to-school approach. Flash developer Corban
Baxter posted an open letter to Adobe concerning this shift in Flash, Brimelow: By far the biggest benefit is the incredible performance
and wondering about its future for designers (http://blog.projectx4 increases that you’ll see. Basically, this means that your movies will
.com/2008/01/29/dear-adobe). run faster and it will also allow you to do things that have never
In my opinion, Adobe has always been known as a company been possible before in the browser. The open source Paper-
that listens carefully to its consumers, so it was no surprise (and a vision3D project is one of the best showcases of how fast the new
welcome relief) to see Adobe Platform Evangelist Lee Brimelow language is. Another benefit is that the language is a lot more struc-
chime in on the direction on Flash and assuage fears of its push to tured and organized, making projects easier to manage. Another
the dark side of coding (http://theflashblog.com/?p=328). ancillary benefit is that it will make your résumé very valuable, as
I had the chance to sit down and talk for a few minutes with Lee there is currently a huge shortage of ActionScript 3 developers in
about these changes, and what they mean for the evolution of Flash. the industry.

Layers: Why is so much ActionScript required now to make simple Layers: XML seems to be one of the biggest things touted for
tasks happen? Previously, you were able to use a wizard to create a ActionScript 3? How does this help me?
button, and now you need event listeners and stuff? What’s changed?
Brimelow: Once you start using XML for things, you’ll wonder how
Brimelow: ActionScript 3, which is a completely new version of the you ever lived without it. Storing your text information in an exter-
language, represents a considerable change to Flash users in many nal XML file allows you to easily edit it without having to repub-
ways. First, the performance of your Flash movies will be increased lish your Flash movie. This is important if you’re building a Flash
by as much as 10 times when using the new language. It’s also a movie for a client since they’ll easily be able to change things on
much more structured and mature language, which is extremely their site without having to bug you to make changes in the Flash
important for developers who typically create large, object-oriented movie. The ActionScript code needed to implement these types
applications with Flash. One of the downsides of the language is that of things can be a bit daunting for beginners, but learning it is well
it can be a little tougher for designers to pick up, especially those who worth the effort.
have gotten used to ActionScript 2. Adobe is working extremely hard
on ways to make the transition to the new language easier. Layers: You mentioned CS4 earlier. What other kinds of things can
we expect for the next version of Flash?
Layers: Is the Flash application moving away from design and becom-
ing more of a development tool specific to coders? Brimelow: Flash CS4 is focused primarily on designers and will
include things like a completely rebuilt timeline and animation
Brimelow: Absolutely not! In fact the opposite is true. Flash CS4 will system. Auto-keyframing is finally coming to Flash, which will
be focused primarily on designers and will include features such as a make people who are used to using tools like After Effects very
completely new animation system and Timeline. Other features like happy. This feature will make animation much easier for begin-
inverse kinematics will appeal to people with traditional animation ners as they won’t have to worry about creating and managing
backgrounds. Flex is the environment most suited for developers keyframes. There will be support for inverse kinematics, which will
and Flash is where interactive designers should feel most at home. allow you to create bones for characters in a similar way that 3D
With that being said, code does play an important role in most applications do it today. There are many more features, some not
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professional Flash projects, so Flash also needs to accommodate finalized, that will be included in the next release. But mark my
those features as well. words, Flash is going back to its roots!

[ Rafael “RC” Concepcion is an Education and Curriculum Developer for the National Association of Photoshop Professionals.
An Adobe Certified Instructor in Photoshop and Illustrator, RC has more than 10 years’ experience in the I.T. and e-commerce
industries and has hosted training seminars in the U.S., Europe, and Latin America. ]
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To sharpen the creature, choose Filter>Sharpen>Smart Sharpen. Then Sharpening did my bison some good, but it also brought out anoma-
set the Amount to 350%, Radius to 4.0 pixels, and Remove to Lens lous color patches in the fur. What’s needed is a generous pass of
Blur. After clicking OK, double-click the tiny slider icon to the right the Median filter. Choose Filter>Noise>Median, raise the Radius to a
of the words “Smart Sharpen” in the Layers panel and change the hefty 50 pixels, and click OK. As a rule, smoothing should be applied
Mode setting to Luminosity. This focuses the attention on the detail in before sharpening so drag the Median filter below Smart Sharpen in
the image rather than exaggerating the discrepancies between color the Layers panel. Double-click the slider icon to the right of “Median”

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channels—always a good idea when sharpening. Leave the Opacity in the Layers panel. (Photoshop warns you that you won’t be able to
set to 100% and click OK. Tip: Delete the empty filter mask because preview the effects.) Change the Mode to Color to smooth over the
it just takes up room. When you do need a mask, it’s easier to create considerable coloring problems, and click OK to render the smooth-
it on the fly, as you’ll soon see. ing and sharpening effects together.
One of the biggest drawbacks to smart filters is that all filters applied to a single layer must share a common filter
mask. Fortunately, there’s a workaround. To make a long story short, you nest one smart object inside another. To
keep the long story long, read the following steps, in which I’ll employ a total of four smart filters—two masked,
two not—to both smooth and sharpen the detail in a photograph.
DEKE McCLELLAND

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Let’s start things off with a photograph that requires sharpening. Photoshop provides a handful of commands that convert an image Smoothing out the color works nicely inside the bizarrely (and inac- Duplicate the Red channel by dragging it onto the Create New
I captured this image with a Leica D-Lux 3 out the window of my to a smart object. But for my money, the most convenient method is curately) multicolored bison, but it eliminates all hint of color in the Channel icon at the bottom of the panel. Double-click the name (in
car. In the course of touring the back roads of South Dakota’s Black to click the little doodad in the top-right corner of the Layers panel background. What’s needed is a filter mask that exposes the bison our case, Red copy) and call it “Mask.” When the mask is complete,
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Forest, we were suddenly surrounded by a few hundred mostly and choose Convert to Smart Object. (It works for multilayer images, and protects the grass. Turn off the Eye icon in front of the words the bison should be white and the background black. So press Com-
peaceful bison, and this guy in particular was close enough to touch too.) Go ahead and rename the new layer something meaningful like “Smart Filters” in the Layers panel to restore the original image, mand-I (PC: Ctrl-I) to invert the colors. Next we need to exaggerate
(were I endowed with really stretchy Mr. Fantastic arms). The resulting “Bison.” Now your converted and named image is ready to receive which we’ll need to build a mask. Click the Channels tab and click the contrast. Choose Image>Adjustments>Levels. Raise the black
image is soft with striated noise patterns and wandering colors. If nondestructive smart filters. the various channels to find the one with the highest degree of point value to 70 and lower the white point value to 190 to draw out
I just set about sharpening him, I’d bring out the bad detail along contrast between foreground and background. For most people the bison from its background. Click OK to complete the effect.
with the good. Fortunately, smart objects provide a more selective if and mammal shots, this is going to be Red.
somewhat laborious approach.
[If you’d like to download the image used in this tutorial to practice these techniques, visit www.layersmagazine.com and navigate to the Magazine section. We’ve also included a before
and after for you to compare the results. All files are for practice purposes only.]
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Your mask isn’t going to win any awards for accuracy. And if you
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Click the RGB thumbnail in the Channels panel to return to the color
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You’ll see the original, unedited version of the photograph on a
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To downplay the striated noise pattern, choose Filter>Noise>
have some extra time on your hands, you could finesse it using composite image. Then click the Layers tab to return to the Layers standard Background layer, with all pixels available for editing. Reduce Noise. Then change the Strength value to 8, Preserve
the Dodge and Burn tools or the like. But this quick-and-dirty panel. Turn on the Eye icon in front of the words “Smart Filters.” Then Bring up the Layers panel menu and once again choose Convert Details to 20%, Reduce Color Noise to 15%, and Sharpen Details to
mask nicely highlights the areas of major color drift and fur detail, Control-click (PC: Right-click) “Smart Filters” and choose Add Filter to Smart Object. Then rename the layer “You’re in the SO!” This 0%, all of which conspire to smooth away most of the noise without
making it good enough for our purposes. To load the mask, press Mask. Photoshop limits the Median and Smart Sharpen effects to the way you’ll know where you are if you accidentally enter the smart altogether ruining the good detail. Make sure the Remove JPEG
the Command key (PC: Ctrl) and click the Mask thumbnail in the interior of the bison and protects the prairie grass in the background. object. While this adds to the complexity of the file, quite amaz- Artifact checkbox is turned off and then click OK to apply the filter.
Channels panel. Now you’re ready to apply the mask to the filters. ingly, it adds nothing to the file size. In fact, the Adobe engineers
I talked to endorse this technique and told me there is currently
no limit to how deeply you can nest smart objects.

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One of the great things about smart objects is that they make efficient
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I’m glad to have brought back the colors in the grass. But I’m not so
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You don’t need the filter mask so drag it to the Trash in the Layers
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Close and save the nested smart object. Moments later, you’ll see
use of file size. This particular image was 15.4 MB flat and 15.4 MB keen on limiting the sharpening effect to the animal. Plus we need to panel. Next we want to add a little bit of edge contrast, in part to the meticulously sharpened result thanks to a combination of four
after the addition of the two nondestructive smart filters. It’s only when address the horizontal noise patterns at work in the shadow detail. This sharpen the prairie grass but also to generally enhance the image filters working nondestructively aided by two smart objects, one
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you start adding masks that the file size balloons. We have two masks, means applying a couple more filters, neither of which benefit from detail. Choose Filter>Other>High Pass, set the Radius value to 20 nested inside the other. It takes some effort to sharpen an image
one alpha channel and the other a filter mask, so the file size has the existing filter mask. The solution is to create a nested smart object— pixels, and click OK. Double-click the tiny slider icon to the right with this degree of control and accuracy, but the results are worth
grown to 25.7 MB. The two masks are identical, so there’s no reason a smart object inside a smart object—to accommodate the unmasked of the words “High Pass” in the Layers panel. Drop out the grays by the effort. And you can modify the filter settings without fear of
to keep them both. Go to the Channels panel and drag the Mask filters. Back inside the Layers panel, double-click on the Bison smart changing the Mode setting to Soft Light. Then reduce the Opacity harming the quality of the image. Smart objects aren’t perfect, but
channel (not the italicized Filter Mask item) to the Trash. The file size object thumbnail to open it in a new window (presumably called Layer value to 50% and click OK. The result is just enough sharpness to with some planning and slightly more patience, you can establish
drops to 20.5 MB. 01.psb after the temporary file Photoshop creates to accommodate offset the effects of the Reduce Noise filter. flexible compositions that permit you to apply filters and adjust their
the smart object). order and settings in any way you see fit. !

+& QRecipient of a 2007 Ava Platinum Award for his two-part Photoshop CS3 Channels and Masks, Deke McClelland recently completed his 31st video series, Photoshop CS3 Sharpen-
ing Images (www.lynda.com/deke). S
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Q J>;:?=?J7B97C;H7S Okay, let’s move on to some macro shooting tips and techniques.
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Steady your shots: Macro lenses exaggerate camera shake, as do

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telephoto lenses. To reduce the chance of a blurry picture caused
by camera shake, which is most noticeable in natural light pictures,
you need to use a tripod. I used a tripod with a ball head (for easy
positioning) when I took this natural light photograph of an Atlas moth
with the 100mm f/2.8 Macro lens.
Close-up photography allows us to capture a
unique view of our world, especially when that
world is printed larger than life. Capturing small
subjects requires careful attention to the technical
aspects of photography: focus, lighting, sharpness, depth of field,
exposure, and composition.
All of these factors came into play with the image of the red-
eye tree frog (left), photographed with a Canon EF 50mm f/2.5
Compact Macro lens and ring light. (The black background in this
picture was created by holding a black T-shirt about two feet behind
the subject—far enough so that it wasn’t illuminated by the ring light).
For newcomers to the fascinating, fun, and rewarding aspects
of close-up photography, this article introduces a few of the
basic techniques.

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For true macro photography, you need a macro lens, as opposed to the
macro/close-up setting on a zoom lens. Macro lenses let you get much
closer to a subject than zoom lenses. This picture of a newly hatched Compose carefully: The background can make or break a close-up
butterfly was taken with a Canon MP-E 65mm f/2.8 Macro lens, which picture. Try to compose a picture so the background complements
offers tremendous magnification—much like a bellows system for SLR the main subject and does not detract from it.
cameras. It’s a specially designed, manual focus macro lens that actu-
ally lets you fill the frame with subjects as small as a grain of rice.

Add light: When adding light, a ring light is a good choice. A


ring light attaches to the end of a lens and can provide ratio and
even (“shadowless”) lighting. The light from a ring light also adds
contrast to a picture, making it look sharper than a natural light
photograph. A Canon Macro Ring Lite MR-14EX attached to the

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front of the 50mm macro lens was used for this picture of a cabbage
white butterfly.

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The remaining photographs in this article were taken with more Add a background: If the background is too distracting, you can change
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commonly used macro lenses: 50mm and 100mm. The main differ- it. Photograph a leaf, make an inkjet print, and use the print as a back-
ence between these two lenses is that the 100mm lens provides ground. For more creative control, try blurring the leaf in the digital
a greater camera-to-subject distance so you don’t frighten skittish darkroom (using the Gaussian Blur filter in Photoshop) to simulate the
subjects, such as butterflies. effect of using different f-stops.

+*
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Focus carefully: In close-up photography, as with telephoto photog- RAW file you’ll have less chance of getting banding in solid colors

your camera support experts


raphy, focus is extremely critical. You need to focus on the most and dark areas, such as the black background in the opening image
important element in a scene, such as the eye of an insect or small for this article.
animal. It’s also important to shoot at a small aperture (f/11 or f/22)
for good depth of field (unless you want the area in front of and Experiment: It’s important to be aware of how different angles and
behind your subject out of focus). I set the 50mm macro lens at f/22 different shooting distances can greatly affect a picture. In close-up
for this photograph. photography, moving just a few inches, or a faction of an inch for
that matter, can provide a completely different view of the same
subject, as illustrated by these two pictures of an orchid, which
I took with the 50mm macro lens. Also play around with different
color modes, including black and white.
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Set the white balance and image quality setting: When using a ring
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+,
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Before After

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Now let’s try a different version of that technique. Throw away the Click OK in the Curves dialog without making any changes to the
Curves layer you just made. This method uses the inverted tonal curve. The image will be noticeably darker, with the darkest tones
map of the image to create a layer mask. Bring up the Channels being affected most of all. This darkening is being accomplished
panel and Command-click (PC: Ctrl-click) on the RGB composite by the Multiply blend mode. Adjust the Opacity in the Layers panel
channel (or the Gray channel) to load a selection of the luminosity as needed to fine-tune the effect (75% in this example). In the next
of the image. Lighter values will be more selected, darker values step we’ll explore further ways to fine-tune this layer mask.

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less selected. Choose Select>Inverse. From the main menu, choose
Layer>New Adjustment Layer>Curves. In the New Layer dialog, set
the Mode to Multiply and click OK.

A black-and-white photograph is all about the subtle matrix of tonal values that gives shape and form to the image.
Precisely applying modifications to light and shadow is key to fine-tuning a black-and-white photo. In this tutorial, we’ll
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look at ways to shape and enhance the tonality of a black-and-white image with some quick and simple techniques.

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Before
Before

After After

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First, we’ll take a look at some ways to quickly isolate and darken With the Color Range selection active, choose Layer>New Adjust- A layer mask is made up of grayscale tones. Lighter tones show For this technique, we’ll paint on an empty layer with white and
the shadows to emphasize texture and create depth. Start with an ment Layer>Curves. Drag down on the curve as needed to darken the adjustment more than darker tones. If needed, these tones can black and use a blend mode to add subtle highlights and shadows.
image that has already been converted to black and white, or you the shadow tones and increase the textural depth of the image. be adjusted with standard tonal correction tools. With the Curves You can use one of your own images or the one of the Inca fortress
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can use the one featured here. Choose Select>Color Range. In Click OK. This technique will be more successful on images with a adjustment layer active, choose Image>Adjustments>Curves. In this shown here. Add a new layer to the image (Layer>New>Layer and
the Color Range dialog, use the default menu setting of Sampled clear definition between the deep shadows and the middle values, example, I don’t want the lighter tones in the photo to be darkened click OK). At the top of the Layers panel, set the blend mode to Soft
Colors and click in the image on a representative dark tone. Use such as the carved heart photograph in this example. quite as much, so I used a fairly steep S-curve to increase the con- Light. Choose the Brush tool (B) in the Toolbox; press D then X to set
the Fuzziness slider to fine-tune the selection (represented by the trast in the mask. This minimizes the darkening effect on the lighter the Foreground color to white; and in the Options Bar, make sure the
white areas in the preview) and click OK. My Fuzziness setting for areas in the photo. Click OK to apply the curve. Mode is set to Normal and the Opacity to 30%.
this image was 60.

[If you’d like to download the images used in this tutorial to practice these techniques, visit www.layersmagazine.com and navigate to the Magazine section. All files are for practice
purposes only.]
+.
Before

After After Blurring

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Using a brush size that’s appropriate for the areas you’re modifying, The initial effect of adding enhanced highlights in this way is likely
paint where you want to increase the sense of a highlight. In this to be too obvious, so to soften the effect and blend it better with
image, I added vertical white strokes to the rounded corner of the the actual highlights and shadows in the image, apply a blur to the
central tower, and also on other areas of the wall where there was layer. Choose Filter>Blur>Gaussian Blur and blur to taste. I ended
an obvious highlight that I wanted to enhance. Press X to switch to up using a blur Radius of 35 pixels. Click OK and apply final fine-
black and paint in areas where you want to deepen the shadows. tuning to this effect by adjusting the layer Opacity as needed.
You’ll probably need to lower the brush Opacity to 20% for working
on the shadows.

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Both Camera Raw and Lightroom provide an elegant way to apply Now we’ll modify the layer to apply the sepia to specific tonal
a split tone to an image. There are a number of ways you can do regions. Double-click on the Hue/Saturation layer just to the right of
this in Photoshop, too. Here’s one way that adds a sepia tone to the layer name to bring up the Layer Style Blending Options dialog.
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the highlights and midtones, while preserving the original neutral Move the shadow slider for This Layer to 100. Option-click (PC: Alt-
black-and-white tonality in the darker values. Click the Create New click) on the right side of that slider to split it in two. Move the right
Adjustment Layer icon at the bottom of the Layers panel and add half to approximately 130. Any tone below 100 isn’t being affected
a Hue/Saturation adjustment layer. Click the Colorize checkbox, set by the sepia; between 100 and 130, the sepia will gradually begin
the Hue to 38 and the Saturation to 15, and click OK. to show; and any tone above 130 is being fully affected by the sepia
tone. Click OK to close the dialog.

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Q
Seán Duggan is the co-author of The Creative Digital Darkroom and Photoshop Artistry. He teaches regular workshops on Photoshop and the digital darkroom. Check out his images,
as well as Photoshop tips and musings on photography, at his website, www.seanduggan.com. S
All images by Seán Duggan unless otherwise noted.
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N B U U ! | ~ ! L M P T L P X T L J

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Duplicate the shape layer by pressing Command-J (PC: Ctrl-J). Repeat Step 3 a bunch of times, each time varying how much you
Double-click on the duplicated shape layer’s thumbnail in the decrease the size of the circle, as well as the color. Usually, I switch
Layers panel, change the color to white in the Color Picker, and between black and white, but you can also try using shades of
click OK. Now we need to make this circle smaller, so click the gray. Just make sure that it’s either black, white, or gray, as colors
Edit menu and choose Free Transform Path. Hold down Option- won’t work when creating a custom brush.
Shift (PC: Alt-Shift) and drag one of the corner handles inward to
make the new copy smaller. Keep dragging until you have what
appears to be a thick, black stroke around the white circle. Press
Enter when you’re done to commit the transformation.

h! pjoh!jo!djsdmft
There’s a design trend that’s blown up over the past year and it’s based around one simple shape—the circle. Not
just one circle, though, lots of them. In fact, it’s circles within circles. After looking at these designs at least a 100
times, it hit me that we could do this with a custom brush in Photoshop and create some really cool effects. So
here goes:

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We now have the makings of our circular design element but it’s sev-
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Okay, at this point we’ve got a new brush and now we’ll use it in an
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eral layers, which would be a pain if we wanted to add a lot of these image. First, create a new document. As ours is going to be a banner
Let’s start off by creating a brand-new blank document (File>New). Select the Ellipse tool from the Toolbox (it’s grouped with the Shape to an image. Let’s turn this into a brush so we can paint it on quickly. for a website, we’ll make it 800 pixels in Width and 150 pixels in
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If you want to follow along, make your document 1000x1000 pixels tools). Make sure you have the Shape Layers option selected at the Select the Rectangular Marquee tool (M) and drag a square selection Height (72 ppi). Next, click on your Foreground color swatch and in
at 72 ppi. One thing to remember here is that it’s always good to top left of the screen in the Options Bar. Press D to set your Fore- around the circle, then click the Edit menu and choose Define Brush the Color Picker, set your color to R:225, G:224, and B:206, then click
start a little larger then you’d ever want to use this brush. You can ground color to black and draw a circle on the canvas. To constrain Preset. (Note: If Define Brush Preset is grayed out, click on another OK. Press Option-Delete (PC: Alt-Backspace) to fill the Background
always reduce the size of the brush later. the ellipse to a perfect circle, hold down the Shift key as you draw. layer in the Layers panel to activate the command.) Give your brush layer with that color.
a descriptive name and click OK to save it.

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Finish before you start. TM

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Now we get to the fun part—our brush. We’ll need the Brushes panel
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Click on the word “Scattering” from the list on the left. Change the
for this, so switch to the Brush tool (B), then click the Window menu, Scatter setting to 300%. Finally, click on the words “Color Dynamics”
and choose Brushes to open it. On the top-left side, click on the words and set both Foreground/Background Jitter and Saturation Jitter
“Brush Tip Shape.” Then, scroll through the list on the right to find the to 50% (make sure everything else is set to 0%). You’re done in the
Circle Brush you just created. Change the Diameter setting to 65 px and Brushes panel for now and all that’s left is to set your Foreground
the Spacing setting to 75%. Now click on the words “Shape Dynamics” color to R:84, G:109, and B:131 and your Background color to R:0,
to see those settings. Change your Size Jitter setting to 60%. G:45, and B:84 (you can pick your own colors here if you want).

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Before you start painting with the brush, go ahead and click the Create
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Put your final elements into the image. Here, we’ve added a photo
When you’re faced with time limits, budget constraints or need creative content fast, let our templates
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a New Layer icon at the bottom of the Layers panel to create a new
blank layer; that way all of our brushing stays off the Background layer. also created a few different brushes using Steps 1–5 and varying the
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Now just click with your mouse and start dragging across your image. circle transformations for different styles (thick lines and thin ones).
You’ll see the circles appear randomly scattered and in different sizes Finally, we used an ornamental scroll shape in the background from
wherever you paint. The color even changes slightly because you www.iStockphoto.com (file number 4619009).
turned on Color Dynamics and adjusted the Foreground/Background
Jitter. This tells your brush to vary between your current Foreground
1-877-833-3305 www.stocklayouts.com
and Background colors. Cool, huh?

QMatt Kloskowski, one of the Photoshop Guys on Photoshop User TV, works full-time as an instructor for the National Association of Photoshop Professionals. He’s authored 10 books on
Photoshop and digital imaging and trains thousands of people each year with his videos, articles, and DVDs. S
,*
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D P S F Z ! | ~ ! C B S L F S

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Copy this text to the clipboard by going under the Edit menu and With this object still selected, go into the Effect menu, under Stylize
choosing Copy. Then, go under the Edit menu again and choose (in the Illustrator Effects section), and choose Scribble. This is one
Paste in Front. This will paste the copy directly over the original, so really involved effect. At this point, you can either use the settings
you won’t see any change. (Trust us, it’s there.) Then, swap the Fill shown here or you can experiment to see the different results you
and Stroke colors by clicking the bent double-headed arrow next can get. Keep an open mind—you may discover a really cool effect.
to the Fill and Stroke color swatches in the Toolbox. Set the Stroke Click OK when you’re done.
to None. All you should have is a blue fill and no stroke. Keep this

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object selected.

This blueprint technique has been seen just about everywhere—even on the cover of The Photoshop Help Desk
Book by Dave Cross. This is a quick demo using a blend of live effects, filters, and even a little gradient mesh to
create a seemingly complex logo treatment.

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Begin by setting your text. Select the Type tool (T) in the Toolbox Select all the text with the Selection tool (V). Near the bottom of Next, select the Pen tool (P) in the Toolbox and click a point just Press Command-C (PC: Ctrl-C) to copy this line, and then press
and click on the artboard to set a text object. In the Control panel, the Toolbox, click on the Stroke option to make it active. Go under above and to the left of the text. Hold the Shift key and click a second Command-V (PC: Ctrl-V) three times to paste it three times. Drag
set the font to Arial Black and the text size to 285 pt. Enter one or the Window menu and choose Swatches to open the Swatches point to the right of the text. Set the Stroke color to the same blue a copy to the bottom of the first line of text and then drag copies
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two lines of text using any word(s) you like. We have simply typed panel. Then select the blue swatch in the Swatches panel, as color we used for the text. Then in the Control panel, set the Stroke to the top and bottom of the next line of text (as shown here). This
in “HOUSE WORKS” on two lines. We also typed four spaces shown here, to set the stroke color. Set the Stroke size to 5 pt in size to 7 pt. Lastly, select the line and position it right along the top will give us the baselines illustrating the straightness of the letters.
before “WORKS” and tightened up the tracking by selecting all the the Control panel. Now simply set the Fill color to white. edge of the top line of text. Offset the lines from each other so it doesn’t look too symmetrical.
text with the Type tool and pressing Option-Left Arrow (PC: Alt-Left Note: If you can’t see the stroke, make sure the Scribble effect
Arrow) a few times. isn’t applied to it in the Appearance panel.

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Use the Pen tool to create similar blue lines along the sides of some
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Arbitrarily place arrows on the lines that you drew in Step 7. Just
of the letters to enhance the blueprint effect (set the Stroke to 5 copy-and-paste numerous copies of the arrow and drag them into
points to match the stroke on the letters). Open the Symbols panel place. Use the Selection tool to vary the size and rotate them as
under the Window menu. In the panel’s flyout menu, go to Open necessary. Now add some small, meaningless numbers around the
Symbol Library>Arrows. Drag-and-drop the third arrow onto the text to give the idea of measurements. Then add some simple,
artboard. With it still selected, go into the Control panel and click dotted lines using the settings in the Stroke panel shown here.
the Break Link button. In the Object menu, select Expand Appear- We also used the Pen tool to draw an additional element to our
ance. This will turn the Symbol into a regular object. Set the Fill to original arrow.
the same blue we’ve been using and resize as necessary.

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Select the Rectangle tool in the Toolbox and draw a box over the
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We need to do a little more work on the mask, so make sure that
entire graphic. Set the Fill color of this box to—you guessed it— the mask thumbnail is highlighted in the Transparency panel (indi-
blue. Now draw another box right over this blue one that’s slightly cated by a thick, black line). Select the mask shape and go under
mmm$bWo[hicW]Wp_d[$Yec

inset and set the Fill color of this box to black (make sure the fill is the Object menu and select Create Gradient Mesh. Enter 6 for
R:0, G:0, B:0 or C:0, M:0, Y:0, K:100). So you should have a black box Rows and 6 for Columns. Set the Appearance to Flat and Highlight
on top of a slightly larger blue box. Select both boxes and open the to 0%. Click OK. (Did you know that you could have a gradient
Transparency panel under the Window menu. In the panel’s flyout mesh mask?)
menu, choose Make Opacity Mask. The black box will mask away
the blue box.
continued on p. 70

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Using the Direct Selection tool (A), select various points of the mesh
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The last thing is the texture. Use the Rectangle tool to draw another
and set their colors to white or any varying shade of gray to allow box approximately the same size as the mesh (make sure you’re
all or some of the blue to come through. The mask works similar back in art mode and not mask mode in the Transparency panel).
to that of a layer mask in Photoshop where black will completely Set the Fill color to an off-white like this one shown in the Swatches
mask a shape, white reveals everything, and gray will show some panel. Go under the Effect menu, under Photoshop Effects, and
transparency. The goal here is to give the effect of the blue powder choose Texture>Texturizer. Set the Texture to Sandstone, the Scal-
on a blueprint. Note: Make sure the Fill is active in the Toolbox. ing to 100%, and the Relief to 3. For the Light direction, choose
Top Right. Click OK. Then go under the Object menu, under
Arrange, and choose Send to Back. This will finish the effect of
blueprint paper.

153
156
mmm$bWo[hicW]Wp_d[$Yec

QCorey 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. S
-&
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Ubljoh!nbuufst!joup!zpvs!pxo!iboet want to make, and set the Horizontal Offset value to the width of

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Q J>;7HJE<JOF;S But how about that second ballot box in the list? The one that sits
the box minus its stroke weight. Set the Vertical Offset to 0. Click
OK, and InDesign will create a series of boxes that overlap by
K B N F T ! | ~ ! G F M J D J perfectly flush left and whose weight is balanced harmoniously with
exactly the weight of their strokes, so there’s no thickening of the
the type next to it. Well, I drew it myself, and indeed, the best ballot

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vertical, overlapping lines. Select the whole line of boxes and Group
boxes are ones you make by hand. To do this, choose the Rectangle
them (Object>Group), so they’re easier to handle. This array, too,
tool from the Toolbox in InDesign and click on your page to open a
can be inserted into text as an anchored graphic.
dialog where you can define the size of your ballot box—try about
Because boxes for credit card numbers are often divided into
80% of the size of your type.
clumps of four (like the card numbers themselves), you may want
In the Stroke panel, you can specify its weight and preview just
In honor of this election year, I would like to dedicate to create gaps in this array. If you’ve use the Webdings ballot box,
how well various weights relate to the weight of your type. Once
a column to a humble bit player in the typographic select the ones you want to become gaps and use the Swatches
you’ve drawn it, you can cut-and-paste it into your text, where as
repertoire: the ballot box. A linchpin of democracy, panel to give them a color of None. If you used custom-drawn
an anchored graphic, it will act like part of your text. By default, it
it doesn’t get the respect it deserves, and learning boxes, you can use this same device or use the Direct Selection
will sit neatly on the baseline. Once anchored in place, you can still
to use it well teaches some important typographic lessons. tool to select individual boxes and delete them. Since they’re
select it with the Selection tool and change its size or weight.
The problem starts with finding one at all. It’s not in any standard graphics and not typeset characters, the line of boxes won’t col-
Because you’ve drawn it yourself, this ballot box doesn’t have
character set, and fonts including Symbol, Monotype Sorts, and lapse to close up the space.
side bearings like most typeset characters, so it sits perfectly
Zapf Dingbats don’t include one either. Of the popular pi fonts, only flush against the margin. This is a characteristic it shares with the
Webdings and Wingdings offer them. The Webdings ballot box is Webdings em-square box, as you can see in the illustration. One
a full em square, meaning that it reaches from above a typeface’s disadvantage that custom ballot boxes have is that they can’t be
ascenders to below its descenders. That’s big, for a ballot box. used with the Bullets and Numbering controls in InDesign (found
Wingdings offers three models, which range in weight from normal in the Paragraph panel’s flyout menu), which can automatically add
to horsy to even horsier. These sit on the baseline and are more or symbols at the beginnings of listed items. To use a ballot box in a
less cap-height. list, you have to use a symbol found in a font.
J N B H F T ; ª J TUP D L Q I PUP ! ! J M MV TU S BU J P O ; ! D I S J TU Z ! X J O U F S

Ideally, you want the weight of the stroke of a ballot box to The spacing between a ballot box and the text that follows it is
have some relationship to the weight of the type you’re using it dependent on your layout, but the norm is a single word space (as
with. Right away we’re in trouble. If you scale down the em-square with other items that qualify generically as “bullets”). If your setting
Webdings ballot box to a reasonable size—two-thirds of its normal has justified margins, you’ll want to make that a fixed space. InDesign
size—and raise it up to sit on the baseline, as a ballot box should, gives you two options here: the Quarter Space, which is slightly
it gets pretty thin, as you can see here in the top example. All in all, Keep in mind that if you need to typeset an “x” or a checkmark
narrower than a word space in most fonts, or what InDesign calls a
a lot of folderol for a result of limited utility. inside a ballot box, as shown here, all you have to do is set the
Nonbreaking Space (Fixed Width). This latter is the same width as a
character to the right of the box and kern it back to the left to
word space, but it can’t be stretched or squeezed during justifica-
superimpose it over the box. This works whether your box is itself
tion like a regular word space. (It can’t be used as a line-breaking
a typeset character or a hand-drawn box of your own creation.
point either—hence its name—but that doesn’t matter in this case.)
Both of these spaces are available from Insert White Space in the
Type menu in InDesign.

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Another common use for ballot boxes is in coupons that call for
credit-card numbers. If you’re satisfied with its weight, you can use

Q?Z[Wbbo"oekmWdjj^[ the Webdings em-square box in this role. Just set a series of boxes
with no spaces between them and tighten their tracking to a value
of −60 (that is, minus 60 thousandths of an em) in the Control panel.
m[_]^je\j^[ijhea[ JU
B This causes them to overlap precisely so there’s no doubling of the
OL vertical strokes where they coincide. Don’t set these in a justified
AV
The thinnest of the Wingdings’ ballot SL
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the boxes can’t be flexed to justify the line.
ones. The heavier models
If you prefer to use custom-drawn ballot boxes for your credit-
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with heftier sans-serif
card grids, create the series using Step and Repeat from the Edit
menu. First select a single box, then open the Step and Repeat
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faces and bold and
dialog from the Edit menu. Here, select the number of boxes you
extra bold faces, as
seen in the bottom
two examples in
the illustration. [ 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. ]
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Using the Rectangle Frame tool (F), create a frame that goes to the Unless you went into Photoshop prior to this step to size your photo,
edge of your bleed area. The cover image is usually what draws the chances are it came in either too big or too small for your frame.
potential reader into picking up the magazine. Things like, “Who’s What makes matters even worse is that it’s probably the wrong
that?” “Wow, check out that car!” or “He’s/she’s hot!” come to mind. aspect ratio too. You want your image to fill the frame without dis-
Once you have your frame, use the Place command either from the torting, so choose Fill Frame Proportionally from the Object>Fitting
File menu or Bridge CS3 to place your best photo. menu. While this will definitely fill the frame, it doesn’t mean that
it will position the image exactly where you want it. Switch to the

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Direct Selection tool (A) and then you’ll be able to position the
image to your taste.

It may sound like a simple thing, but you better believe that a lot of thought goes into the design of a magazine cover.
Covers compete for attention next to dozens of other magazines on the rack. In this tutorial, we’ll not only take you
through the process of creating a cover, but also reveal techniques that designers use to make their covers stand out.

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As usual we need a new document (File>New Document) to start. I recommend that you get into the habit of using the slug feature The problem with this particular photo is that there’s no headroom. Aside from your photo, the name of the publication is the next
However, this time we’re going to do something a little different. to store important information about the job itself. Think of the slug Photographers are often told to keep the headroom to a minimum thing that people look at. So clearly it needs to be big, but it also
Click the More Options button in the New Document dialog to as a notes area that can be printed if needed. The one thing you’ll in portrait photography. So in this case, we definitely need the mast- needs to look good. Unless you’re using a script font, chances
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expose the Bleed and Slug options. Almost all magazine covers definitely want to put in this area for your magazine covers is the head to be on top of the photo as opposed to behind it, with the are your font will need to be kerned at the larger size. I’m using
bleed off the edge of the paper and we’re going to do just that. copyright information about the photo you’re using. Using your head slightly overlapping it for effect. Create a text frame with the a chunky grunge font at 150 pt and tracking set to –10 in the
Turn off the Facing Pages option near the top and enter a 0.25" standard Type tool (T), you can include things such as photographer, Type tool and key in the name of your publication. If your publica- Control panel. I also individually kerned each letter by eye for a
Bleed for the Top, Right, and Bottom (click on the link icon to the phone number, email address, and usage rights to this area. tion is established, then you probably already have the proper font, better balance. (Tip: To change the kerning, insert your cursor
right so you can enter different values in each field). Also add a 1.5" size, and kerning values; however, if you’re just starting out, then between two letters and use your Option [PC: Alt] key in conjunc-
slug at the bottom. Click OK to create your new page. you’ll want to give your font choice some thought. tion with your Arrow keys.)

-*
the world
is your
palette.

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Now it’s time to put in the particulars about this issue. Usually that
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When you see someone on a magazine cover, you want to know
means the Month/Year and maybe either the volume number or why he or she is on the cover, so you need a teaser. This is the
the website address. In either case, you’ll want to create these story that’s going to make people buy the magazine, thus this copy
in a separate text frame from your masthead for easy position- should be larger than any other teasers. Create a text frame with
ing. Don’t worry about font color at this point; we’ll get to that the Type tool in an area that will have the least impact on your
in a moment. You can also add a graphic element to anchor your main photo. Type your teaser in a nice large font, and never use
masthead. I chose a rectangular paint smear created in Illustra- the same font that you used for the masthead—it’s all about con-
tor and placed it (File>Place) behind my masthead information trast. (Be sure to turn off the Hyphenate option in the Paragraph
(Object>Arrange>Send Backward) for more pop. Control panel.) Experiment with different font sizes and combina-
tions of upper- and lowercase words.

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Before we go much further, we need some color swatches to start
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Place the same cover photo you used in InDesign into your page
MEET COLORMUNKI DESIGN
the innovative new way to create
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applying color to our text. If you’re good at picking colors, then in Illustrator. Draw a box off to the side with the Rectangle tool (M).
ColorMunki is the do everything solution that gives you the
you can just go ahead and create your swatches in InDesign. Truth Now take the Eyedropper (I) and sample a color in your photo (in
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freedom to capture, calibrate and create with any color you


be told, I struggle when it comes to picking colors, so I’m going to this example, the lips). If you bring up the Color Guide panel, you’ll find. Now you can jump from inspiration to production
let Illustrator create my swatches for me. Open Illustrator CS3 and now have a set of swatches that all work well with each other. (Tip: without losing color quality. And with ColorMunki software,
you can easily group the colors you discover. So ColorMunki
create a new Print document. Go to the Swatches panel and choose Click on the drop-down menu at the top of the Color Guide panel
makes sure everything works together to help bring your
Select All Unused from the flyout menu. Now click the Trash icon to to view different Harmony Rules.) Choose Save Colors as Swatches ideas to life.
remove them. from the Color Guide flyout menu to add those swatches to your
Swing by COLORMUNKI.com
Illustrator Swatches panel.
continued on p. 78

PANTONE® and other Pantone, Inc. trademarks are the property of Pantone, Inc. X-Rite, ColorMunki and the ColorMunki logo are trademarks or registered trademarks of X-Rite, Incorporated in the United States
-, and/or other countries. Pantone, Inc. is a wholly-owned subsidiary of X-Rite, Incorporated. © Pantone, Inc., 2008. All rights reserved.
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Lastly, choose Save Swatch Library as ASE from the Swatches flyout
menu and choose a name and location to save your swatches. Back
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Applying different colors to your type often makes it easier to read
against a photo in the background; however, designers use another ...yo u rs e l f ? !
in InDesign, choose Load Swatches from the Swatches panel’s flyout trick to make their text stand out even more. Yes, it’s time for a drop
menu and open the ones you just saved. You can now apply these shadow. The trick here is to apply a shadow with a hard edge that’s
“matching” colors to your text by simply selecting your text with just slightly offset from the original text. Select your text frame with
the Type tool and then clicking the swatch you want to use. I also the Selection tool, and go to Object>Effects>Drop Shadow. Turn

b e o u t o f yo u r m in d !
You must
changed the color of the masthead element to tie it all together. on Preview, and set the Size to 0 and your Offset to a small fraction,

pin g
Just Control-click (PC: Right-click) on the element and choose Edit in this case .004". Click OK when you like it. It looks great applied

r Clip
Original to open and edit it in Illustrator. to the story titles as well.

Let M ist e
h e clip p in g !
do t Handmade Clipping Paths

Why Mister Clipping?


Five reasons to choose Mister Clipping:
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It couldn’t be easier. Simply register, and upload your images.

It’s cheaper than doing it yourself.

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I prefer one main photo on my covers, but if you need to put
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Sign up for an account and use
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another photo on the page, you’ll want it to be seen, but not
overpower the main photo. One way to get around this is to You can try $20 worth of images for free!
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use shapes to help hold your smaller photos. You can draw a This code gives you $20
worth of free clipping paths.
shape with the Pen tool (P), fill it with color, and then lower its
transparency (Object>Effects>Transparency). To see how your
cover is going to look printed, go into Preview mode. You can
enter/exit Preview mode (as long as you’re not in the Type tool)
by pressing the letter W on your keyboard.

-.
QIn his current role as Director for North America Creative Pro Core Business for Adobe Systems, Inc., Terry White leads a team of creative professional product specialists. He’s also the
author of Secrets of Adobe Bridge and co-author of InDesign CS/CS2 Killer Tips and The iPhone Book. S
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Decide which text layer you want to rasterize (convert to pixels) To convert your layered RGB image to a layered CMYK file, choose
and which you want to keep as editable. Rasterized type blends Edit>Convert to Profile. In the dialog, select a CMYK Destination
in nicely with its surroundings and takes on a softer blended Space Profile appropriate for the printing device on which you’ll be
edge and it will no longer be linked to any external font files, printing this image. In our example, we’ve selected U.S. Sheetfed
thereby simplifying the image. In contrast, editable type main- Coated v2, one of the built-in CMYK profiles. Be sure to uncheck
tains a harder, sharper edge and will remain linked to its external the Flatten Image checkbox to maintain the layers. Click OK and
font files. In our example, we rasterized the signature text layer: then click Don’t Flatten in the warning dialog that appears.

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Just Control-click (PC: Right-click) on it in the Layers panel and (Tip: If your printer hasn’t told you which custom profile to select,
choose Rasterize Type. choose the type of press and paper on which you’ll be printing.)

Almost everyone uses PDF for saving and sharing entire documents, such as InDesign files. You can also save graphic
images—and in particular, commercial print-bound graphics—as PDF images. This allows you to take advantage of
the PDF’s inclusiveness, editability, printability, and inherent Internet compatibility.
TAZ TALLY

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Open an RGB image in Photoshop and set two text layers (prefer- Make a Duplicate copy of this image by choosing Image>Duplicate, Click on the rasterized text layer in the Layers panel to make it active. Activate the Channels panel (Window>Channels) and from the
ably PostScript or OpenType). We’ll be keeping one layer of type and name this image with the suffix “CMYK” (here, “Alaska Frost- Now Command-click (PC: Ctrl-click) on this layer’s thumbnail to select Channels panel flyout menu, choose New Spot Channel. In the
editable, which means it will be linked to active font files external ing_Layered_CMYK”). the type. This is the selection to which we’ll assign a spot color. dialog, click on the color swatch and select the spot color of your
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to your image. Typically, we’d save this image as a PSD, TIFF, or Tip: I label all my CMYK colors pace images with the CMYK suffix Note: Assign a spot color to print a very specific color not re- choice—here, PANTONE 7461 C. (Click on the Color Libraries
EPS. In each case, the font files will either remain external to the so I can tell at a glance these images have been converted to CMYK. producible with CMYK inks and only add a spot color to an image button in the Color Picker to access the Pantone libraries.) Then
image (PSD and TIFF) or lack editability (EPS). We’ll also rasterize In fact, I label any image in a color space other than RGB, such as bound for printing on a commercial printing press. Spot colors are click OK to create your new spot color channel. This adds a fifth
the other text layer and add a spot color. After we convert the Index color or LAB. That way, I can assume all images without a color separated from other print colors, such as process CMYK colors, building block (not Alpha) channel to your Channels panel.
file to a PDF, we’ll look at how these text layers and spot color space label are RGB. and printed on separate cylinders on a commercial printing press. Tip: Use a Pantone swatch book to select your spot color, not
translate into InDesign and back into Photoshop. its appearance onscreen, which will only yield a simulation and
often not a very good one!

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REALLY EASY
Are you currently slaving away migrating all
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Photoshop will provide an onscreen simulation of the spot color
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The traditional choice for saving an image containing a spot color
your content? Because, whether you are working

you’ve assigned. To view your new spot color separation, click on that’s to be separated for printing would be to save it in Photoshop on Windows® or Macintosh,® Adobe,® Microsoft,®
the Eye icon next to the CMYK channel to turn off all the channels, DCS2.0 format, a complex, preseparated version of EPS. Instead,
leaving only your new spot color visible. Now you’ll see the true we’re going to use the Photoshop PDF format—a simpler and or QuarkXPress,® moving any data back and forth
black-and-white nature of the separation. Remember, the spot more flexible file. Choose File>Save As, then in the dialog, select
color is only actually created when it’s printed on press. Photoshop PDF from the Format pop-up menu. To maintain your is difficult. Not to mention all the re-formatting!
Tip: To knock out, rather than overprint this spot color, reselect text layers, check the Layers box. Check the Spot Colors box to
the type, turn off the spot color channel view, and delete the selec- make sure your spot color is included in the PDF as a separate If you want to save time and big headaches, use
tion from the active CMYK channels. color. Uncheck the Embed Color Profile box, and click Save.
Markzware conversion tools. Believe me,

this software makes it easy to move your

data and it’s much faster than re-creating

it from scratch. So, the next time you are

slaving away with content, work easy and

think MARKZWARE.

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In the Save Adobe PDF dialog that appears, click on the General
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Next, click the Compression category on the left side of the dialog,
CONVERSION TOOLS
FOR DESIGNERS, PRINTERS & PUBLISHERS
category on the left. Now choose Acrobat 5 (PDF 1.4) from the which is where you control what happens to your image in terms of
Compatibility pop-up menu (this is a very compatible and accepted downsampling and compression when you click the Save PDF button ID2Q, PUB2ID,Q2ID, and MARKZTOOLS
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version of PDF that also supports transparency). Also check the Pre- to create the PDF—it’s a handy way to downsample and compress an
serve Photoshop Editing Capabilities box to ensure you can open image you might want to send across the Internet or view onscreen. CALEB CLAUSET | 2C Design
and edit this PDF in Photoshop. You can also check the View PDF But to maintain maximum image quality and sharpness, choose the “Q2ID is truly an amazing piece of engineering and the simplicity of use
After Saving box to automatically view your PDF once its creation is Do Not Downsample option and None for Compression. JOIN OUR (File > Open, done) is great... (It’s) the best $200 I spent. Paid for itself the
complete—a nice timesaver! Note: You can also convert 16-bit images to printable 8-bit images AFFILIATE day I bought it. Can’t get a much better ROI than that.”
on the fly here! PROGRAM
continued on p. 84
TODAY!
markzware.com/conversions
.( 2008 Markzware®. All Right Reserved. Cover by US Patent #5,963,641
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In the Output category, select No Conversion from the Color Conver- When you’re finished with your PDF settings, click the Save Preset
sion pop-up menu and Don’t Include Profile from the Profile Inclusion button to save these settings for future use. This preset can then
Policy. This will allow colors in your image to pass through “unmo- be selected via the Adobe PDF Preset pop-up menu located at the
lested” during PDF creation. top of the Save Adobe PDF dialog. Then click the Save PDF button
Again, this can be an easy way to configure your PDF for Web located in the lower-right corner to create your PDF.
and screen use but to maintain the integrity of the color in your Note that the linked font files associated with your editable text
image, just pass the color pixels through as we did in Step 10. layer will be embedded in your PDF to guarantee the typesetting
PDF-X compliance can be established by assigning an Out- integrity of your PDF file, no matter where you send it.
put Intent Profile Name, but this isn’t required for general com-
mercial printing.

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Now let’s run a test to see if the spot color you assigned will be
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Now to test your PDF file for editability, open your PDF in Photo-
Adobe Photoshop training, education, and news.
® ®

recognized by InDesign, which will be critical if you intend to place shop. Note how all the layers you started with, including your Join today and receive...
the PDF and separate/print it from within an InDesign document. editable text layer, are intact and indeed editable. Also note that rPhotoshop User magazine r&YDMVTJWFNFNCFSEJTDPVOUT
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Create a new InDesign document. Choose Window>Swatches (or your spot color channel is happily there as well!
And, as a bonus, you’ll get “The Best of Photoshop User: The 10th Year” DVD
press F5) to activate the Swatches panel. Choose File>Place, then Now open your PDF in Acrobat 8. Choose Advanced>Print
0OF :FBS.FNCFSTIJQ r5XP :FBS.FNCFSTIJQ
locate the PDF you just created. As soon as you place the PDF file, Production>Ink Manager to see the process CMYK inks and the
Use code NAPM-1UM for your bonus gift.
your spot color, Pantone 2577 C, is added to the Swatches panel 7461 C spot color you assigned in Photoshop.
as a spot color. Other print- or press-oriented images, such as duotones and
Photoshop images containing vectors, can also be saved as com- National Association of Photoshop Professionals
Image by Doug Landreth, NAPP Member and Photoshop World Guru Award Winner ©2008
plete, editable, printable, and Internet-safe PDF files.

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QTaz Tally is the author of Acrobat and PDF Solutions from Wiley Press, as well as numerous other digital imaging books on Photoshop, scanning, digital photography, and prepress.
Visit Taz’s websites www.taztallyphotography.com and www.tazseminars.com. S w w w. p h o t o s h o p u s e r. c o m o r c a l l 8 0 0 - 7 3 8 - 8 5 1 3
Adobe and Photoshop are registered trademarks of Adobe Systems Incorporated. *Prices are for U.S. residents only. Corporate, Educational and International rates are also available.
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How styles are prioritized when more than one is applied to the Once you’ve identified a conflict, you’ll need to edit or remove
same element is complex, but the Styles panel in Dreamweaver styles to fix it. In this case, if you remove the .green class style, the
can help identify conflicts. To use this feature, first click to select an newly defined H1 style will take over. You can remove a style by
element, such as a headline, then click on the Current tab at the top deleting it from the code in Split or HTML view, but there’s an even
of the CSS Styles panel. The Properties pane at the bottom of the easier way. Click to place your cursor in the element, then find the
panel displays how styles are applied to the selected element. In the style in the Tag selector at the bottom of the workspace (in this case,
example shown here, the green color in the headline is being caused the .green style is applied to a paragraph tag). Control-click (PC:
by a class style called .green, which is overriding the H1 style. Right-click) and choose Set Class to None to remove a class style.

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Dreamweaver CS3 provides a great collection of tools for creating page designs with CSS, but when it comes to
altering and troubleshooting CSS, things can get confusing in a hurry. To help you sort through the options, this
column focuses on some of the challenges you may face when working with CSS.

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QFHE8B;C09ED<B?9J?D=IJOB;IS Dreamweaver CS3 makes it easy to change the name of a style in If the style name doesn’t match the name used in your page code,
It’s easier than you might imagine to create conflicts by applying the CSS Styles panel. But here’s the rub: There are two ways to edit the style definition will no longer be applied. Using the drop-down
two or more different styles using CSS. For example, let’s say you a style name, and the outcome from each method is quite different lists in the Find and Replace dialog, you can specify if you want to
redesign your website, creating a new style for your H1 tags with a (as you’ll learn in the next few steps). One way to change the name change the style name in all of the files in a site, only in the current
white text color. But when you look at the pages in your site, many of a CSS rule is to Control-click (PC: Right-click) on a style name in document, in open documents, or within selected text. As you see
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headlines still display in a green color from your old design. There the CSS Styles panel and select Rename from the drop-down menu. here, the attributes are automatically filled in by Dreamweaver when
can be many possible causes, but if you don’t remember all of the When you use this option, Dreamweaver prompts you to open the you use the rename option, making it easy to use the correct search
JANINE WARNER

old styles or you’ve taken over a site created by someone else, the Find and Replace dialog and automatically change the style name string to change the style name of the style in the code.
next step offers you a few tips for diagnosing this kind of problem. anywhere it’s used in your page code.

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reaching 8 million creative professionals monthly!
If you change the name of a style in the CSS Styles panel by Changing a style name in the code is not hard if you know where to
simply clicking on the name and retyping it within the panel, much look. Indeed, when I’m changing a style name that’s only applied
as you would in the Finder or Explorer in your operating system, once in a website, I find it much quicker to do it this way. After you’ve
Dreamweaver won’t prompt you with the Find and Replace dialog changed the style name, just click on the element formatted with
and you’ll have to change the style name in the code manually if the style and then Control-click (PC: Right-click) the Tag selector, and
you want the style definition to apply. choose the Quick Tag Editor. That brings up a little dialog where you Advertising / Marketing t Multimedia / Web Design t Video Games
can edit the style name without having to view the code (and thanks Animation & VFX / TV & Film t Software / Tools / Technology t Mobile / Wireless
to shortcuts, you can select the new name from a list of available
styles). If you opt to type, make sure you do it carefully. The name
Digital Artists, Graphic and Web Designers, Animators, Compositors
has to be exactly the same.
Game Designers, Programmers, Producers, Technology Directors, Editors and Instructors

CreativeHeads.net Job Board Network

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Dreamweaver makes it easy to use CSS to insert a background image
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If you follow the box model to create centered CSS designs, you
using the Page Properties dialog. While you’re at it, you can define probably create a div with a style called something like #container,
whether the background image repeats or not, and even specify if it and then insert all of your content, including other divs, inside that
should repeat on only the x or y axis. But if you want to center a back- main container div. The predesigned CSS layouts in Dreamweaver
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ground image so that it floats within a centered design area, you can’t follow this model. If you want your background image to be centered,
do it through the Page Properties dialog. But don’t fret, read on to the trick is to set the image as the background of the #container div
the next step for an easy solution to centering a background image. instead of setting it as the background of the entire page. To do so,
double-click on the #container style name in the CSS Styles panel, and
use the Background category in the CSS Rules Definition dialog.

continued on p. 90 Post jobs @ www.creativeheads.net

..
QUALITY SOFTWARE SINCE 1993

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Using the Links category in the Page Properties dialog, it’s easy to
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To create a second set of link styles for a navigation bar, create the
5pm. The boss calls you up.
Says he needs the website fixed, apparently someone’s been
on his case about “web standards” and how the code’s not
create styles for all four of the link states: link, visited link, hover, and links inside a div and then include the ID for the div in the name of validating and won’t work in some browser or other. ‘Fix it,’
he says. ‘Even if it takes all night.’
active link. When you do, Dreamweaver automatically creates styles the link styles. For example, if you name the ID for you div #navbar,
named a:link, a:visited, a:hover, and a:active. That set of link styles and you want to create link styles that only affect the display of links So you go make yourself another cup of tea, glance at your
watch, maybe let out a little sigh. Good thing you’ve just
works fine if you want all of the links on your webpage to look the inside the div, you’d create styles that look like this: #navbar a:link. rebuilt the site using Freeway Pro, you tell yourself, with the
same, but if you want to create a second set of styles, say, for the links (Note the space between the ID name and the tag name.) These hint of a smile.
that appear in a navigation bar, you’ll need to use the Advanced link advanced styles instruct the browser to only apply the style definition It’s amazing what a difference Freeway makes; standards
selector, covered in the next step. when a link appears inside an element with the ID #navbar. (For more compliant code every time, no coding, works everywhere.
detailed instructions, see “Creating a Navigation Bar with CSS in You sip on the tea. Pull up the Freeway document. Press a
button. Save. Upload.
Dreamweaver” at www.layersmagazine.com.)
5.40pm, you shut down the computer and head on home.
“Even if it takes all night...” – yeah, right.

Go to www.softpress.com and download the free trial of


Freeway 5 Pro or Freeway 5 Express. It’s fully functional and
you can try it out for 30 days, before you buy.

You supply the creativity.


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One of the greatest frustrations when it comes to working with CSS is
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If you haven’t discovered it already, download the Web Developer
We handle the code. Copy
right ©
1997–2008 Softpress Syste
ms L
td.

that not all Web browsers display styles the same way. For example, Toolbar for the Firefox Web browser, available from addons.mozilla
early versions of Internet Explorer display padding differently than .org. This handy addition to Firefox makes it possible to disable, view,
Firefox, which can throw off the alignment of elements. Unfortunately, and even edit the CSS on any webpage. Of course, your edits won’t freeway pro
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the differences among browsers are far too complex to cover in a step permanently change a live webpage, but you can use the Web Devel-
or two in this article, so the tip here is to use the Browser Compat- oper Toolbar to see how other designers use CSS, and even alter their INCLUDED
Freeway 5 Pro and Freeway 5 Express are Universal applications and
ibility feature to identify possible problems and tips for how to resolve style sheets to see the effects, which is a great way to learn more about
run on any Mac with Mac OS X 10.4 (“Tiger”) or higher. Discounts are
them. You’ll find this feature under the File menu when you choose CSS, and even test your own webpages. Intuitive, award-winning software
available for non-profits, seniors and education users. for visual web design

Check Page.

ENJOY FREEWAY 5
QJanine Warner has authored a dozen books about the Internet, including Dreamweaver CS3 for Dummies. She’s also the host of the award-winning video Total Training for Dreamweaver 8
and CS3. A popular speaker, she has been teaching Web design since 1995 (www.JCWarner.com). S Copyright © 1997–2008 Softpress Systems Limited. Freeway and Softpress are trademarks of Softpress Systems Limited, registered in some countries. Other product names are the property of their respective owners.

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You’ll only need two layers in this example. Rename the first layer Select the first frame of the components layer and choose
“actions” and click on the Lock icon to lock it. This layer will hold Window>Components. In the Components panel, twirl down
all of the ActionScript code. It’s considered good practice to lock the User Interface folder to see a list of all the available UI
this layer to prevent you from placing any visual assets on it. Click components. Click on the TextArea component and drag it
the Insert Layer icon to create a new layer above the actions layer, onto the Stage. In the Property inspector, set the Width to
and rename it “components.” This layer will hold all of the UI 515 and the Height to 340 (make sure the Width and Height
components in the movie. aren’t linked together by clicking on the Lock icon). Set the
location to x: 17 and y: 18, and give it an Instance Name of “ta.”

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Flash CS3 comes with new user interface (UI) components that allow you to rapidly create applications. These
ActionScript 3 components have a smaller file size than their predecessors and are much easier to style and skin. We’ll
show you how to create a simple component-based Flash application that allows the user to dynamically change the font
size of a text area. Font size control is nice to have for accessibility purposes, in addition to just being cool to play with.

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Open Flash CS3 and from the Welcome screen, choose Flash File The next component to add is a slider. In the Components panel, The last component you’ll need to add is a NumericStepper. This
(ActionScript 3.0) to create a new movie. The newly improved UI click-and-drag a Slider onto the Stage. In the Property inspector, give component allows you to adjust numeric values by either chang-
components can be used only in ActionScript 3-based Flash projects. it a Width of 180. Set the location to x: 280 and y: 380, and give it an ing the number in the text field or by clicking on the up and down
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In the Property inspector, set the frame rate to 30 fps. You can leave Instance Name of “slyda.” With the component still selected, choose arrows. Drag out the component onto the Stage. In the Property
the Size and Background color of the movie at their default values. Window>Component Inspector and set the following values: Maxi- inspector, set the Width of the component to 55. Set the location
Save the file somewhere on your hard drive as textSizer.fla. mum: 100; Minimum: 5; and Value: 12. to x: 477 and y: 370, and give it an Instance Name of “ns.” With
the component still selected, return to the Component Inspector
and set the following values: Maximum: 100; Minimum: 5; and
Value: 12.

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The NumericStepper component will fire a change event whenever


the components. Select the first keyframe of the actions layer and You can fill it with your own content but in our example, we’ll the code that will modify the text size based on the current slider the value is changed in the embedded text box or if either of the
press Option-F9 (PC: F9) to open the Actions panel. The first piece fill it with “Lorem Ipsum” filler text. This type of text is used by value. Enter the code shown above into the Actions panel. The first arrow buttons are clicked. Add the code shown above into the
of code is an import statement to pull in some external Action- designers when creating design comps. (You can generate Lorem line sets the size of the TextFormat object equal to the value of the Actions panel. The first line of code sets up the event listener so
Script classes for handling the component events. Some classes Ipsum text at www.lipsum.com.) In the Actions panel, set the text slider. To see the changes, you need to call the setStyle method that it calls the nsChange function whenever the value changes.
are imported automatically by Flash and others will need to be property of the TextArea as shown above. Make sure to begin on of the TextArea and pass in the TextFormat object as shown in the The remaining lines of code set up the nsChange function.
imported manually. Enter the code as shown above. Line 3, enter ta.text = ", paste your text, then add "; and press second line of code. The last line of code sets the NumericStepper
Return (PC: Enter). to the same value as the slider.

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Test the application by choosing Control>Test Movie to see the
Now you’ll essentially be doing the same thing for the NumericStep-
need to create a new instance of the TextFormat class. This class adjust the size of the text in the TextArea. The event you’ll need per component as you did for the Slider component in Step 10. finished result. You should be able to drag the slider and see the
allows you to modify things such as font family, style, and color. to listen for is the thumb drag event. Enter the code as shown text size dynamically change, as well as seeing the value in the
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Enter the code shown above into the Actions panel. The first line
Enter the code as shown above into the Actions panel. We used above into the Actions panel. The first line of the code sets up the sets the size of the TextFormat class to the current value of the step- NumericStepper change. Making changes to the NumericStepper
Myriad Pro as the font but you can use whatever font you want. event listener so that whenever the event happens, it will call the per. The second line applies the modified TextFormat object to the should also cause the text size to change, and also change the
The font size of 12 matches the current values of both the Slider slydaChange function. The remaining code is the slydaChange TextArea to change the text size. The third line sets the value of the position of the slider. You should now have a good understanding
and NumericStepper components. function block. Slider equal to the current value of the stepper. of how to use the rich component set in Flash CS3.

QLee Brimelow is a Platform Evangelist with Adobe and is an award-winning interactive designer. Lee runs the free tutorial site at www.gotoandlearn.com and a Flash-related blog at
www.theflashblog.com. He is also the author of several titles for Lynda.com dealing with Flash and After Effects. S
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wjefp!jo!qipuptipq folder that contains the actual video file, you’ve broken the link so
all that he can see is the “poster frame” of the video file. Send him
the entire folder that contains both the PSD file and the video file(s)
4. Click the Play button in the Animation Timeline or simply
press the Spacebar to render the video clip into RAM.

and you should be fine. Tip: Using large, 8–12-megapixel images allows you to
Now that Photoshop CS3 Extended can work directly
create 4,000–5,000-pixel video files. This is many times larger
with video and 3D files, I’m receiving an increasing
Question: Last year, when you were on PhotoshopUser TV (www than SD and HD video files. In fact, you can go out and
number of questions about the nuances of working
.photoshopusertv.com), you showed how to take a bunch of still shoot once, but then be able to chop up the resulting monster
with those types of files in a graphic design program.
images and turn them into a time-lapse video in Photoshop. Did video file into 30–50 standard-definition video files.
Here are some of the most common questions and answers:
you ever write that up as a tutorial?
Question: My friend and I have the exact same machine, but
Question: I was given a video file to use but when I brought it into
Answer: No I never did, but here’s a quick step-by-step that should he’s able to work with 3D files (rotate, spin, position, scale, etc.)
Photoshop it looked like it had scan lines running through it. Any
do the trick for you. a lot faster than I am. Why is this?
idea how to fix this?
1. Select File>Open and navigate to your folder of images—
Answer: If your friend really has the exact same CPU, RAM, hard
Answer: It actually sounds like you have an interlace problem. Was make sure that they’re numbered in sequence.
drive, and graphics card as you do, then there’s only one real
this footage captured from the TV or off a VHS tape or other analog 2. Select the first image and then click the Image Sequence explanation: Your friend has enabled 3D Acceleration for his
video source? If so, why don’t you give this a try? checkbox (circled). video graphics card (or he’s disabled yours and not told you
J N B H F T ; ª J TUP D L Q I PUP ! ! J M MV TU S BU J P O ; ! D I S J TU Z ! X J O U F S

1. Open the file that has the interlace problems in Photoshop. about it.) To check if this is the case, go to Photoshop (PC:Edit)>

2. Convert the layer to a Smart Object (Layer>Smart Objects> Preferences>Performance and look for the Enable 3D Accelera-

Convert to Smart Object). The reason for converting the layer tion checkbox. If it’s not checked, click on it to turn it on.

to a smart object is because you want the filter that you’re


about to apply to affect the whole video file and not just one
single frame.

3. Apply the De-Interlace filter (Filter>Video>De-Interlace).


Try the standard options first—they usually work best—and
click OK.

3. Select your Frame Rate. This will also determine the overall

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duration of the clip, as it makes this calculation based on the
frame rate. Click OK.
Rod Harlan is a video industry veteran and founder of the Digital Video Profession-
als Association. Through his company DriveDV Inc., Rod works on special projects
_cW][iWbbemioekjeYh[Wj[ for Fortune 500 clients such as Adobe and private institutions such as the NAPP.

Question: When I send a PSD file with an embedded video layer to His popular industry blog is packed with tips, tutorials, and industry insight and

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can be found at DVconfidential.com.
a friend, he can’t play the video. All he can see is the first still frame
of the video. What gives?

Answer: Ah…the clue for me (hidden in your question) was when


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you said that you were sending the video file with an “embedded
video layer.” I know Photoshop makes it look that way, but that’s
not how it works. Photoshop is simply linking to the video file on
your hard drive. By sending your PSD file to your buddy without the

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Go back to the Selection tool (V) so the entire text layer is highlight- At 1 second along the Timeline, click the Stopwatch next to Offset
ed, then twirl down the text layer in the Timeline. Next to Text, click to add a keyframe. Then, move along to 4 seconds and adjust the
on the right-facing arrow next to Animate and choose Opacity from offset to +100%, revealing the type. Control-click (PC: Right-click)
the flyout menu to add an opacity Animator 1. Twirl that down, and on that second keyframe and choose Keyframe Assistant>Easy
then twirl down both Range Selector 1 and Advanced. Set Shape to Ease In. Now, click on the Add option next to Animator 1, and
Ramp Up, and drag the animator’s Opacity value down to 0%. You’ll choose Property>Blur from the bottom of the flyout menu. This
see the right half of the line fade out. Finally, adjust the Range Selec- adds the Blur function into this already animated item. Simply

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tor’s Offset value to –100%, and the type is now invisible. adjust the Blur value to around 30, then scrub the Timeline and
see the result!

Type animation is one of the most wonderful functions to play with in After Effects, especially since version 6
introduced actual text character animation control. With CS3 adding per-character 3D control, typographic
motion design has never been more fun. Let’s create some cool smoky type.

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Let’s start out by creating a composition to hold our titles. We’re focus- At 0 seconds, go to Layer>New>Text to create a new text layer in Now we need the “smoke” that we’ll use to reveal the type. Go Go to the Toolbar and select the Ellipse tool. Click-and-drag over
ing on type animation for this tutorial, so we’ll use simple background the center of the comp. Type the words you desire, then use the back to 0 seconds, then go to Layer>New>Solid. Click the Make the center of the smoke to create a mask shape of your chosen
elements instead of footage. In After Effects, click on the Create a New Character panel to size, track, and style the text accordingly. This Comp Size button, check the color is black, name it “Smoke Solid,” size. Go back to the Selection tool, and in the Timeline click on the
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Composition icon at the bottom of the Project panel and create a first line of text will be our intro for the main title. In my case, I’m and click OK. Now go to Effect>Noise & Grain>Fractal Noise, and Eye icon next to Animator 1 to disable it. Double-click on the edge
new 20-second composition using the HDV/HDTV 720 29.97 preset, using one of my all-time favorite typefaces, Walbaum, from Veer.com. in the Effect Controls panel, set the Contrast to 140, Complexity to of the smoke mask, then drag it over the start of the text line. At 1
name it “Where there’s Smoke,” and click OK. Then double-click in the Both classic and modern, it suits clean typographic work nicely. 12, and twirl down Transform and set Scale to 160. Animating any second, press Shift-Option-M (PC: Shift-Alt-M) to add a mask key-
Project panel to bring up the Import File dialog and import Backdrop and all of these items can create moving smoke nicely, so feel free frame, scrub to 4 seconds, and drag the mask to the end of the text
.tga (you can download this file from www.layersmagazine.com). Drag to play around with these settings at any time. line. Be sure to Easy Ease In that second keyframe.
the backdrop image into the Timeline at 0 seconds.

[If you’d like to download the project files 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.]
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Twirl up Animator 1, deselect it, then add a second Animator Click on the Animate option next to Text, and choose Enable
frame and change the value to 0%. At 2 seconds, set the value to before the main title appears. Twirl up Animator 1 (be sure it’s not choosing Position. Click on Add (next to Animator 2) and choose Per-Character 3D, which activates multiple axes for Position and
100%, and at 4 seconds back to 0%. Shift-click to select all three key- selected). Click on Animate next to Text and choose Opacity once Property>Rotation, and then click on it again and choose Selector> Rotation in the Animator. At 13 seconds, add a keyframe for Posi-
frames and go to Animation>Keyframe Assistant>Easy Ease. Press again. This adds Animator 2. Use the exact same settings as in Wiggly. Twirl down the Wiggly Selector, and set Wiggles/Second tion and the X, Y, and Z Rotation values of Animator 2. Then, at 18
Shift-F to show the Mask Feather value and adjust it to 100 pixels. In Step 3 but set the Shape to Ramp Down instead. Then, keyframe to 0 and Correlation to 30%. Most importantly, set the Min Amount seconds, adjust the values as desired. Be sure to adjust the third
the Mode column, set the layer blend mode to Screen to remove the the Range Selector’s Offset from –100% at 5 seconds to +100% at value to 0%, which means when we animate these characters with Position value (z axis) to a negative number, pulling the characters
black edges. (If you don’t see the Mode column, Control-click [PC: 7 seconds. Select the first keyframe, use Easy Ease Out, and your random values, they’ll only move in one direction: forward. toward you. When done, select the four keyframes at 13 seconds
Right-click] on Source Name and select Columns>Modes.) Finally, text intro is perfectly animated. and set them to Easy Ease Out.
turn back on the visibility icon for Animator 1 on the text layer, and
view your results. Very smoky, very nice!

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Twirl up the text and smoke layers, and at 8 seconds go to Layer>
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Twirl down the new text layer and add a new opacity Animator.
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As an additional flourish to this piece, you could add a 3D camera
New>Text. Add and style your main title accordingly, making sure to Twirl down all the options, and set them once again to the same again and choose the Property>Blur option to add it into Animator 2. (Layer>New>Camera—we used the 50mm Preset) to the scene and
keep all the words on this one layer. This example uses a font called values we used in Step 3 (Opacity 0%, Ramp Up, Offset –100%), Keyframe it across the same 13–18 second timeframe (including animate its z axis so it moves toward the middle from 13–19 seconds
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Freebooter Script. Use different font sizes and change the baseline but change the Based On option to Words. At 8 seconds, add Easy Ease Out), starting at 0 and ending however blurred you wish to make the letters fly “behind” the camera and offscreen (we set our z
shift as needed. For example, we set the smaller text at 45 pixels a keyframe for the Offset value, and at 11 seconds change it to to see it (85 in this example). Now as you scrub the Timeline from axis to –200 at 19 seconds). At the same time, you could add an effect
and the larger text at 175 pixels. We then added Returns after each +100%. Then be sure to Easy Ease In the second keyframe. It’s 8 to 18 seconds, you can see the “simple” animator bringing the such as Turbulent Displace (Effect>Distort>Turbulent Displace) and
“There’s,” adjusted the baseline shift for the various lines, and then cool that the exact same settings can be used again, but it gives words in separately, and the “detailed” animator randomly moving animate its Amount over the same time period from 0 to 150, making
added a few spaces before the word “Smoke.” Position the text layer a different effect when set to Words and not Characters! and spinning the letters toward the viewer and “smoking” them the letters simply “wisp” away. Some very powerful type animation
in the center as shown here. out in the process. Beautiful! options, achieved using a handful of simple text animators. Enjoy!

'&&
QSteve Holmes is the creative director at Energi Design in Sausalito, California, creating award-winning motion graphics and Web design for clients worldwide. He also speaks at
various design conferences on the subjects of After Effects, motion graphics, and typography, and can be reached at steve@clickenergi.com. S
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If you want great color, then using a calibration chart can really Don’t think that fixing it in post means you can screw it up in the
come in handy. There are several options here, but what’s impor- field. Always use the white and black balance options on your
tant is that you have a clean shot of a card with pure black, pure camera. Be sure to zoom in tightly on the calibration chart and bal-
white, and neutral gray. One option is the QPcard (www.qpcard.se) ance your cameras. Anytime you change a battery, move locations,
that offers disposable, self-adhesive cards. The QPcard 101 calibra- or move lights, you’ll want to rebalance your cameras. If you’re
tion card runs about $14 for a three-pack and the advantage here is using natural light (such as the sun), remember that it moves so,
that you can toss the card once it gets faded. Another choice might depending on the time of day, you may need to recalibrate your
be the PhotoVision Digital Calibration Targets (www.photovision- cameras. Once your shot is set, don’t forget to roll actual footage
video.com) that range in size and cost between $30 and $100. of your reference chart (you’ll use it in post).

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Some of the most important effects you’ll find in your Premiere Pro toolbox are those for color correction. Let’s face
it, shooting perfect video can be tough: conditions change, time can be crunched, and there’s never enough light—
give up, right? Nope, fix it in post. Getting great color is significantly easier when you combine good production
practices with the right filters in post.

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Whether you’re giving a technical demonstration or just an in-depth When you digitize or transfer your footage, be sure to include infor- To make color correction easier, choose Window>Workspace>
interview, the option to shoot with more than one camera makes mation that can help you color correct. Load information such as Color Correction. This will switch you to a specialized layout
editing much easier. Rolling multiple cameras at once ensures you camera angle, tape number, and date. That way, you’ll only need to optimized for color correction. (To ensure that you’re working in
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have another angle to cut to and that the footage will stay in sync. color-correct the first shot in the scene or location. Once the shot is the default Color Correction workspace, go ahead and choose
What often happens, though, is that it becomes jarring as the editor fixed, you’re able to reuse your color effects; but to do this, you’ll Window>Workspace>Reset Current Workspace, as well.) Make
cuts from one angle to the next. This is because the cameras aren’t need good information to help identify your clips. sure that Draft Quality isn’t chosen in the Program Monitor flyout
matched. To make color matching easier, do your best to shoot with (For hands-on practice, you can download the practice project menu. While you’re in the flyout menu, you can set the Program
similar or identical cameras and to set the cameras to the same we’re using here from www.layersmagazine.com.) Monitor to something more useful, such as a Waveform monitor,
menu settings. which can help show you areas that aren’t broadcast safe.

[If you’d like to download the project files used in this tutorial to practice these techniques, visit www.layersmagazine.com and navigate to the Magazine section. All files are for practice
purposes only.]
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With every issue of Layers, you’ll discover new Adobe® Creative Suite tips and tutorials that will
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inspire your imagination and take your creativity to all new levels. Layers also offers portfolio
spotlights, product reviews, and industry news you won’t find anywhere else. So, whether you’re
a graphic designer, photographer, or digital artist…Layers is your “must read” magazine.

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Select the first clip in your Timeline that has the reference chart in
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To color balance the shot, you’ll need to position the Current Time
it (this will be the first shot in the Calibrated Angles Timeline). The
best effect to use for color correction (especially when you have
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Indicator so the reference card is clearly visible (for the sample proj-
ect, 02:28). In the Effects Control panel, click to expand the Three-
a reference chart) is the Three-Way Color Corrector. In the Effects Way Color Corrector. You can now use the8FC%FTJHOt"OJNBUJPOt*MMVTUSBUJPOt*NBHF&EJUJOHt(SBQIJD%FTJHOt1IPUPHSBQIZt.PUJPO
Balance eyedroppers to
panel, click to expand the Video Effects, then click to expand the fix the Black, Gray, and White Balance (in that order). Click on the
Color Correction effects. Select the Three-Way Color Corrector and &GGFDUTt7JEFP&EJUJOHt%FTLUPQ1VCMJTIJOHt8FC%FTJHOt"OJNBUJPOt*MMVTUSBUJPOt*NBHF&E
Black Balance eyedropper and then click once on the black swatch
drag it onto your first clip.
(Tip: If you want to jump right to the Three-Way Color Corrector,
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of the reference card. Repeat for the Gray Balance and White Bal-
ance droppers. You’ll notice that the hue balance wheels have had G R A P H
Y V I D E O
E D U C A
T I O N

their magnitude control points adjusted to(SBQIJD%FTJHOt1IPUPHSBQIZt.PUJPO(SBQIJDTt4QFDJBM&GGFDUTt7JEFP&EJUJOHt%FTLUPQ1V


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you can type the word “three” into the Contains field at the top of remove color cast.

MAGAZ
the Effects panel.)
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While you performed a white and black balance on set, the clip can
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While we have a pleasant contrast in the image, the Saturation
The Best of Layers 2 DVD (a $39.99 value) –
a must-have collection of video tutorials for
still benefit from adjusting levels. Click the Black Level eyedropper can be pushed a bit. This is especially true if you have vivid color
objects in the frame. Switch the Tonal Range pop-up menu in the
Photoshop®, Illustrator®, Lightroom®, Acrobat®,
and sample black from the reference card. Repeat for the Gray Level
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and White Level eyedroppers. The shadows and highlights are stron- Effect Controls panel to Midtones—this is where most of the skin InDesign®, Flash®, and much more.
ger in the image but the image isn’t broadcast safe. If you view the tones and objects are situated. Increase the Midtone Saturation to
Waveform monitor in the Reference window (choose YC Waveform 125%. By targeting just the midtones, you can limit the saturation
The How-To Magazine for Everything Adobe®
from the flyout menu), you’ll see that the luminance exceeds 100 on change to the areas that need it most without impacting the
the IRE scale; we’ll fix this in a minute. shadows or highlights.
Subscribe online at www.layersmagazine.com
continued on p. 106
or call toll-free 877-622-8632
*All prices are in US dollars. Canadian and International pricing can be found at www.layersmagazine.com. Layers magazine is produced and published by Kelby Training,
Inc. – www.Kelbytraining.com. Adobe, Photoshop, Lightroom, Acrobat, Illustrator, Flash, and InDesign are registered trademarks of Adobe Systems Incorporated.
'&*
Come on location with me and the Kelby Training
video crew to Montana, as I personally teach you

HOW TO PHOTOGRAPH
BREATHTAKING LANDSCAPES
and share with you what I’ve come to learn
as a photographer. It is the next best thing
to having me right beside you, whispering
in your ear when you’re out shooting.

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All of the tweaking we’ve done to the shot has pushed the satura-
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To save time, once the master shot is color-corrected, you can reuse
I’m Moose Peterson, and I’m a teacher at Kelbytraining.com

tion and luminance values outside the “legal” range. By legal, we the color effect on all other appearances of the shot in a Timeline. 4HE"EST4EACHERSONTHE
mean following the acceptable standards of broadcasters. Even if First, save the effect: The easiest way to store the effect is to save it 0LANET®/NLINE®!LLIN/NE0LACE
-ASTERING!DOBE 0HOTOSHOP DIGITALPHOTOGRAPHY ANDTHE
‡ ‡
you don’t intend to show it in a broadcast environment, following as a preset. In the Effect Controls panel, click the Three-Way Color
ENTIRE!DOBE #REATIVE3UITE HASNEVERBEENEASIERORMORE
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standards helps ensure the show’s appearance on television sets. Corrector effect, then click the Effect Controls flyout menu and
AFFORDABLE'AINUNLIMITEDACCESSTOOURONLINETRAININGCATALOG
To make this “legalization” easy, simply go back to the Effects choose Save Preset. Name the effect “Camera A, Scene 12.” (See
FEATURINGEXCLUSIVECLASSESFROMTHEINDUSTRY´SMOSTTALENTED
panel and apply the Broadcast Colors effect from the Color Cor- how that camera angle and scene info comes in handy?) The effect ANDGIFTEDTEACHERS¨LIKE-OOSE0ETERSON

199 19
rection group. preset is added to the Presets folder in the Effects panel.
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Fisheye Lenses
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Forest Scene with the Fisheye
Images from the Lake
And Many More!

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To reuse an effect, simply drag-and-drop. By naming your effect
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Once a show is “done,” it needs to be checked. Reviewing your
presets clearly, you’ll know where to use them, and remember that
you can make subfolders to organize your presets by job. When a
show on a color-calibrated, broadcast-quality monitor ensures that
what you think a shot looks like will hold up in the real world. While
Moose Peterson
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Wildlife Photographer, Author, and Educator


job is done, click on the saved preset, and then click the Trash icon many editors work with laptop screens or computer displays, you
A Nikon Legend Behind the Lens, Lexar Elite Photographer,
at the bottom of the Effects panel. The key here is consistency with need to actually check your video on a professional video monitor. recipient of the John Muir Conservation Award, Research
your color correction while moving at a fast pace. This will often mean using a CRT-style reference monitor attached Associate with the Endangered Species Recovery Program,
published in over 130 magazines worldwide, and author
to a professional video capture card. This extra investment in hard- of 23 books.
ware is essential to a truly professional workflow.

'&,
QRichard Harrington is owner of RHED Pixel (www.rhedpixel.com), a visual communications company in Washington, DC. Author of Photoshop for Video, Third Edition, and co-author of
After Effects on the Spot and After Effects @ Work, Richard is Program Manager for the NAB Post-Production World Conference and a regular speaker at Photoshop World. S
All images ©RHED Pixel, unless otherwise noted.
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You might be thinking, “What’s consumer software doing in a pro
magazine?” The short answer is that if you aren’t using the Adobe
Dbopo!TFMQIZ!FT3!
Master Collection or the Production Premium suite, you probably QPSUBCMF!QIPUP!QSJOUFS!EFMJWFST!RVBMJUZ!
need Adobe Premiere Elements 4. Whether you work as an adver-
tiser, designer, developer, or photographer, you most likely have The standalone SELPHY ES2 printer from Canon USA is a portable
an interest in making videos or DVDs. compact photo “lab” that makes 4x6" prints in a minute at an average

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Sure, Adobe offers the very capable video applications found in cost of 25 cents.
the Creative Suite product line but for many users, it’s hard to spring The ES2’s shiny, creamy-white plastic case has an elegant upright
for the “whole enchilada.” When I sat down with Premiere Elements, design with a carrying handle on top, and at the base are slots for most
I was immediately impressed. The product offers an easy-to-use tool- common media cards. It also has two USB ports for connecting to QSBDUJDBM!XJSFMFTT!NFNPSZ!DBSE!IBT!MJNJUBUJPOT
set that addresses the needs of many users. your camera or computer. On top is a well-designed, clearly labeled
Here’s the lowdown: Premiere Elements only runs on Windows music into your videos and it feels like you’re mixing with a real audio control panel with a flip-up 3" LCD for viewing and editing files. Kudos to Eye-Fi, Inc. for making it increasingly practical to send files
machines. If you’re a Mac user, you should be looking to iMovie board. This nod to a traditional approach is very welcome and makes A scroll wheel lets you cycle through your files and navigate menu wirelessly from your camera to your computer using the Eye-Fi Card.
and iDVD ’08 to fill the same needs. On the PC side, the market has the process intuitive. items. Using a comprehensive set of creative options, you can add Eye-Fi built a Wi-Fi antenna into an SD memory card that communicates
been woefully underserved by offerings from Adaptec and Micro- Those looking for effects will find no shortage as Premiere Elements 4 frames, clip art, and special effects, such as faded edges and speech with your router for uploading. For the most part, it’s effortless and
soft. With version 4 of Premiere Elements, Adobe clearly steps up ships with a wide variety; however, it’s in the important areas of color bubbles, to your prints. The menu has plenty of options for adjust- instantaneous with no wires or adapters to fuss with; however, it has
to offer a dramatic redesign, combining power with ease of use correction and image enhancement that the application stands out. The ing the image including color saturation, brightness, cropping, and limitations. The current version of the Eye-Fi Card comes only as a 2-GB,
(an Adobe trademark). program also includes a fast fix for shaky video that can help the videog- red-eye removal. SD memory card and supports only JPEG format.
The product boasts that you can create movies in as little as rapher who still doesn’t understand that tripods are good and Wayne’s The SELPHY ES2 uses convenient cassettes that house paper and On setup, you can choose to upload files to one of 20 online
15 minutes. While I think creativity takes a little more thought, Adobe World rocking zooms are not. ink with enough supplies for 50 photos. Instead of using standard ink photo-album-sharing sites, such as Flickr or Shutterfly, or upload to a
certainly has cut through the tediousness of making a video. Your While making a video is important; it’s the sharing part that matters. cartridges, the ES2 uses dye transfer: Color dyes are embedded in designated folder on your computer. The Eye-Fi Card uses power from
video assets stay organized in a user-friendly media library, which is Adobe Premiere Elements 4 simplifies the Adobe Media Encoder engine a ribbon and transferred to the paper using heat. This design means your camera to transfer files, which are neatly organized in folders by the
similar to Adobe Bridge in that it lets you rank and search—in fact, and you can easily export video for iPods, cell phones, Flash video, and there are no nozzles to get clogged. Photos emerge dry with a gloss date they were shot. Battery drain isn’t an issue but a wall adapter is
it takes some of the better functionality of a Photoshop Lightroom more. The direct to YouTube feature matches the ease of Apple’s iLife ’08 protective layer that will last up to 100 years if kept in a photo album. a good idea for large uploads. Upload speed depends on camera
and makes publishing even private YouTube clips a snap. Print quality is quite good with rich colors and good shadow/highlight distance from the router, router quality, and file size. Upload speed
The big surprise is the fact that Premiere Elements 4 also makes detail. The 4x6" prints have a postcard template on the back with a picks up dramatically when transferring to a single designation.
DVDs—both standard defi nition and Blu-ray discs are supported. box for a stamp—quite clever. This SELPHY ES2 printer performed At times, the process is erratic but I found that turning the camera off
You can choose from several functional templates or create your own without a hitch.—Steve Baczewski and then on again solves most quirky behavior. Eye-Fi’s Wi-Fi antenna
backgrounds using Photoshop. supports 802.11g and 802.11b wireless networks. Home is the optimal
The bottom line: Adobe’s Master Collection and Production Premium situation to use the Eye-Fi within short range of your router, as I found
suites offer fantastic video toolsets; however, if they intimidate you (or public spots, such as the airport or an Internet cafe, may or may not work
your company’s checkbook), then get started with Adobe Premiere Company: Canon U.S.A., Inc. Price: $199.99 secondary to distance from the router. There’s also no connection to net-
Elements 4. Its capable tools will let you integrate video into your design works with a splash screen that needs authentication.—Steve Baczewski
Web: www.usa.canon.com Rating: ● ● ● ●
process. Once you’ve proven the need for video to your clients or
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bosses…then upgrade.—Richard Harrington Hot: Runs on optional battery pack


experience and streamlines it. What’s nice is the ability to use tags Not: Poor-quality sepia/black-and-white from color cartridge
and metadata to make a vast library more manageable. Company: Adobe Systems, Inc. Price: $99.99 (upgrade $79.99) Company: Eye-Fi, Inc. Price: $99.99
The Timeline area is easy to use. Movie themes can jumpstart a Web: www.adobe.com Rating: ● ● ● ● Rating: ● ● ●
Web: www.eye.fi
project (although pros will find them a bit too kitschy). Fortunately,
Hot: Ease of use; great feature set Hot: Simple setup
the Timeline offers excellent controls and the audio-editing ability
Not: PC only Not: Limited strength, options, and appeal
is especially welcome. A powerful audio mixer makes it easy to mix

'&.
Q h[l_[miS LOEWS VANDERBILT HOTEL
NASHVILLE, TN
JUNE 10–13, 2008

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VOICES
QEG3JE!2/2
DPOWFSUJOH!QVCMJTIFS!GJMFT!UP!JOEFTJHO!NBEF!FBTZ
THAT
MATTER
Microsoft Publisher is an easy-to-use program that works great with
other Microsoft Office products. And while it’s great for laser-printer
QMVH.JO!DPOWFSUT!QEG!GJMFT!UP!JOEFTJHO!GPSNBU output, many designers rightly prefer Adobe InDesign for high-end
output. Previously, when converting a Microsoft Publisher file to
The PDF21D 1.1 conversion plug-in is simple to use and offers a few
basic options: Full Format (which includes text and graphics), Extract
InDesign, you could extract the text, but you had to re-create the
layout from scratch. (On the Mac, you couldn’t ever extract the text.)
CONFERENCE
Only Text, Extract Images Only, and Extract PDF Annotations Only. Now using PUB2ID from Markzware, many things can be converted
I’d expect most users to go for the default Full Format.
Going with the scenario of having a PDF but no original files,
automatically including master pages, type styles, WordArt, and other
standard features. Some things don’t convert, such as stylized art,
WEB DESIGN
I opened the PDF from within InDesign via the Open PDF File menu. picture formatting, border art, and most special effects not directly
(Note: PDF2ID can’t work with password-protected PDFs.) The process of supported in InDesign; however, “normal” layouts convert well. OLE
conversion is simple: Use the Open PDF File menu and the Conversion objects, such as Excel files, are converted but are treated as vector
Options dialog opens. Use the default settings—they’re very good— graphics, while tables created directly in Publisher are converted to
and click OK. After a few font warnings, the InDesign file opens. InDesign tables. Graphics are extracted into a separate folder.
The conversion was good, but not perfect. The first thing I noticed One issue that needs to be dealt with is fonts: If converting files
was that the text flow was broken—most of the text that originally on the same Windows computer, fonts are a nonissue; however, if
Brown Blessing Cloninger Gillenwater Hoekman
flowed from page to page was converted into separate text frames. converting on another Windows computer, you have to ensure that There’s no better way to get inspired and
It handled most graphics okay but had problems with some. Most of the same fonts are available on both platforms. If converting on a Mac,
the issues have to do with the way PDFs are created, so don’t expect
unleash your creativity than to join New
you can either load the Windows fonts on the Mac or change the fonts
a clean conversion. to others. (Publisher has no font-collection utility.) Riders at the VOICES THAT MATTER:
One of the best features is the creation of paragraph and character Keith Krug McIntire Niehaus Porter
Overall, what might normally be a problem for many graphic WEB DESIGN CONFERENCE! The
styles based on the text formatting. The styles are simply named numeri- designers (working with Microsoft Publisher files), resulting in a redo
cally, so some cleanup is involved. Another new feature is OpenType font
same editorial team that brings you the books
of lots of work, is a very simple process with the PUB2ID plug-in.
support—not supported in the first version. One job can pay for this plug-in, which is highly recommended. that matter now brings you face-to-face with
You’ll have to weigh the results of this plug-in and the cleanup —David Creamer its esteemed authors and some of the most
Reynolds Rollins Ruenzel Schmitt Smith
involved versus simply capturing the text via OCR and re-creating
the graphics. I think the plug-in shows a lot of promise, but I’m not
respected professionals in the industry, all
totally convinced that it will save that much time for complex jobs; but together in one location. Don’t miss this
for simple jobs, it can pay for itself quickly. Hopefully, future versions opportunity to join the conversation!
Company: Markzware Price: $199
will continue to improve the conversion.—David Creamer Teague Thurow Walter Wyke-Smith Holzschlag
Web: www.markzware.com Rating: ● ● ● ●
mmm$B7O;HIC7=7P?D;$Yec

Hot: Clean conversion; Pub files convert on Mac


Not: Some graphics don't convert properly
Company: Recosoft Corporation Price: $249
Presented by
Web: www.recosoft.com Rating: ● ● ● ●
Hot: Easy to use
Get a FREE Voices That Matter ebook when Media Sponsors
Not: Text flow is broken; some graphics don't export properly
you sign up to receive more information at
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www.voicesthatmatter.com/webdesign08
'')
Q h[l_[miS

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Let’s face it—one of the reasons you purchased an iPod was for
the coolness factor. And now you want to add some really cool

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accessories. That’s where products such as the Griffin Evolve come
in. The slick design of the speakers and base unit and the solid feel
of everything in the package had me rushing to hook it up. Evolve
TUSPLF.CBTFE!SFUPVDIJOH!QMVH.JO!GPS!QIPUPTIPQ! is easy to set up and looks very good once it’s in place.
The hardest part was waiting for the speakers to charge. One
Digital Film Tools specializes in creating practical tools for digital great feature is that when a speaker is placed on either side of the
photographers and the Power Stroke plug-in for Photoshop is no base unit, it will automatically sync to the left or right channel. No
exception. Power Stroke version 1 is described by Digital Film Tools worries of mixing up the speakers. The sound is about what you’d
as a “stroke-based color correction, colorization, and special effects expect from these types of speakers—not a lot of bass and an ever- The Evolve also includes RCA, composite, and S-Video hookups so
plug-in.” In other words, it allows you to perform isolated corrections so-slightly-tinny sound, but still a very pleasant listening experience. it’s easy to incorporate it into your home theater. My only hesitation
to an image without first having to create a mask. The unit also offers plenty of volume, but you have to find just the with the Evolve is the price. At almost $300, you’ll have to decide if
Anyone who retouches images knows that critical changes rarely (if right mix of iPod volume and Evolve volume to avoid distortion. Once wireless convenience is worth that kind of investment.—Chris Main
ever) are applied to the entire image. Power Stroke provides a simple, the speakers are charged, you can place them anywhere in the room
interactive, stroke-based interface that you use to quickly define the and the separation makes a big impact on listening pleasure.
desired area of concern, thus allowing localized targeted adjustments Evolve claims that the speakers have an effective range of 150'.
without having to define the region with a mask. But wait, you say (yes, Most of my testing was done about 50' away through three rooms. Company: Griffin Technology, Inc. Price: $299.99
I can hear your thoughts!), Photoshop has a vast array of tools that make The signal and sound quality remained strong, but on rare occasions Web: www.griffintechnology.com Rating: ● ● ●
such selections easy. And you’re right in thinking that everything done the sound dropped out for a fraction of a second. And the coolest
Hot: Speakers go anywhere; RF remote
with Power Stroke can be done with Photoshop…given enough time. part—the remote works through walls, so you can keep it wherever
Not: Average sound; occasional dropouts
The real question is what’s your time worth? you keep the speakers.
One of the cool things about the isolation produced by Power Stroke
is that the correction doesn’t just stop at the edge of the area being
corrected; instead, it blends into the pixels adjacent to the modified
area. Power Stroke can be assigned multiple corrections and effects,
such as color correction, recoloring, or desaturation. It can also be The Digital Film Tools website has a gallery of some examples that
used for colorization of black-and-white images to create the hand- can be created using Power Stroke but I think many of the examples
tinted look that’s so popular these days, as well as blur, and fill light. don’t reflect the quality of work that can be done with this filter (Colorize
Probably my favorite is the selective black-and-white effect where the being the exception). From their website, you can download an evalu-
subject of the photo retains its color, and everything else becomes ation copy of the plug-in as well as the images used in their tutorials.
black and white or vice versa. (I bet they’d love to have had Power (When running Power Stroke in demo mode, a watermark is placed
Stroke around when they made the movie Pleasantville.) over the image and rendering to Photoshop is disabled.) Power Stroke
The Selective Recoloring tool provides a localized change of color works on Adobe Photoshop 7 and above as well as Adobe Photoshop
in the immediate area defined by the brushstroke. Most of the tools Elements 3 or later. It works with Macintosh OS X 10.4 and above,
do what their names imply: Fill Light selectively lightens shadow regions Windows XP, and Vista.—Dave Huss
of an image; Diffusion/Glow is used for glamour shots; and Colorize
adds color to black-and-white images.
So, how well does it work? As with most advanced tools, I took the
time to watch the video tutorials, then jumped right into the program, Company: Digital Film Tools, LLC Price: $120
and discovered that once I understood the principles of how the plug-in Web: www.digitalfilmtools.com Rating: ● ● ● ●
worked, it was relatively simple to use and for the most part, worked
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Hot: Correction blends into adjacent pixels


as advertised. The isolation in selective black and white was the one
tool that required some extra time for me to get the hang of it.
Not: Isolation in selective black and white takes time

''(
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As you may know, text boxes can be multicolumn through
B Y D A V I D C R E A M E R
the settings in the Text Frame Options dialog (Object>Text
Frame Options) or the Control panel. However, if you’re work-
<Wbb_d]_djeWJhWf ing for a fixed-column publication, such as a newspaper,
If messing around with overprinting strokes is not your idea
you can set the Width (and Gutter) as part of the text frame
of trapping, but you don’t have the budget for an expen-
options. As soon as you enlarge the text box, it automatically
sive RIP-based trapping solution, place your Illustrator file
jumps to another full column width.
in InDesign and separate it there. InDesign has true shrink-
and-spread trapping built in.

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You can select grouped items easily with the often-over- ID
looked Group Selection tool—especially if you
have groups within groups. The first click selects
a single object in the group, the next click selects
the object’s primary
group, the next
click selects the
next group up,
and so on.

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If you use Illustrator to create labels, grid off the page using
ruler guides, or download the Avery templates from: www
.avery.com/us/software/templates_adobe.html. Design a
single label and make a symbol out of it (the first label will
Q7ZeX[F^ejei^ef9I)S the Keywords panel), and select Make Persistent. You can
then drag that keyword into the appropriate set of your own
become a symbol automatically in CS3). Drag the symbol
B Y P E T E R B A U E R onto the remaining label positions. When you need to
keywords and it will always be available.
update the labels, simply double-click a symbol, make the
Gk_Yaijhea[ edits, and then click in the gray bar that appears at the top
Do you get annoyed by having to open the Color Picker to of the document. All the other labels/symbols will update. Q7ZeX[7YheXWj.Fhe\[ii_edWbS
switch to black every time you want to apply a Stroke effect The same technique can be used for business cards. B Y D A V I D C R E A M E R
(Edit>Stroke) to a layer? End your frustration by creating a
layer style that applies a black stroke. Just click on the Add 8eeacWhaicWZ[i_cfb[
a Layer Style icon at the bottom of the Layers panel, choose Q7ZeX[?d:[i_]d9I)S If you’re using Microsoft Word for Windows, creating
Stroke, enter your settings, and click the New Style button. B Y D A V I D C R E A M E R a bookmarked PDF is simple—using the default styles
You can even create multiple styles in different widths. Now Heading 1 through Heading 9. When you export to PDF
you can quickly apply the appropriate black (or any other HejWj[ZXheY^kh[fWd[bi using the Adobe menu or button, these headings will
color) stroke through the Styles panel. Sometimes when working on a brochure, one or more of the automatically become bookmarks. Unfortunately, Mac
panels has to be rotated. Rather than grouping and rotating Word users don’t have this feature. In InDesign and
your panel—which means editing upside-down or un-rotat- QuarkXPress, you’ll need to create a table of contents
ing to make edits—create the panel as a separate InDesign (Layout>Table of Contents) or list to create automatic
file and then place (File>Place) the panel file into the main bookmarks. Of course, creating a TOC depends on
layout. When you want to make an edit, Control-click (PC: proper style usage. When you export the file as a PDF,
Right-click) on the imported file and select Edit Original. The make sure that the Bookmarks option is checked in the
original InDesign document opens. When you save the edits, General category of the Export Adobe PDF dialog. If you
they’ll automatically appear in the main layout. don’t want the TOC to actually appear in a PDF page, in
InDesign, you can drag the TOC off to the pasteboard—
;c_dZ[dji the bookmarks will still show up.
9ebeh^_dji Unfortunately, InDesign only allows absolute units entered
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In a complex piece of artwork, you might be able to track into the First Line Indent setting, not relative settings such ;njhWYj_edYedjhWYj_ed
your work better by color-coding your layers. For example, as ems. However, you can use an em space and GREP. The Extract menu option (Document>Extract Pages) is a
layers with finalized masks could be coded green, and layers Using GREP in the Find/Change dialog, look for “^(.)” in very useful feature. It can be used to extract pages from
=[jf[hi_ij[dj with problems that need to be addressed could be coded your desired style, such as Body, and replace it with “~m$1” a signed document that doesn’t allow edits (keep in mind
Do you have an image that includes a specific keyword that red. Assign a layer color through the Layer Properties dialog, (both without quotes). That will put an em space in front any copyright issues). In addition, it can extract all the
you’d like to use regularly? In Bridge, click on the image, which can be opened either by Control-clicking (PC: Right- of every Body paragraph. Generally, it would be better to pages of a PDF as separate files. Of course, it can also
open the Keywords panel, Control-click (PC: Right-click) on clicking) the layer’s name, through the Layers panel’s flyout do this before applying other Body-based styles, so they’ll extract a range of pages too—but what if the pages aren’t
the keyword (it will appear in italics since it’s not already in menu, or through the Layer menu. already have the em space applied. contiguous? For that, open the Pages panel and select

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the noncontiguous pages (by Command-clicking [PC:


Control-clicking] on them), then simply drag the pages
choose to convert your table-based layout to AP (Absolute
Position) DIV tags. These AP DIV tags differ from standard
IT´SKINDA
LIKETHAT
from the Pages panel to the desktop. DIV tags in that they hold specific position information. This
can prove to be useful because it allows you the most spe-
H[WZ[hh_]^ji cific placement control inside an HTML page. If you’ve laid
If you’re creating a form in Acrobat and some of the users out your pages in AP DIV tags and want to move to a table,
of that form will be using Adobe Reader, be sure to Enable the reverse can also be done.
Usage Rights in Adobe Reader under the Advanced menu.
This enabling is not done automatically and must be done
on a form-by-form basis.

9b[WdKfC_Yheie\jMehZ
When placing files from Microsoft Word, you often get a lot
of HTML code that can be unnecessary in Dreamweaver.
Choose Commands>Clean Up Word HTML to strip out the
extraneous content and get only what you need on the page.

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There will be times when you’ll need to change the
appearance of a specific tag in more than one instance.
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For example, you may want the <A> tag in body copy to Q7ZeX[<bWi^9I)Fhe\[ii_edWbS
look one way and a navigational element to have a com- B Y C Y N D Y C A S H M A N , P H . D .
pletely different look. Subclasses help you achieve this.
Open your CSS Styles panel and click on the New CSS 9[dj[hijW][
Rule icon. In the New CSS Rule dialog, select Advanced, You can quickly paste an object in
and type in the HTML tag you want to change followed the middle of the Stage. Simply Scott Kelby Dave Cross Bert Monroy Ben Willmore

by a period and a specific name. This will create a copy (Command-C [PC: Ctrl-C]) BOSTON, MA LOS ANGELES, CA SACRAMENTO, CA
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normally would.
Choose Edit>Find and Replace, and pick what you’re looking
for from the For drop-down menu. Select attributes, such
as Font Style. Check the Live Edit checkbox, then click the
Find All button. Double-click the item you want to edit in the
Found Item list. Both the frame containing the item and the
Property inspector will be displayed. Make any edits in the
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Property inspector, then double-click on the next item in the


list that you wish to edit.

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If you’re looking for a quick way to convert your table-
based layout to a more CSS-based design, take a look
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Quickly hide and show the Timeline by clicking the Hide Time-
line icon located next to the Scene button. Click it again to
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Option 2: Select the type object, and then using the Knife tool as you noted, Command-Spacebar doesn’t work; however,

B 7O;HIC7=7 P?D;SQC7O%@KD;(&&.
(located under the Eraser tool in the Toolbox and not to be Spacebar-Command does. In other words, hold down the
confused with the Scissors or Slice tools), hold down the Spacebar first and then the Command key.
Q9H;7J?L;IK?J;G7S Option key (PC: Alt key), and drag a line across the type.

Q7ZeX[Zh[Wcm[Wl[hYi)S
Q7ZeX[?d:[i_]d9I)S B Y R A F A E L “ R C ” C O N C E P C I O N
B Y D A V I D C R E A M E R

QGS Does InDesign have hidden text like Microsoft Word? QGS I can’t add Flash video to a page based on a
Dreamweaver template? What am I doing wrong?

No, however, if you’re dealing with small amounts of text, you When you try to add a Flash video file to a page, there’s
can fake the hidden text effect. Choose New Character Style a checkbox in the dialog that says “Prompt Users to
from the Character Styles panel’s flyout menu to create a new Download Flash Player if Necessary.” For this behavior to
style. In the Advanced Character Formats category, set the occur, however, Dreamweaver needs to add a portion of
Horizontal Scale to 1%. In the Character Color category, set code to the locked portion of the page—hence the error.
the Fill to None and click OK. When you apply it to your text, If you uncheck this option, you’ll be able to add the Flash
the text will virtually disappear. When you need the text back video without a problem. Another alternative is to add that
again, reverse the settings. Keep in mind that you can only use portion of code to the Dreamweaver template.
it for small amounts of text (2–4 words) or your text will have a
larger than normal space between the remaining words.
QGS Is there a way to take the CSS styles from a page and
move them into a separate CSS file?

QGS I need to change numerous dates in U.S. format


(MM/DD/YYYY) to the European format (DD/MM/
Highlight the CSS rules that you’d like to move in the CSS
Styles panel. Once highlighted, Control-click (PC: Right-
YYYY). Can I do that with a Find/Change?
click) on them and select Move CSS Rules from the contex-

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Assuming you have CS3, you can use the GREP option in the tual menu. A dialog will appear allowing you to move the
Find/Change dialog. Enter “(\d\d)/(\d\d)/(\d\d\d\d)” in the rules to an already existing style sheet, or to a new style
Find What field and “$2/$1/$3” in the Change To field sheet of your choosing.
(both without quotes).

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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 Q7ZeX[7YheXWj.Fhe\[ii_edWbS B Y C Y N D Y C A S H M A N , P H . D .

B Y D A V I D C R E A M E R

QGS In Preferences>Performance in Photoshop, what is the


QGS Can I create diagonal guides in Illustrator?
QGS What is a Sprite?
Cache Levels option?

The image cache holds low-resolution copies of your image


Any object can become a guide, so simply draw the line
and use the View>Guides>Make Guides menu (you can
QGS I keep receiving RGB PDFs for placement into InDesign.
How can I convert them to CMYK?
The Sprite class is new to ActionScript 3.0 and a Sprite object
can display graphics and other types of symbols. Sprites don’t
to speed screen redraw. While that can increase performance, also Control-click [PC: Right-click] on the object to select have a Timeline and are created using ActionScript. Sprites are
In Acrobat Professional, use the Advanced>Print Production>
it can also result in decisions being made based on inaccurate the Make Guides command). You may want to lock the useful when you’re trying to decrease your file’s size and you
Convert Colors menu. Be sure to check out all the conver-
views of your images. For the most accurate view, set Cache guides (View>Guides>Lock Guides) afterward as it can be only need the contents to be displayed in one frame.
sion settings on top; for example, you might not want to
to 1; if screen redraw is slow, increase to 4 or 6. Restart Photo- moved otherwise. re-convert existing CMYK into a new profile setting, and
shop after changing the Cache Levels value. you might not want to convert any spot colors to CMYK.
QGS How do I compress bitmaps in different amounts?

QGS How can I expand a selection without rounding QGS How can I cut type in half so I can color the top
half of the letters separately from the bottom half?
Finally, be sure to check the Preserve Black Objects option
at the bottom so any RGB black type will not become CMYK
black type, but simply 100K.
Click on a bitmap in the Library panel, then click the Properties
icon located at the bottom of the Library to open the Bitmap
its corners? Properties dialog. Uncheck Use Document Default Quality
You have two methods, but both require you to convert
and enter the amount you want to compress the image in the
The Select>Modify>Expand command uses a radius around cor- the type to outlines first by selecting it with the Selec-
ners, which rounds them. To preserve the shape of a selection, tion tool and then using the Type>Create Outlines menu. QGS I like to use the old Command-Spacebar (PC: Ctrl-
Spacebar) keyboard command to zoom on my PDFs,
Quality field. Click the Test button to preview the compressed
image, then click OK to save the change.
mmm$B 7O;HIC7=7 P?D;$9EC

use Select>Transform Selection and either input a new size in the (You might want to copy the text first in case you change
but it doesn’t work properly. What gives.
Options Bar or drag a corner of the bounding box. Hold down your mind.)
the Shift key to constrain proportions, and add the Option (PC: First, if you’re using a Mac, Spotlight uses Command-
Alt) key to scale from the center. Alternatively, using the icons at Option 1: Draw a line across the type with either the Pen Spacebar as its default keyboard shortcut. Be sure to
the bottom of the Paths panel, convert the selection to a path, tool or Line Segment tool, select both objects, and use disable or change the default Spotlight Menu Keyboard
scale the path, and convert back to a selection. the Divide icon on the Pathfinder panel. Shortcut option under your System Preferences. Second,

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Kelby Training Price:
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'S Download the image of the road sign that you
see below from www.layersmagazine.com/
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(S Based on the theme listed below, use elements


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J^[:[WZb_d[S July 25, 2008

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