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SMMM$B7O;HIC7=7P?D;$9EC &.S Letter from the Editor

'(S Layers News


Q J K J E H ? 7 B I S )&S The Digital Canvas
+,S Adobe Photoshop Lightroom:
),S Photographer Spotlight
Create Stunning Black-and-White Images
—Chris Orwig
'(*S Creative Suite Q&A
,*S Adobe Photoshop CS3
for Photographers:
Turn Down the Noise—Seán Duggan

,.S Adobe Photoshop CS3 FW][)&


for Designers:
Developing Outlines—Dave Cross

-(S Adobe Illustrator CS3: Q 9 E B K C D I S Q E D J > ; 9 E L ; H S


Leather Stylin’—Corey Barker
(&S Design Makeover—Jake Widman This issue’s cover art is by our
.(S Adobe InDesign CS3:
very own Associate Designer,
In Good Form—Terry White
(,S Artistic Expressions—Bert Monroy Christy Winter. Turn to page 38
.,S Adobe Acrobat 8 Professional: to check out the cover story.
Getting into Form, Part 2—Taz Tally +*S The Digital Camera—Rick Sammon But be warned: it’s hot!

/+S Adobe Dreamweaver CS3:


Adding Flash Files to a Webpage
.&S The Art of Type—James Felici
—Janine Warner

'&&S Adobe Flash CS3 Professional:


Sounding Random—Lee Brimelow

'&*S Adobe After Effects CS3:


It’s Always Raining—Steve Holmes
Q H ; L ? ; M I S
''&S Adobe CS3 Production Premium:

),
DARWIN WIGGETT

Mastering Keyboard Shortcuts '',S Epson Perfection V500 Photo—Steve Baczewski


—Marcus Geduld
''-S Gateway E-295C—Steve Baczewski

''.S Canon imagePROGRAF iPF6100


—Rafael “RC” Concepcion
Q 9 E L ; H  I J E H O S
'(&S Epson MovieMate 72—Steve Baczewski
).S 100 Blazing Hot Tips
We’ve gathered some of the top gurus in the industry to share
their most closely guarded secrets in our Third Annual Layers Hot '(&S BigPicutre 3—David Creamer
Tips issue. So if you see smoke pouring out from between the
pages, you better hurry and turn the page before there’s nothing '('S Helicon Focus—Laurie Excell
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left but ashes.

'((S MultiPage 4 for Illustrator—David Creamer

'',
Q < ; 7 J K H ; S '((S Cintiq 12WX—Corey Barker
+&S Best DV Cameras Today!
So you want a video camera now but you’re not sure which one
is right for you. Rod shows you which DV cameras offer the best
bang for the buck.—Rod Harlan Whenever you see this symbol at the end of an article, it means there’s either additional material or a download
FW][+& for that story at www.layersmagazine.com. So be sure to visit the website and check it out.
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We’re always adding new tutorials to the Layers website,
so be sure to visit often. And don’t forget to sign up for
our graphics tip of the day and 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
Creating Swatches from a Photoshop Document (Video):
Create and save a set of custom swatches from the colors
contained in any Photoshop document.—Dave Cross

HDR Another Way in Photoshop: Find out how to mimic the


very popular HDR technique in Photoshop using only two
exposures.—Mark Fleming

Beauty Retouching with Smart Filters in Photoshop (Video):


Using smart filters to soften the skin of your subject will
help maintain complete flexibility.—Chris Alvanas

Q?D:;I?=DS
www.layersmagazine.com/category/indesign
Quick InDesign Tips with Scott Kelby (Video): Scott visits
the set of Layers TV to present some of his favorite tips and
tricks for Adobe InDesign.—Scott Kelby

),
DARWIN WIGGETT

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www.layersmagazine.com/category/illustrator
Creative Masking Techniques in Illustrator (Video): Create
and control complex clipping and opacity masks in
Q B 7 O ; H I  J L S Illustrator.—Corey Barker
Hosted by Corey Barker and Rafael “RC” Concepcion
www.layersmagazine.com/tv
Episode 21: Corey breaks down a popular new effect to give life to
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your static images, and RC shows how to use masks in Flash. www.layersmagazine.com/category/dreamweaver
Dreamweaver and Photoshop Integration: These two apps
Episode 20: RC explains how to work with buttons in Flash, and play very well together. Learn how to use this dynamic duo
Corey explores type on a path in Illustrator. to create great-looking websites.—RC Concepcion

Episode 19: Corey illustrates how to export animations created in Building a Subscribe/Unsubscribe App in PHP with Dream-
Photoshop CS3 Extended to Flash video, and special guest Dave weaver CS3: Create your own complete subscribe/unsub-
Cross shares some cool tips and tricks for Illustrator. scribe application.—Joseph Lowery

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Welcome to our Third Annual Layers Hot Tips issue. Each year, hands

Q;WY^o[Wh"^WdZi down, this is our most popular issue, and it’s probably because it appeals to
the inner “tips freak” deep inside us all. I think what makes us so into tips
is that at the end of the day we all want to be faster, more efficient, and
Zemd"j^_i_iekhceij feel like we’re maximizing our time, but beyond that—tips are just fun.
I know that anytime I learn a shortcut or a workaround, or even find out about a feature

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I didn’t know was there, I’m always psyched—especially if the tip uncovers an easier way
to do something. Those little gems send me over the top and set my speed dial blazing,
because I feel like I’ve got to call everyone I know and tell ’em about the cool new trick
I just learned. Of course, about half the time I do that, the person I’m calling tells me, “Oh
man, you didn’t know that one!” It doesn’t stop me—I just call the next person on my list.
Another thing I love about tips is that nobody knows them all. This just happened to
me last week, during a taping of Photoshop User TV (the show I host each week with Dave
Cross and Matt Kloskowski). Dave Cross was doing a tutorial in Photoshop and he said he
was going to duplicate his document (I duplicate documents I’m working on numerous
times every day, so nothing new there), but then he said, “I’m going to hold the Option key
(PC: Alt key) and choose Duplicate, and by holding Option, it skips opening up the naming
dialog.” I was like, “What? You can skip that annoying dialog? I didn’t know that!”
This exchange happened live on the air, so everyone (including our new nationwide
audience that can now watch “The Photoshop Guys” on Fox Business channel at 1:30 a.m.
EST each week) heard me admit it. I just didn’t know it. I don’t care—I just learned a new
tip that will save me time and aggravation every single day. I love it!
Well, I’m betting that somewhere in our “Blazing Hot Tips” feature you’ll have one of
those “ah-ha” moments, where you learn a new tip that will save you time and frustration, Create. Collaborate. Execute.
and make the time you spend in InDesign, Photoshop, After Effects, Illustrator, or any of
Adobe’s products, faster and more fun. Turn to page 38 to see for yourself why this is the We’re there with technology every step of the way.
most popular issue of the year.
Also in this issue, DVconfidential.com author Rod Harlan shares his “Editor’s Choice”
We know that when it comes to creating, you don’t want anything to stand in your way. Especially technology.
awards for the best digital camcorders in five different price categories, ranging from $200
up to more than $3,500. It starts on page 50. At CDW, our personal account managers can put technology to work for you. We carry a wide variety of product
In addition, in our last issue we introduced a new magazine-wide look, where we feature
categories to assist you with creating, collaborating and storing your work. And our account managers can answer
an artist’s or photographer’s work throughout the entire magazine, giving each issue its
own special look and feel. This issue we’re proud to feature the stunning landscape and questions and help you through every step of the process. So when it comes to creativity, we’re there with whatever
nature photography of photographer Darwin Wiggett. you need, whenever you need it.
Of course, all your favorite columns and articles are here as always, but we’re wasting
valuable time here—you could already be learning cool tips (excuse me, “Blazing Hot
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Tips”) right this very minute. So turn the page and dive in!

All my best,

CDW.com/digitalflow 800.399.4CDW
Scott Kelby
Editor and Publisher

©2008 CDW Corporation

&.
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work directly on your images and applications in the most natural way possible.

  
All contents © COPYRIGHT 2008 Kelby Media Group, Inc. All rights reserved. Any use
of the contents of this publication without the express written permission of the pub-


   lisher is strictly prohibited. Layers magazine is an independent journal not affiliated with
Adobe Systems, Inc. Adobe, the Adobe logo, Acrobat, Adobe Premiere, After Effects,
Dreamweaver, Flash, GoLive, Illustrator, InDesign, Lightroom, and Photoshop are

 
   either registered trademarks or trademarks of Adobe Systems Incorporated in

9%5/.029093)2%9 9.++)-'9%!$.5199 


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
For more information, visit:
www.Cintiq.com/LAY
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COURTE
SY OF AP
PLE

MacBook Air
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Apple CEO Steve Jobs captures a lot of attention when he steps automatically and wirelessly backs up everything on one or more Macs
on stage at Macworld because he’s always holding a brand-new running the Leopard operating system.
Apple device. This year was no different, as Jobs was first to unveil Finally, Apple released software updates for the iPod touch and

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the new MacBook Air, the world’s thinnest laptop. MacBook Air iPhone that contain new applications for both. Other announcements
measures 0.16" at its thinnest point, and 0.76" at its thickest. It fea- included an iTunes movie rental feature, new software for the Apple TV,
tures a 13.3" LED-backlit widescreen display, a full-size and backlit and a partnership with Twentieth Century Fox to ship a Digital Copy for

! Fmfnfout!7!gps!Nbd keyboard, a built-in iSight video camera, and a spacious trackpad. iTunes with every DVD for use with iTunes and Apple video devices. For
Apple also introduced Time Capsule, a backup appliance that more information, visit www.apple.com.

Adobe has released Adobe Photoshop Elements 6 for Macintosh. The Elements 6 offers customizable

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Photoshop Elements software is great for photo enthusiasts who want layouts that let users create
to enhance their photos quickly and easily. scrapbook pages, photo
New features in Elements 6 include new Photomerge technology books, and greeting cards.

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that lets users easily combine the best facial expressions and body It also includes tools for burning images to CD/DVD for photo sharing.
language from a series of shots into a perfect group shot. Also, the Adobe Photoshop Elements 6 for Macintosh will run on Leopard
new Quick Selection tool reduces a once time-consuming task to a (Mac OS X v10.5) as well as previous versions of Mac OS X starting with
single click. Users can choose from one of three edit modes, each 10.4.8. It’s immediately available for preorder at www.adobe.com/go/ Softpress announced a public beta program for Freeway 5 that’s Google content effortlessly, and
geared toward a different photography experience level. Photoshop buyphotoshop_elements_mac. designed to give users an early look at the new generation of this a range of dynamic effects such
Web design product. as fade, blind, pulsate, and more.
Famous for its ease of use and efficient, standards-compliant Freeway 5 has also added accessibility

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code generation, Freeway is marketed to professionals and Mac provisions, including reports and views
home users who prefer to focus on design issues rather than coding. to ensure your target audience gets exactly what they need.
Alongside Freeway’s traditional features (Master Pages, Freeway The Freeway 5 beta will be available from the Softpress

Nbd!Qsp Shop, and hundreds of other powerful time-saving features), Freeway 5


has a range of new functionality including: CSS menus, personalized
website (www.softpress.com) as a 30-day, fully functional
preview. A Web form will be available for feedback and
A recent arrival to the marketplace is the new Mac Pro that, according Blogger templates, a suite of Google Actions to allow you to add problem reporting.
to Apple, will deliver up to twice the performance of its predecessor
with eight processor cores and a new system architecture. Touted as an

COURTESY OF APPLE
ideal system for creative professionals, the new Mac Pro combines two
of Intel’s new 45 nanometer Quad-Core Xeon processors, powerful
new graphics, and up to 4 TB of internal storage.
With support for up to four graphics cards, the new Mac Pro can
drive up to eight 30" displays at once for advanced visualization and
large display walls. two FireWire 400, two FireWire 800, optical and analog audio in and out,
The Mac Pro is easily and conveniently accessible in front and dual Gigabit Ethernet ports, and a headphone jack. Visit www.apple.com
back, so users can connect external devices with five USB 2 ports, for more information.

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GridIron Software used the Macworld platform to present its new Save/Save As, and Copy/Paste actions in a project. It understands the
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digital content management software, GridIron Flow, which won the file formats for virtually all creative professional applications, including
Macworld editors’ “Best of Show 2008” award. Flow automatically those from Apple and Adobe, and maintains the relationships between
tracks the design process from idea to end result and manages stills, movies, sound clips, fonts, plug-ins, and color swatches on all
assets and applications for creative professionals working on graphic local, network, and removable storage devices.
design, Web, and video projects. Flow will be available this summer for Mac OS X Tiger and Leopard
Using Real-Time Asset Tracking technology, Flow automatically and for Windows XP and Vista. For more information and to sign up for
builds Workflow Maps for every project by recording all Import/Export, the upcoming public beta, visit http://gridironsoftware.com.

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DAZ Productions, Inc., developer of professional-quality 3D models and software, has released
the DAZ Studio 3D Bridge for Photoshop plug-in. The new free, feature-rich 3D software package
allows DAZ Studio to add 3D imagery and artwork to any Photoshop project.
With DAZ software, you can pose characters and objects three-dimensionally in DAZ Studio,
and see the results immediately in Photoshop. Users may view 3D scenes as Photoshop layers,
change objects and figures simultaneously, directly render, and import and export image maps
onto 3D models in Photoshop.
The DAZ Studio 3D Bridge is available in both Mac and PC formats and is compatible with
Photoshop 7, CS, CS2, and CS3.
DAZ Studio and the beta version of the DAZ Studio 3D Bridge for Photoshop are currently
xxx/tpvoetobq/dpn available as free downloads at www.daz3d.com.
Find and share free, original sound effects
and loops

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gps!Nbd!bwbjmbcmf
The Microsoft Corp. Macintosh Busi-
ness Unit (Mac BU) announced the
availability of Microsoft Office 2008
for Mac at the Macworld Confer-
ence & Expo. Microsoft says they
understand that Mac users need the
ability to share their Microsoft Word,
xxx/nzqboupof/dpn Excel, PowerPoint, and Entourage
Online community dedicated to sharing
color palettes documents and they also need a
consistent look to their output on both Macs and PCs. Office 2008 for Mac shares core
technologies with the 2007 Office system to ensure consistency in graphics rendering
when they’re shared. Office 2008 for Mac is also compatible with earlier file formats
so that users can continue to use the older DOC, XLS, and PPT binary formats.
Office 2008 for Mac offers a new user interface. The updated suite keeps the traditional
drop-down menus but adds the new Elements Gallery row of tools in Word, Excel, and
PowerPoint to unlock the power of Office. IT managers also will benefit from new tools for
customized deployment.
For more information, visit. www.microsoft.com/mac.

xxx/uifhsbqijdnbd/dpn
Cfsuipme!beet!211! OWC® Mercury Rack Pro™ OWC® Mercury Elite™-AL Pro OWC® Mercury On-The-Go™
! PqfoUzqf!Qsp!Gpout
Tips, tricks, reviews, interviews, and links
for everything Mac and design relatedo[ 4-Bay 1U RackMount FW800/USB2.0/eSATA Bus Powered
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Celebrating its 150th anniversary, Berthold Fonts will begin 2008 by adding another 100 Ideal for applications requiring high data All Mercury Elite-AL Pro models are ideally Safely and conveniently transport large
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CWn_ckcF^ejei^ef9I)Jekh Three new plug-ins for Adobe InDesign have recently been released. Zevrix Solutions announced
Oklahoma City, OK (Feb. 27, 2008)
There’s nothing quite like viewing an image
BatchOutput 3, an update to its professional software that automates output from Adobe
Richmond, VA (March 18, 2008) InDesign. BatchOutput automates printing and output of multiple InDesign documents to various
Los Angeles, CA (March 25, 2008) formats using output presets or custom settings. For more information, visit www.zevrix.com.
Washington, DC (April 9, 2008) DTP Tools released its new MIF Filter. This import filter enables users to convert Adobe three-dimensionally because, well, life
www.kelbytraining.com FrameMaker documents into InDesign documents. According to the company, MIF Filter offers
new possibilities for an easy migration for companies with legacy documents in FrameMaker is three dimensional.
F^ejei^ef9I)\eh format. MIF Filter 1 is available for download at www.dtptools.com/miffilter.
F^eje]hWf^[hiJekh Slendro Solutions has their own brand of InDesign assistance, the GeometryReporter plug-in
Phoenix, AZ (February 28, 2008) for Adobe InDesign CS, CS2, or CS3. This plug-in generates and displays measurements for any
Austin, TX (March 26, 2008) box within an InDesign document. GeometryReporter is capable of generating intra-box measure-
www.kelbytraining.com ments, extra-box measurements, and inter-box gaps, each on their own layer. For more informa-
tion, visit www.slendro.com.

F^ejei^ef9I)9h[Wj_l_joJekh
March 14, 2008
Minneapolis Convention Center
Minneapolis, MN Fyufotjt!vowfjmt!
www.kelbytraining.com
! Vojwfstbm!Uzqf!Tfswfs EASILY pose pre-made models three-dimensionally in DAZ Studio,
Extensis has rolled out the Universal Type Server, its next generation, server-based font-manage-
?d:[i_]d9I) and see the results immediately in Photoshop! This plug-in is affordable,
ment solution for Macintosh and Windows. Universal Type Server is designed to handle all font-
FheZkYj_l_joJekh
related issues that may arise in font-intensive workflows. According to the company, it provides
Dallas, TX (March 20, 2008)
an easy-to-use tool for users and a robust, flexible solution for IT administrators.
compatible with any version of Photoshop CS, and seamlessly
Livonia, MI (March 27, 2008)
www.kelbytraining.com
Features include server and user administration via Web-based applications; Java-based server
integrates 3D into your 2D workflow.
with a secure SQL backend; Active Directory integration; support for both Mac and Windows clients
independently or simultaneously; support for mobile users; font license tracking; automated organi-
Fh_dj\[ij(&&. zation of font libraries via classification, foundry, file type, custom keywords, etc; native support for
March 27–29, 2008 Intel- and PPC-based Macs; Font Sense-powered auto-activation plug-ins for Adobe InDesign and
Anaheim Convention Center Illustrator CS3/CS2, and XTensions for QuarkXPress 6.5/7.
Anaheim, CA Universal Type Server will offer three editions: Universal Type Server Lite, Professional, and
www.printfest.com Corporate. For information on where to purchase the Universal Type Server family of products, visit
www.typeserver.com.
F^ejei^efMehbZ9ed\[h[dY[
;nfe TH

EK!Qbdfnblfs!!
EP
AC
April 2–4, 2008 EMA
KE
RT
EA
Orange County Convention Center M

Orlando, FL
www.photoshopworld.com
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Swedish tech company Tonium Laboratories
has released Pacemaker, a pocket-sized DJ
D78I^em(&&.
system that the company is hailing as a “first of its kind
April 11–17, 2008
product.” Pacemaker is about 6.5" long, weighs about 7 oz,
Las Vegas Convention Center
and is designed to allow people to interact creatively with their music
Las Vegas, NV
collection using a portable device.
www.nabshow.com
Pacemaker boasts all the functionality of a full, professional DJ setup. The unit is equipped with
two output channels, two crossfaders, pitch control, equalizer, mix saving, and user input latency. It
7:?C''9ed\[h[dY[ can play two tracks simultaneously and the software will work out the BPMs (beats per minute) of Check it out at
April 30–May 3, 2008 each of the tracks, enabling users to quickly learn to match the beats between two tracks and create www.daz3d.com/3dbridge
San Jose Marriott a DJ mix.
San Jose, CA Pacemaker works with Macs and PCs and supports all major audio formats, including MP3, WAV, ™

www.adimconference.com AAC, OGG, and FLAC files. For more information about Pacemaker, go to www.pacemaker.net.

DAZ Studio is a Trademark of DAZ 3D, Inc. Photoshop is a Registered Trademark of Adobe Systems, Inc. View-Master is a registered trademark of Fisher-Price, Inc.
Artwork by: Janek, Cwrw, Bigjobbie, 3dstrike, and Adiene.
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customize the camera. The K20D’s features include noise-reduction
technology, Custom Image functions, Live View to confirm composition,

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a Dust Alert function, and a PC sync socket for use with studio lighting.
While PENTAX tailored the K20D for the more high-end users,
the K200D is designed for users who may be unfamiliar with digital
Of all the photography industry’s annual events, the PMA Interna- SLRs but want a camera that will allow them to grow as they learn
tional Convention and Trade Show is the biggest. Photo equipment about photography. With 10.2 megapixels and a 2.7" wide-view
manufacturers always have at least one big announcement for LCD, this model features many of the advancements of the PENTAX
the show floor at PMA, and this year was no exception as Canon, Series, including Auto Picture and Scene modes, as well as Custom
Nikon, Sony, Pentax, and many others did their best to capture Image functions.
attention by introducing new products. PENTAX also announced five new lens models. Each new lens
Canon U.S.A., Inc. rolled out the new 12.2-megapixel EOS features a Quick-shift Focus System for instant switching from auto-
Rebel XSi digital SLR, incorporating many of the high-end functions focus to manual, and the PENTAX SP coating to protect the exposed
found in Canon’s professional SLR models, such as an improved lens elements from grease and dust. Visit www.pentaximaging.com to
autofocus sensor, enhanced 14-bit A/D conversion, an advanced read about all of the new PENTAX products.
Live View function, and the proprietary DIGIC III image processor.
The new model is expected to ship in April for $800, and in a
lens kit version which will include the EF-S 18–55mm f/3.5–5.6 IS
zoom lens for $900. Canon also announced two new lenses: the
EF200mm f/2L IS USM and the EF800mm f/5.6L IS USM. Stop by
www.usa.canon.com/home for more information.

Meanwhile, Sony is bringing live-view shooting to its new digital SLR


camera line. The company displayed its 14.2-megapixel DSLR-A350 and
10.2-megapixel DSLR-A300 cameras. They offer Sony’s new Quick AF
Live View technology so users can frame photos on the camera’s LCD
without sacrificing autofocusing speed. Sony’s innovative Pentamirror

RESTORE. RETOUCH. REMOVE. REPAIR.


Nikon Inc. introduced its new D60 digital SLR camera, featuring Tilt mechanism directs light to a dedicated live-view image sensor,
Nikon’s 10.2-megapixel CCD sensor and 3-D Color Matrix Meter- enabling fast and responsive TTL phase-detection autofocusing,
ing II. The D60 offers new in-camera editing capabilities, includ- even during live view.
ing adjustable cross-screen star effects, color-intensifying filters, The DSLR-A300 kit with a DT 18–70mm f/3.5–5.6 standard zoom NO ONE DOES IT BETTER THAN Restore old photos. With Image Doctor, restoring that precious old shot is
D-lighting, red-eye correction, Image Trim, and more. lens will ship in April for about $800. The DSLR-A350 camera body will a breeze. Select a rip or scratch and Image Doctor heals it.
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The D60 will be packaged with the 3x zoom AF-S DX NIKKOR be available in March for about $800, and the DSLR-A350 kit with a DT Retouch new photos. Whether it’s a mole, tattoo, scar or other blemish, Image
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2008. In addition to the D60, Nikon also announced the AF-S DX the same time. Both models will be available at www.sonystyle.com. Everyone loves the perfect photo. That’s also click of your mouse.
16–85mm f/3.5–5.6 ED VR, AF-S Micro 60mm f/2.8G ED, and PC-E Sony also announced the 70–300mm f/4.5–5.6 G and Zeiss T* Remove unwanted objects. Image Doctor’s powerful Smart Fill feature
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powerful Photoshop® plug-in from Alien Skin simulation of the immediate background. Get rid of anyone or anything from
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Software. Image Doctor’s unique software Repair low-quality JPEG images. Use Image Doctor’s JPEG Repair to fix
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people rave about its power, sophistication, and ease of use.


upon hour of Photoshop work trying to fix it. Visit www.alienskin.com for more info.

PENTAX Imaging Company jumped into the mix by introducing Sigma Corporation of America had its own group of new products
two new digital SLR cameras: the K20D and K200D. The 14.6-mega- to show off at PMA, with eight new lenses. For more information on any www.alienskin.com
© 2007 Alien Skin Software, LLC. All rights reserved. Image Doctor, Alien Skin Software, and the
pixel K20D allows experienced photographers the ability to fully of the Sigma products, visit www.sigmaphoto.com. Alien Skin Software logo are registered trademarks of Alien Skin Software, LLC. All other trademarks
or service marks mentioned are the property of their respective owners. We will never wear suits.

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= ravnetic provides multimedia content of all sorts, from stream-


ing Flash videos for the Web to broadcast graphics for local
TV stations to DVD material. Owner Jake Hawkes says he came up with
gateway that offers clear access to the other main areas of the site,
although he wouldn’t mind visitors having direct access to the video
player on the front page.
the name by combining the words “magnetic” and “gravity”—the latter Overall, he’d like his site to look fun, colorful, and creative. Hawkes
reflecting the fact that the Idaho-based company is frequently called cites the well-known series of Sony Bravia commercials as examples
upon to work with material involving skiing and mountain biking. of the combination of fun and creativity he admires. Another goal is for
The biggest problem with the current website, says Hawkes, “is the website to encourage distribution, so that some of his videos could
that I have two homepages—the initial one with the movie marquee, get viral exposure. He’d like there to be some kind of “call to action”
and then the Flash Video page.” The bare URL takes a visitor to the after you look at his stuff—if people see something they like, they
first page, even though the second page has all the navigation links should be able to do something with it. “Perceive it however you will,”
on it and is even named “Home.” Not only that, the two pages don’t he says, “but then share it.” We asked three designers to take on the
look anything alike; there isn’t even a consistent logo treatment tying complicated task of providing consistency, creativity, and action in the

C
them together. Ideally, Hawkes says, the first page would be a simple same makeover.
y goal for the Gravnetic website was structuring the content in

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a way that would come across as approachable, professional,
and creative, while finding a balanced mix of structural elements and
visual consistency. Lack of consistency was foremost among the many
J^[X_]][ijfheXb[cm_j^j^[Ykhh[dj ways I thought their current website falls short.
m[Xi_j[_ij^Wj?^Wl[jme^ec[fW][i$$$ For the homepage, I wanted to keep the video area the main
focus so I decided that giving access to five videos at a time was an
ideal way to keep the user interested but wanting more. I added a little I added the ability to share any video or picture to help people
News section to help give the homepage a fresh feel and provide a spread the word for Gravnetic. I chose to tie the headlines in to
reason for people to come back for updated information. the header graphic by using a pixel font (Frucade Small Extended
For the overall look of the site, my inspiration was to mix technology from Semplice), while the navigation and video player font (Interstate
with the outdoors. I chose a subtle, natural color scheme and tried Bold Condensed) was chosen for its bold, compact form. I cleaned up
to mimic a pixelated forest treeline in the header. I really resisted Gravnetic’s logo by setting it in a sleek, modern font that I manipu-
getting too creative with background graphics and headers—I felt lated only slightly. I wanted the logo to be simple and strong, yet plain
that their content was the creative element and that it should have a enough that they could impose it on their other work without it taking
neutral stage to perform on. away from what they were applying it to.

Q 7 8 E K J  J > ;  : ; I ? = D ; H S
Uzmfs!Uipnqtpo
In late 2006 while working at 7-Eleven, Tyler Thompson found himself alone one night shift. While
stocking the hot dogs, the layout of the packaging grabbed him, and he thought, “I can do better than
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this!” And so began a love story, a love story set in a world where hard drives are huge and floppy
cWa[el[hikXc_ii_edi drives don’t exist.
We’re looking for product packaging or labels, print advertisements, and magazine covers that are currently in the marketplace for future In addition to campaigns for Safeway, Redhook, and others, Thompson has created a logo for his
“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 cousin’s softball team, a flyer for a rave, and two menus for a highly successful Mexican restaurant in town. Tyler would like
you’d like to be considered for a future “Design Makeover,” drop us a line at letters@layersmagazine.com. to take this opportunity to thank his amazing wife, Amanda, for all of her support during his long, long nights behind the
computer, and his son, Scout, for all his cool coyote sounds.

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.”
S 7FFB?97J?EDIKI;:0 Adobe Photoshop and Adobe Illustrator
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M ith the client’s personal background and preferences in mind,


I opened Photoshop with a newfound vigor. I planned to keep
some of the organizational and design choices; however, the lack of
consistency and identity were the major items I wanted to change
and enhance.
I began by using more modern design elements, adding gradients,
bold colors, and glossy highlights to the first page. With the client’s wish
for activity and the history of the Gravnetic name, I used a more traditional
approach and gave the layout a mountainous landscape background.
I kept the magnet because it’s the client’s best representation of what Moving on to the video page, I focused on interactivity and simplicity.
his site is about. I manipulated it, however, and used it as the n of the I converted each text-titled video to a simple glossy button organized
logo to create a feeling of simplicity and boldness. I reproduced the new on the right-hand side. To achieve a more distributive website, I included
logo on the front page to add stronger identity and more uniformity. interactive sections to enable video exchange. I created an alternative
The selection of Lucida Sans Unicode and Myriad Pro as the fonts for video player with a more user-friendly interface and one that conformed
the section titles and logo, respectively, adds an aura of professionalism. to the sleek and traditional design of the layout.

Q 7 8 E K J  J > ;  : ; I ? = D ; H S
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A Web designer for two and a half years, the 15-year-old Taylor Zimmerman is a sophomore in high school
in Tennessee. While attending high school, he has created assorted graphics for his school and its many
mmm$B7O;HIC7=7P?D;$Yec

clubs. His work has also been featured in the Tennessee Art League.
Because his father was a member of the Armed Forces for 20 years, Taylor has lived in numerous places
around the world. He began Web designing in 2005 and created his website, Xpdesigns, shortly after.
Taylor enjoys hanging out with his friends, freelance PHP and MySQL programming, and jamming to his favorite alter-
native rock band. He plans on attending the Art Institute of Chicago to obtain a degree in Audio Production, Graphic
Design, and Interactive Media.

7FFB?97J?EDKI;:0 Adobe Photoshop CS3

(( continued on p. 24
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J he immediate need for the Gravnetic website was quite clear


from the beginning: there was no continuity. The splash page
was designed as a flashy theatre marquee, but the subsequent pages
made you feel as if you were leaving the site altogether. Not only do
they not look like the opening page, but they contain links to pages
(Promo Reel, About, Contact) that aren’t even mentioned on the
splash page.
I started by tackling the splash page. Unless your site is product-
focused and your homepage is introducing a product, an image-based
splash page isn’t a great idea. I wanted the homepage to present basic content. And I reinforced each service page with the icon used for that
information on all of Gravnetic’s services, as well as give an idea of what service on the front page, so it’s very clear to viewers where they are on
can be expected on the rest of the site. Each content area is clearly the site. I used Penumbra HalfSerif Std for the logo and section headings
defined and has a clear heading as to what belongs to that section. and various weights of Myriad Pro for everything else.
I included samples of photography, direct links to videos, and a list The overall look is based on the original theater theme. In the final
of services, and gave each listed service an identifying icon. product, the marquee and lights around it are animated to bring the site
On the subsequent pages, clear content areas with clear headings to life, but not too much to take away from the content. It’s important to
again give users a very clear and concise method of accessing the remember that the content is what’s important, not so much the design.

Q 7 8 E K J  J > ;  : ; I ? = D ; H S
Kpio!NdDboo
John McCann, 27, works at VanKomen Media (www.vankomenmedia.com), an online marketing firm based
in Draper, Utah. VanKomen provides marketing services such as list management, media buying, and
mmm$B7O;HIC7=7P?D;$Yec

campaign management.
Before VanKomen, McCann worked on websites for companies doing business with HBO and the Dis-
covery Channel. He has also worked on projects involving corporate customer relationship management
and content management system design, as well as on sites designed to sell children’s toys.
McCann moved to Utah with his wife when she was in the Air Force; he says, “We absolutely love it. We used to live in
Florida, so my four children, Ian, Ashton, Kyleigh, and Shealeigh, had never seen snow. They’re having the time of their lives.”

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


(*
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STEP TWO: Now if you study the veins on the leaf, you’ll notice follow the flow and direction of the existing grid lines that border on

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that they break up the box into two columns, each with four rows. either side of them. (Note: Once you create one of the new vertical
Q 7HJ?IJ?9;NFH;II?EDIS Armed with that information, choose Create Gradient Mesh from grid lines for the central vein, click directly on that line when adding
C F S U ! | ~ ! N P O S P Z
the Object menu. In the dialog that pops up, enter the parameters horizontal grid lines. Otherwise, you’ll add additional vertical lines

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established by our observation of the leaf, and click OK. that you don’t need.) We need to alter these new grid lines also:
Using the Direct Selection tool, move them and adjust their handles
to start forming a shape within the leaf where the colors will flow.

You’re probably thinking this is some new ecological


way of using Adobe Illustrator. Sorry! The only way
to do that is to use energy-saving bulbs to light your
work area. What we’ll show you, however, is how to
use the Mesh tool to simulate nature’s way of colorizing things—in this
case, a fallen leaf.
Here’s a fairly flat-looking maple leaf made from two layers: The
bottom layer contains the leaf and the layer at top contains the veins.

Bee!dpmpst
J N B H F T ; ! ª J TUP D L Q I PUP ! ! J M MV TU S BU J P O ; ! UB G G Z ! P S MP X T L J

The beauty of the gradient mesh is that colors can be added that will
fade into any other colors that exist within the mesh. To add colors to
the mesh, simply select anchor points in the mesh and then choose a
STEP THREE: Using the Direct Selection tool (A), move the center
color. The color will automatically fill the area around the anchor point
anchor points of the mesh to intersect the joints where the six hori-
and fade into whatever color is assigned to the next anchor point in
zontal veins branch off from the main central vein. Also, move the
Dsfbuf!uif!nfti! anchor points on the outer edges and adjust their handles so the
the mesh. Note: Any alteration to the shape of the mesh will alter the
shape of the color and how it fades into neighboring colors. Let’s try it
What the leaf needs is some color to make it look more dimensional mesh matches the shape of the veins.
with our leaf:
and natural and this is where the gradient mesh comes in.

STEP FIVE: In the middle layer with our leaf color, use the Direct
STEP ONE: First, we’ll create a new blank layer between the two
Selection tool to select all the points that travel through the original
existing layers. In this new layer, we’ll generate a box that has the
grid lines that are directly on top of the veins (add the Shift key for
same fill color as the leaf and covers the complete shape of the leaf.
multiple selections). Once all the points are selected, choose a dark
This layer is where we’ll create the gradient mesh and add the colors.
brown color to fill those points. Notice that the color falls behind

QJ^[X[Wkjoe\j^[ the veins because the veins are in a layer above the layer where
the mesh is contained.

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m_j^_dj^[c[i^$S Click on the Toggles Lock box (to the left of the layer name) of STEP FOUR: Add new grid lines above and below the horizontal
the other two layers that contain the basic elements of the leaf. veins and to the left and right of the central vein. To add new grid
This is important because we’ll be doing a lot of clicking to create lines, click with the Mesh tool (U) anywhere within the grid. This
the mesh, and locking the layers will prevent them from acciden- will create both a vertical and horizontal grid line that intersect at
tally being selected and altered. the point where you click. These new grid lines will automatically

(,
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STEP SIX: Click on the vertical lines to either side of the central vein
to add two new horizontal grid lines that fall in the center between
the horizontal veins. Add two new vertical grid lines to the left and
right of the existing vertical grid lines. These new vertical lines will
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serve as the stopping point for the colors that are about to be added
to the newly created horizontal lines. Select the four points on the
two new horizontal lines where they intersect the vertical grid lines UÊÊAs Bert mentioned in Step Four, you can add addi-
on either side of the center vein in the leaf. For our example, we tional horizontal and vertical grid lines to the gradi-
added a pink tone to those points.
ent mesh by clicking in an empty area with the Mesh
tool. You can also click directly on a vertical grid line
to create a new horizontal grid line and vice versa.
Now if you add an anchor point that you didn’t
mean to, hold down the Option (PC: Alt) key and
hover over a grid line. When the cursor changes to
a minus sign (–), simply click on the undesired grid
line to remove it.

UÊÊ œÜʏi̽ÃÊÃ>ÞÊޜսÛiÊi`ˆÌi`Ê>Ê̅iʈ˜`ˆÛˆ`Õ>Ê«œˆ˜ÌÃÊ
with varying colors and when you look at the finished
graphic, you decide you’d like to see other color
variations. Well, you could go and select each indi-
vidual point and change the color if you had all the
STEP SEVEN: Select the points at each juncture where the veins
time in the world. However, since most of us don’t
branch out and add a green color to these points. Finally, adjust
the various outside points that border the dark brown tones, which have that luxury, we can simply select the object
allows you to spread the browns and vary their effect over the leaf. with the Selection tool and click on the Recolor
Now that the color is complete, place the middle layer with the Artwork icon in the Control panel. In the Live Color
colored box behind the layer with the leaf. Unlock the leaf layer, dialog, make sure the Recolor Art box is checked on Caribbean Romance by Maura Dutra
and then clip the two layers to form a mask (Object>Clipping
at the bottom. Then click the pop-up menu at the
Mask>Make). And here’s our more natural-looking leaf.
top left to access the various Harmony Rules and
experiment with different combinations.

Created with Painter. Made by hand.


A genuine work of art is the unique expression of the artist’s
imagination and hand. Each stroke is distinctive, and each piece
is one of a kind.

Corel Painter X is the ideal tool for turning your photographs into
The world’s most stunning paintings. Featuring the new RealBristle™ system that

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
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Natural-Media
®
freedom. The result? An original work of art, every time.

The Mesh tool is a wonderful way of playing with color! Couple it with
painting and illustration software Visit www.corel.com/layers to experience Painter X and download
a little solar power and it’s a very environmentally friendly tool. ! your free 30-day trial today.

[ 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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Digital Illustration: Oscar’s Victory


] [ Personal Work
] [ Designer: Eduardo de la Cruz
] [ Software: Adobe Illustrator CS and
Adobe Photoshop CS
] [ Website: www.jondo.com/eduardo

Digital Illustration: EMD Chemicals Catalog Cover ] [ Client: EMD Chemicals ] [ Designers: Brandon Morton and Bill Perry ] [ Software: Adobe Photoshop CS
and Adobe Illustrator CS

Digital Illustration: Moonrise


] [ Personal Work
] [ Designers: Len and Joan Weinstock
] [ Software: Adobe Photoshop CS3
] [ Website: www.pbase.com/lenw

Digital Illustration: PS I Love You, Chapter One ] [ Personal Work Digital Illustration: The Burden of Beauty ] [ Personal Work
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Designer: Bethany Spencer ] [ Software: Adobe Photoshop CS3 Designer: Bethany Spencer ] [ Software: Adobe Photoshop CS3
Digital Illustration: Atardecer Website: www.totallyunprofessional.com Website: www.totallyunprofessional.com
] [ Personal Work
] [ Designer: Eduardo de la Cruz
] [ Software: Adobe Illustrator CS and
Adobe Photoshop CS
The staff at Layers magazine appreciates the time and effort involved in the creative process, no matter how large or small the
] [ Website: www.jondo.com/eduardo project. With this in mind, we offer you the opportunity to display your work on The Digital Canvas. Please submit your print, Web,
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

Layers: Your style clearly demonstrates a great deal of diversity. Layers: For every image that nails the mark, how many do you toss
Do you have a type of photography you enjoy doing most? on average?
Wiggett: I think landscape photography is my number one passion Wiggett:I am a ruthless editor of my work. I keep about 10% of every-
but I don’t do any photography that I don’t enjoy. I tried to do assign- thing I shoot. Only the cream is worth keeping, especially in this age of

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ments and to photograph things that stock agencies and ad houses digital when photographers are saddled with the huge task of postpro-
wanted, but working on someone else’s vision left me flat. Photogra-
cessing. My time is limited; I won’t waste it on second-class images that
phy is very personal and I do it for myself only. I’m lucky I can make a
will never be published.
photographs what he loves: nature, animals, and kids. He’s best known for his living off my hedonism….
dramatic light landscape photos and he’s constantly searching for the ephemeral magic that nature occasionally tosses his way. Darwin concentrates
Layers: Do you do photography full-time or on the side? If full-time,
his efforts in capturing his home country of Canada. When photographing kids and dogs, he does it with an eye to humor and sense of story. He Layers: Do you shoot film, digital, or both? What equipment do you
how do you make a living with it?
prefers spontaneity and off-the-cuff shooting as opposed to posed work. He also teaches photography in seminars, photo tours, courses, and use most?
workshops. Darwin is a regular columnist and contributor to Outdoor Photography Canada magazine and various other publications, such as Wiggett: I do this full-time and sell my images mostly through stock
Wiggett:In the last three years I have been completely digital, mostly
photo books. agencies. I also teach and write about photography and have numerous
because the buyers of my photography demand digital delivery and
photography books that generate royalties. I also collect pop bottles on
digital quality. I use top-end Canons and currently am using a Canon
Layers: How did you get your start as a photographer? Did you go the school, the side of the road and have a newspaper route.
QFWii_edm_bb]_l[oek mentor, or self-education route?
EOS-1Ds Mark III.

Layers: Is there any advice you would pass on to budding photog-


Wiggett:I was working on my master’s thesis in zoology at the University of Alberta Layers: Do you have a favorite lens you use most? If so, why is it
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f[hi_ij[dY[jef[hi[l[h[1 and found that a career as a wildlife biologist was not what I had envisioned it would your favorite?
raphers who have a passion for it but are afraid to jump into the
deep end?
be. I was spending about eight months in the office writing papers and proposals and
Wiggett:My most-used lens is my Canon 24mm TS-E (tilt and shift)
cWha[j_d]iWllom_bb^[bf grant requests and only spending four months in the field per year. I wanted a way
to spend more of my time out in nature. I read a book by Freeman Patterson (www
lens. This lens gives me infinite depth-of-field to create landscapes
Wiggett:Photography is less about talent and more about marketing
and persistence. It’s about a burning passion to create that can’t be
that are tack sharp from inches in front of the lens to infinity. If I could
oekfWoj^[X_bbi$S
.freemanpatterson.com), Photography of Natural Things, and that book changed turned off because of practical matters like starvation! Passion will
own only one lens, this would be the one.
my life. I bought a camera and started documenting the world around me. I became give you persistence to persevere; marketing savvy will help you pay
addicted to making photos. That was 1986 and I’m still addicted to photography. the bills. Shoot what you love and don’t compromise—your work will
Everything I know about photography is from doing it. I have no formal training. P8DCI68IR9Vgl^cL^\\Ziilll#YVgl^cl^\\Zii#Xdb be better for it.
All images by Darwin Wiggett.

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Work smarter in Solo mode Cooler Flash Web galleries Temporarily hiding the Toolbar
You can waste a lot of time in Lightroom In the recent free Lightroom 1.3 update, You know that Toolbar that appears below
scrolling up and down through all the open Adobe snuck in some really cool Flash-based your photos? If you want to get it out of the
panels. That’s why I recommend turning Web gallery templates that most folks don’t way for a second or two, hold the letter T
on Solo mode. That way, only the panel realize are there. In the Web module, look at on your keyboard, and as long as you hold
you click on is displayed, and the rest are the top of the Gallery panel and you’ll see T, that Toolbar stays hidden. Release T and
collapsed and out of the way. To turn this three new Flash galleries: Airtight AutoViewer, it comes right back.
feature on, Control-click (PC: Right-click) PostcardViewer, and SimpleViewer. They’re
on the panel header for any panel, then very slick, and totally automated. Printing on color backgrounds
choose Solo Mode from the pop-up menu. There’s no control for changing the
Great sharpening for portraits background color of a page printed from
and landscapes Lightroom—it’s always white. But there’s a
In the Lightroom 1.1 update, Adobe added workaround: In Photoshop, create a docu-
pro-quality sharpening and some very cool ment in the same size and resolution you
sharpening presets that take advantage of want to print on (such as a letter-sized
the new features, including two you should document at 240 ppi). Then, fill your Back-
try out. They’re in the Develop module’s ground layer with whatever color you want
Presets panel, under the Lightroom Presets your photos to print over. Now save your
section, and they’re called Sharpen – Land- file as a JPEG, and then in Lightroom, in
scapes and Sharpen – Portraits. the Print module, in the Overlays panel,
import that image as an Identity Plate.
Then set the Scale to 100% and turn on
the checkbox for Render Behind Image.

Turning off the effect of a


Develop panel adjustment
All of the panels in the Develop module
(except the Basic panel) let you turn off the
See a quick before/after effect of that panel (e.g., you can turn off the
When you’re working in the Develop module Tone Curve to see your image before the Tone
and you want to see a quick before/after of A better view when cropping Curve was applied). To turn off the adjustments
your photo, just press the Backslash key and For the ultimate view when cropping a made in any of these panels, just click the On/
it displays the before photo. Press it again photo, click on the Crop Overlay tool in the Off switch to the left of the panel header.
to see the after image. (The word “Before” Toolbar, then press L twice. This turns on
appears in the bottom-right corner of the Lights Out mode, and your image appears
image so you know at a glance which one centered onscreen on a black background.
you’re looking at.) But here’s the cool thing: Your crop border
is still in place, and when you grab a corner
ith great caut
ion. Customizing your panel end mark and start dragging, you see a live preview
ho t! Plea se approach w su re to There’s a little flourish graphic at the bottom of the final image (try it and you’ll see what
emely verexp o
ents are extr caused by o may occur d
ue
arning: Cont b le for any d am ag e s
giddiness th at of every column of panels to let you know I mean). When you’re done, press L once
t re sp o n si o r in te ns e s of joy you’ve reached the last panel. Luckily, more to return to normal view.
Publisher no ment feeling
s ca us ed by overexcite in th e fu tu re. If intense ts an d you’re not stuck with that antique-looking
rie vation k hear
tips or to inju e and aggra se with wea
blazing hot ve to ns o f tim
r imm ed ia te ly . Tho graphic—you can choose from a number The trick to deleting
s that will sa t your docto
to learning tip fo ur hours, consul yers 100
of built-in end marks by Control-clicking multiple photos
nger than sts. rd Annual La
persist for lo all co T hi (PC: Right-clicking) on the end mark itself. When you’re in the Develop module, if you
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ese tip s at e to th e
ould avoid th elcom hered
f the way, w ce) have gat select a number of photos in the Filmstrip
bad backs sh
From the pop-up menu that appears, go
th e le g al issues out o o rld (a nd ar ound our offi as ve ry
e have d the w roup w under Panel End Mark and choose a differ- and press the Delete (PC: Backspace) key,
Now that w re g ur us from aroun ve to admit, this g
Tips issue, w he crets. W e ha dark ro s,
o m ent end mark from the list, or add your own it only removes the first selected photo.
Blazing Hot o st cl o se ly guarded se rt to o ur us ual tactics of
share their m have to reso em to pose custom mark by placing a PNG graphic in To delete more than one photo at a time,
together to th is ye ar —we didn’t ev er , w he n we asked th the End Marks Folder (choose Go to Panel simply press G to return to Grid view in the
s e, how
with their tip draw the lin
forthcoming s. They did End Marks Folder from that same pop-up Library module, then you can delete all the
m per ca b le w e guess the
starvation, o
r ju
ks C al en d ar. Oh well, menu, and drop your graphic in there). selected images at once.
un
rs Hot Tips H
for our Laye e en ough.
have to b
tips will just
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Masking adjustment layers Unusual color tint a high-resolution image—or a pano—to Pen selections Command (PC: Ctrl) key to do it by a LÀˆ˜}ÊL>VŽÊ̅iʏ>ÃÌÊÃiiV̈œ˜°Ê i«i˜`ˆ˜}ʜ˜Ê
Adding an adjustment layer such as Photo A variety of interesting effects can be your website, Zoomify will create a file If you like the accuracy of drawing with larger amount. what you’ve done in Photoshop since you
Filter and then painting on the layer mask achieved by adding a Black & White adjust- that your visitors can zoom and scroll. Just the Pen tool (P), but the flexibility of work- UÊ Ê7…i˜Êi`ˆÌˆ˜}ÊÌiÝÌ]ÊޜÕÊV>˜ÊÕ“«Ê̅iÊ originally made the selection, Reselect may
can be of great use to make subtle changes ment layer and then using the Blend If use File>Export>Zoomify, choose your set- ing with a selection, then check this out. cursor to the beginning or end of a line not be an option, but it’s worth a try.
to only portions of a photo. But it can be a sliders. (From the Add a Layer Style pop-up tings, and upload the resulting files to your When you draw a path with the Pen tool, LÞÊ«ÀiÃȘ}Ê
œ““>˜`‡1«É œÜ˜ÊÀÀœÜÊ
challenge to see what you’re doing when menu, choose Blending Options). As you Web server. you can turn it into a selection by pressing ­*

ÌÀ‡1«É œÜ˜ÊÀÀœÜ®]ÊÀiëiV̈ÛiÞ° Shape constraints
you’re masking, so try this: Put the setting drag the This Layer and the Underlying Command-Return (PC: Ctrl-Enter). Your path œ˜½ÌÊÜÀiÃ̏iÊ>ÀœÕ˜`Ê܈̅ÊޜÕÀÊÌiÝÌÊÌÀވ˜}Ê
(in this case Density) in the adjustment Layer sliders, you’ll see portions of the origi- Explore quadtone presets will still be in the Paths panel but you’ll also Form a group to get it to appear as if it’s constrained by a
layer very high until the color change is nal color image starting to show through. If you’re printing your own black-and-white have a selection. If you haven’t tried out layer groups yet, particular shape. Instead, you can use any
overly obvious, and then paint on the mask. images, take some time to experiment with then you have to for two reasons: (1) of the Shape tools to create a shape layer,
Finally, double-click on the adjustment layer the Quadtone presets. First convert your Mergin’ copies Groups help make sense out of your Layers then grab your Type tool, click inside the
in the Layers panel to lower the setting to document to grayscale (Image>Mode> Let’s say you have a graphic you want to panel, and (2) they help you move similar shape, and start typing. Photoshop will fit
an appropriate amount. Grayscale) and then from the Image>Mode copy-and-paste into another document but layers around without having to always your type in the boundaries of the shape
menu choose Duotone. In that dialog, pick your graphic is made up of several layers. select all the layers. Just select the layers Ài}>À`iÃÃʜvʏˆ˜iÊLÀi>ŽÃ]Êvœ˜ÌÊÃÌޏi]ʜÀÊÈâi°Ê
Reset Camera Raw sliders Quadtone and then click the Load button (be No sweat. Just make a selection around the you want
In Camera Raw you can reset any slider to sure to navigate to the Duotones folder in graphic and choose Edit>Copy Merged. to group Capture color
the default setting by double-clicking on the the Presets folder of your application folder). Photoshop will copy everything inside of the and press If you’ve ever been working on a design
slider control knob. Change adjustment layers Load one of the presets from the Quadtones selection regardless of which layer is selected. Command-G and then came across a color, say on a
If you’ve added an adjustment layer and folder to create a dramatic black-and-white Then just paste it into the new document. (PC: Ctrl-G) webpage, that you thought would be
One-click actions painted a mask, you don’t need to repaint look (the presets use multiple colors, so don’t to place perfect for what you’re working on, then this
A great way to take advantage of actions is the mask if you decide to change to a dif- send the file to a print shop thinking it’s a Goin’ global them into a tip is for you. First, position your Photoshop
to record very simple, one-step operations ferent adjustment layer. Just go to the Layer one-color job, ’cuz it ain’t!). Layer styles are awesome. Just don’t forget little folder. canvas and whatever window has the color
that you use all the time, such as adding menu to Change Layer Content and pick that, by default, the Use Global Light setting in it so you can see both of them onscreen.
a white stroke layer style, rotating 10%, or the new adjustment layer—the layer mask is turned on. So if you adjust the lighting in Then select the Eyedropper tool, click-and-
scaling 20% smaller. Record each of these will be preserved. one layer style, all layer styles on all layers hold on your canvas, drag the tool over the
as an independent action and then change will change. If that’s not what you want, then color regardless of where it is onscreen, and
the Actions panel to Button mode. Now Zoomify turn off the Use Global Light setting for the release your mouse button.
each of your actions can be applied with One often-overlooked function in Photo- layer styles that you don’t want to change.

©ISTOCKPHOTO/NICK SCHLAX
one click of a button. shop CS3 is Zoomify. If you want to add Finding Pantone
Want a quick way to find the approxi-
Open JPEGs in Camera Raw mate Pantone color for a color in your
As of Photoshop CS3, you can open and work with JPEGs and TIFFs in Camera Raw. image? First, use the Eyedropper tool (I)
There are a number of ways to do this, but the simplest method is to Control-click (PC:
Editing keyboard shortcuts
Although it’s easy to change keyboard to select the color. Then, click the Fore-
Right-click) on the file in Bridge, and then from the contextual menu, choose Open in ground color swatch at the bottom of
shortcuts (Edit>Keyboard Shortcuts), the
Camera Raw. (To make Camera Raw the default for JPEGs that you’ve already edited the Toolbox to open the Color Picker.
challenge can be to find shortcuts that aren’t
in Camera Raw, go to the Camera Raw preferences and check the box that says Always Click on the Color Libraries button on
Open JPEG Files with Settings Using Camera Raw.)
already in use. One solution is to replace Quick switch
shortcuts you never use. For example, Shift- Every time I teach Photoshop, someone the right and you’ll see the approximate
Command-L (PC: Shift-Ctrl-L) is currently asks what the keyboard shortcut is for color swatch for whichever Pantone
assigned to Auto Levels, a command most quickly switching between open applica- library is selected in the top pop-up
people don’t use. As you’re looking for use- Quick text control ̈œ˜Ã°Ê"˜Ê̅iÊ>V]ʅœ`Ê̅iÊ
œ““>˜`ʎiÞÊ menu. To get back to the Color Picker
able shortcuts, think about the commands When you’re working with text in Photoshop, (PC: Alt key) and press Tab. You’ll see a just click the Picker button.
you never use and apply these shortcuts to remember that many of the major settings pop-up window showing all open appli-
commands that you wish had a shortcut. have keyboard shortcuts. For example: cations. Just keep pressing Tab until the
UÊ Ê/œÊˆ˜VÀi>ÃiÉ`iVÀi>ÃiÊ̅iÊÈâiʜvÊޜÕÀÊÌiÝÌ]Ê application you want is highlighted.
Adjusting layer masks press Shift-Command (PC: Shift-Ctrl) and
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If you’ve painted with gray on a layer mask ̅iʀɐʎiÞ°Ê/…ÀœÜʈ˜Ê̅iÊ"«Ìˆœ˜Ê­*


\Ê Reselection time
and then want to experiment with lighter Ì®ÊŽiÞÊ̜ʈ˜VÀi>ÃiÉ`iVÀi>ÃiÊLÞÊ>ʏ>À}iÀÊ ÛiÀʓ>ŽiÊ>ÊÃiiV̈œ˜]Ê`iÃiiVÌ]Ê>˜`ÊÀi>ˆâiÊ
and darker shades of gray on the mask, use amount each time. later that you needed the selection back but
Levels (Command-L [PC: Ctrl-L]). Move the UÊ Ê/œÊˆ˜VÀi>ÃiÉ`iVÀi>ÃiÊ̅iÊë>Vˆ˜}Ê didn’t save it? You could undo and hope
DAVE CROSS

midtone triangle in the center to the left or between each letter in the text (a.k.a. there are enough undo states to get back
right to change the shade of the gray paint ŽiÀ˜ˆ˜}®]Ê«ÀiÃÃÊ"«Ìˆœ˜‡,ˆ}…ÌÉivÌÊÀÀœÜÊ to your selection, but try this first: Go under
on the mask. ­*
\ʏ̇,ˆ}…ÌÉivÌÊÀÀœÜ®°Ê/…ÀœÜʈ˜Ê̅iÊ the Select menu and choose Reselect. It will

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Erase everything Turn down the lights or double-click the tool in the Toolbox to Multiplace InDesign in InDesign
The Eraser tool (Shift-E) works similar to the Illustrator CS3 now gives you the option of open the Crop Area Options. Here you can When using the Place command (File>Place),
InDesign can place many different for-
Paintbrush tool (B) in that it only affects the darkening your interface. This is popular input the dimensions manually or choose hold down Command (PC: Ctrl) and you can
mats. However, the most useful one as
areas where you paint. However, if you hold among artists because it puts more emphasis from a list of Presets, which include settings select multiple files to place. The files can be
far as productivity goes is its own format
down the Option key (PC: Alt key) you can on your work and colors look better. To for video, Web, and print. a combination of image types, text, or spread-
(.indd). Yep, you can now place one In-
click-and-drag around an entire area with the change the interface, just go to Illustrator sheets. When you have the loaded graphics
Design file into another InDesign file as a
Eraser tool and erase everything in that area. (PC: Edit)>Preferences>User Interface. icon active you can use the Arrow keys to
link. Just like an image, it can be edited
Choose the desired Brightness and click OK. switch between images before you place
with the Edit Origi-
Twisted type them on the page. If there’s an image you no
nal function. This
There’s a little-known dialog of options when longer want, press the Escape key while that
means that two
you’re editing text on a path. If you have image is active in the multiplace cursor.
or more designers
type selected on a path, you can double-
can work on the
click the Type tool in the Toolbox to access Empty frame fitting options same layout.
the Type on a Path Options. These features You can set up an image frame that auto
allow you to edit how the text behaves on scales your images to fit. Create an empty
More than it appears desktop becomes an .inds file (InDesign Edit>Menus and from here you can colorize
the path—things like the effect, how it’s graphic frame with the Rectangle Frame
If there’s one feature that I would recom-
aligned to the path, and even the spacing. tool (F). Select Object>Fitting>Frame Fit- snippet). You can also create a snippet by or hide any menu item you wish. There’s
mend getting really familiar with, it’s the
ting Options. You will then have the choice dragging any graphic into an Adobe Bridge a host of vibrant colors sure to jog your
Appearance panel. This one little panel is
between three very satisfying frame-fitting window. The advantage to dragging them memory on which item you should be
capable of so much more than it seems. You
options. Now when you place an image into to Bridge is that you get a nice preview. selecting in the future. It’s also a great prac-
can apply effects and blend modes to the
this frame it will automatically resize it to fit. Now you can simply drag them back to tical joke to hide some critical menu items
fill color and stroke colors separately. You
any InDesign document and they’ll be fully on an unsuspecting colleague or workmate!
can even have multiple instances of fills and
editable. If you hold down Option (PC: Alt)
Transform control strokes all on one path and all managed Wet floor
when dragging, they’ll place back in the
The Free Transform tool (E) has been around inside the Appearance panel. It’s kind of like Drop shadows are like so five minutes ago.
exact position from whence they came.
forever but some still have trouble with it. having a Layers panel for each object. The new look is the wet floor, or the reflec-
It’s used to distort objects disproportion- Quick custom gradients Duplicate page layouts tion. Take any object or group of objects in
ately, but it tends to be tricky. With the Did you know that when creating gradi- We all know that duplicating layers in InDesign and duplicate it (Edit>Duplicate).
object selected, choose the Free Transform ents you can drag swatches right from the Photoshop can be helpful (and then some). Hold down the Command key (PC: Ctrl key)
tool and click-and-hold one of the corner Swatches panel or even from the Color Duplicating pages in InDesign can be just and drag the top middle control handle
handles. Press-and-hold the Command key panel and drop them on the Gradient Slider as helpful when you want to try a variation down and invert the file. Move the inverted
(PC: Ctrl key) and the cursor will change. in the Gradient panel? Now you do. Type tool converts on a layout. Open the Pages panel and file until it’s reflected under the original. Using
Now you should be able to distort the Many people have been met with frustration drag-and-drop any page you wish to dupli- the new Gradient Feather effect (Object>
corner point independently of the other Point options when they clicked on a regular frame with cate onto the Create New Page icon. It will Effects>Gradient Feather), change the
corner points. Anyone who has been using Illustrator for the Type tool and it converted it to a text duplicate the page and all of its contents Angle to create your reflection. Play with the
some time knows that one of the most frame. This can be avoided by changing a for a quick click-and-giggle. Opacity and Location of the Gradient Stops
Move to a new layer frustrating things has been selecting paths new preference (Command-K [PC: Ctrl-K]). until you get that great-looking wet floor.
You can easily transfer objects to a different and points in really complex drawings. Under the Type Options, deselect Type Tool Better contact sheets
layer. Select one or more objects and in the Combine and expand Illustrator CS3 has a new set of Preferences Converts Frames to Text Frames. Photoshop can do contact sheets, but
Layers panel you’ll see a small color swatch When using the Pathfinder panel to com- called Selection & Anchor Display. These InDesign can do them better. Select a
on the far right of that layer that represents bine shapes, you need to select the objects, allow you to set a Tolerance so points can Quick-changing tools bunch of images in Adobe Bridge and
the selection. Simply click on the swatch click one of the Shape Modes buttons, then be selected within a specified pixel range Double-clicking any image frame with the go to Tools>InDesign>Create InDesign
and drag it to the desired layer. This will click the Expand button to expand the and you can set points to highlight when Selection tool will change you to the Direct Contact Sheet. Not only can you include
copy those selected items to that layer. vector lines into one shape. You can com- you mouse over them. Selection tool. You can use the Direct Selec- filenames, but any amount of metadata,
bine these two functions by holding down tion tool to resize and change the cropping including camera data. You can even
Option (PC: Alt) when you click any of the of an image. When you’re done, double- design your own template to use. Why not
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Shape Modes buttons. click again and you’ll be safely returned to use the option to automatically create a
the Selection tool. multipage PDF based on the results?
Defined exports
The Crop Area tool (Shift-O) allows you to Snippet libraries Customizing menus
isolate a specific area of your Illustrator file Snippets are so easy to make, many people If you suffer from short-term memory
that you want to export. You can manually make them by mistake! Any object, or group loss, then you may want to set yourself
draw a defined area with the Crop Area tool of objects, you drag from InDesign onto your some InDesign menu reminders. Go to

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Importing images in PDFs On Windows, open the Start menu and the Fields navigation panel. Continue the Keeping it all together Break apart text Blend to reveal
Images can be imported in your PDF docu- choose Programs>Accessories>System same steps to populate a table. The J key toggles Object Drawing mode In Flash, you can edit letterforms as vector If a movie clip overlaps a grouped shape or
ments from a variety of file formats. With Tools>Character Map to open the Character on and off. When it’s on, shape tools (such shapes. Select the text, and then press symbol, partly obscuring it, you can visually
the TouchUp Object tool, Control-click (PC: Map panel. Choose a font, click a character Adding navigation links in as the Rectangle tool) draw shapes with Command-B (PC: Ctrl-B) twice. You’ll then blend the movie clip with the underlying
Right-click) and choose Place Image from you want to insert, click the Select button, and PDF packages fills and strokes automatically grouped be able to access vector points with the shape/symbol by selecting it (the movie
the contextual menu. From the Show (PC: click Copy. In Acrobat, place the cursor in a Create a button on one page in a PDF together. This allows you to manipulate Subselection tool. clip) and picking a Blend option (similar to
Format) pop-up menu in the Open dialog, bookmark name and press Ctrl-V to paste. package. In the Actions tab in the Button shapes as wholes; for instance, resiz- Photoshop) from the Property inspector.
choose a file format for the image type you Properties, open the Select Action pop-up ing them without having to select both Smooth operator
want to import. menu and choose Go to a Page View. Click their fills and strokes first. If you later If you select a vector shape and then choose
Add, and the Create Go to View dialog need access to a shape’s fill and stroke Modify>Shape>Smooth, Flash will simplify
Disabling the Hand tool navigation opens. Open a view in another document separately, select the shape and choose it, generally cutting down the number of
In Full Screen mode, clicking with the Hand contained in the PDF Package and adjust Modify>Ungroup. vector points that comprises it. Repeat the
tool advances page views. This isn’t neces- the zoom level. Click Set Link. command for an even smoother look.
sary if you add navigation buttons to a PDF Create and distribute
document. You can easily disable the Hand Exporting table data Each symbol you animate must reside All things translucent
tool navigation feature by adding a simple Table data in a PDF file can be exported to on its own layer. But you don’t need to Previous versions of Flash only allowed
JavaScript to your file. Choose Advanced> a spreadsheet program such as Microsoft create each one on its own layer. Instead, you to adjust alpha (transparency) on
Document Processing>Document Java- Excel. Drag the Select tool through a table create them all on Layer 1. Once you’re symbol instances. In CS3, if you select a
Scripts to open the JavaScript Functions to select the data. Pause momentarily done, select all the symbols on the shape, you can adjust its alpha by choosing
dialog. Type a name in the Script Name until a pop-up text icon appears. When Stage, and choose Modify>Timeline> Window>Color and manipulating the
text box and click Add to open the Java- the cursor is placed over the icon a menu Distribute to Layers. Flash will create a Alpha slider.
Script Editor. Delete the default text and Populating tables with radio opens. You should see Copy as Table, Save layer for each selected object, moving
type the following line of code: buttons and checkboxes as Table, and Open Table in Spreadsheet as the objects to their respective layers and
app.fs.clickAdvances=false; Radio buttons and checkboxes require iden- menu items. even auto-naming the layers after the Total ease in control
Click OK and click Close in the Java- tical field names with different export values symbols they hold. Feel frustrated by the primitive easing capabilities of Flash? Select a keyframe,
Script Functions dialog. Save your file and to create mutually exclusive fields that turn Inserting PDF pages from enable motion tweening, and click the Edit button on the Property inspector. Flash
the cursor function is disabled when you on one item while the other matching radio the desktop Close the gap will display a window containing a curve similar to After Effects for you to manipu-
reopen the document. button/checkbox is turned off. If you have To insert a page in a PDF document from If you have trouble filling a region with the late. Uncheck the Use One Setting for All Properties option to ease individual prop-
a table with several columns and rows of the desktop, open the Pages panel and Paint Bucket tool, there may be a small erties separately. For instance, you can ease just Position but not Rotation. Or you
Importing images in Adobe Reader radio buttons/checkboxes, you need to drag a PDF document contained in a folder gap in its boundary. With the tool selected, can ease both properties in different ways. The easing curve is a Bézier curve. Add
Button faces for images can be changed in manually create them. For a shortcut to or on your desktop to the Pages panel. The choose Close Large Gaps from the Gap Size points to it by clicking along the line. Then drag the points (or their handles) to affect
Acrobat by clicking a button and choosing manually creating fields, do this: PDF can be inserted at the beginning, end, options at the bottom of the Toolbox. Then easing. To preview the results, press the play button at the bottom of the dialog.
a new image. However, you can’t change Create one column of radio buttons or or between pages in the document. click inside the boundary. If the area still Remove points by selecting them and pressing the Delete key (PC: Backspace key).
images using Adobe Reader. To overcome checkboxes with each field named xxx.0, won’t fill, the gap is too large. You’ll have to
the problem, open a PDF file in Adobe xxx.1, xxx.2, etc. The default Export value is Replacing pages manually close it.
LiveCycle Designer (Windows only). Add an Yes. Click the Select Object tool and select When editing PDFs, return to the original
Image Field from the Library panel. Save the the column of fields. Press Option-Shift (PC: authoring program to make edits on docu- Control Auto Format
file and Adobe Reader users can click the Alt-Shift) and drag the column to the next ment pages. If you have items such as form Don’t like the way Auto Format messes with
Image Field button to open a dialog where area. With the second column selected, open fields, comments, etc. in a PDF, you can your ActionScript? Choose Flash>Prefer-
an image can be imported in the document. the Properties dialog and click the Options preserve the content added in Acrobat by ences (PC: Edit>Preferences) and click the
tab. Change the Export Value to No. choosing Document>Replace Pages when Auto Format option. Flash will allow you
Add special characters to Drag the Select Object tool around all changing background layouts. to make many alterations to the way Auto
bookmark names fields to select both columns. Choose Edit> Format works.
Special characters such as formula symbols, Copy to copy both columns. Open the Ads for Adobe PDF Powered
foreign language characters, graphic Fields navigation panel. Control-click (PC: by Yahoo! Community assets
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symbols, etc. can be imported on bookmark Right-click) on the parent name (xxx in this Yahoo! Ads that earn you income have come Want to move an asset from one FLA file to
names. Position the cursor in the bookmark example), choose Rename Field, and type to PDF documents. As of this writing the another? With the target file open, choose
name where you want to add a special a new name for the fields. The parent name Ads for Adobe PDF Powered by Yahoo! is in File>Import>Open External Library and
character. On the Macintosh, choose Edit> xxx changes while the child values remain public beta. You can set up an account and pick the FLA with the asset you want to
Special Characters to open the Character the same. Choose Edit>Paste. The pasted try the service free by opening: http://labs use. Flash will open that FLA’s Library in the
Palette. Double-click on the character you fields have a parent name of xxx. Position .adobe.com/technologies/adsforpdf/ in your target file. Drag items from the Library to
want inserted. the fields on the form and rename them in Web browser. the Stage.

**
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Make a Flash video player the New CSS Rule dialog, and type in: a Code Hints save you from typing Where’s the beef? Different strokes To make the text editable again, select the
without Flash? img. This will create a contextual selection When you have to code HTML in Code To beef up “wishy-washy” footage, apply Shape layers (introduced in CS3) can create layer and go to Layer>Convert to Editable
You don’t have to go into Flash CS3 to that you can format as you see fit—the rules view, take advantage of the Code Hints Effect>Channel>CC Composite, set the fancy stroked lines. After creating a stroked Text. The layer will now behave like any
place a video on a page in Dreamweaver. will only apply when the tag is used in the feature of Dreamweaver. As you start typing Composite Original pop-up to Overlay, path using the Pen tool, reveal the shape other After Effects vector text layer.
Click on the Flash Video button in the context that you specified in the dialog. common code, a drop-down will appear and then adjust Opacity value to taste. This layer’s Stroke section. Click on the + symbol
Common tab of the Insert bar, and you can with possible matches. Arrow up or down composites the original image on top of next to Dashes to add segments and gaps Fading into the distance
add the FLV file of your choice and choose Reading HTML is easier with a to the code that you’re looking to type, and itself using the Overlay blend mode, but for dotted lines; set Line Cap to Round Cap The Audio Levels control in After Effects is
the player. Keep in mind that you’re going color scheme hit the Return (PC: Enter) key. This will bring without having to duplicate the layer. for dots. In the Timeline, select Add>Trim great for setting volume levels, but creates
to need to convert your video files to FLV There are times when reading the HTML you to the next component of your code. Paths to animate the length of the line; abrupt fades when animated. Instead, use
to use this feature. code is a must. Make it easier by color Pressing Enter again will bring you to the use Add>Wiggle Paths to make it wiggle Effect>Audio>Stereo Mixer. For more accu-
coding the HTML code to your liking. value section. automatically. rate fades, select its keyframes and apply
Go into the Dreamweaver Preferences Easy Ease In.
(Command-U [PC: Ctrl-U]), select Code
Coloring from the left column, and click A clearer blur

©WILDSCAPING.COM
the Edit Coloring Scheme button. Here The Compound Blur effect allows you to
you can specify the color in which specific blur one layer based on the luminance of
blocks of HTML code appear. another layer, but unfortunately the results
look blocky. Instead, use Effect>Blur &
Before Sharpen>Lens Blur. Set its Depth Map Layer
pop-up to the layer that will provide your
blur map. Not only does it look smoother,
Lens Blur allows a lot of additional customi-
zation possibilities.

Smart queue
To quickly change the default Render Set-
Encoding video without I don’t like naming files .html ting or Output Module used in the Render
Flash CS3? And neither should you. If you feel like I do, Queue, press Command (PC: Ctrl) as you
Many people believe that encoding a movie you can change this in the Preferences. In select a template from the pop-up menu.
file into Flash requires you to open Flash the New Document extension you’ll see the After Your selection will become the new default.
to do this. However, if you have Flash CS3 Default Document type and Default Exten-
Professional installed, there’s a good chance Old code cleanup is a breeze sion. Change the default extension to .htm, Camera roller coaster
that you have the Adobe Flash CS3 Video using Find and Replace and you’ll never have to do it again. When animating a 3D camera, the Point Layer with style
Encoder. This program will let you encode Find and Replace (Edit>Find and Replace) of Interest can get in the way. Use Layer> New in CS3, Layer>Layer Styles offer great
your movie files into FLV without using the doesn’t just let you work with selected sec- You can record actions in Transform>Auto-Orient to either turn it Off, drop shadow, glow, and embossing effects.
Flash CS3 program. Just a few clicks and tions of code; you can change code in one Dreamweaver? Of course! or select the Orient Along Path option to Rehearsing presets Best of all, layer styles render after track
you’re on your way. [See “Converting Video page, multiple pages, or an entire site. There will be times when you have a repeti- automatically rotate the camera along its Have you ever tried out dozens of text mattes are calculated, so you can easily
Files into Flash Format” by Janine Warner tive task that needs to be done to multiple motion path (add a little Z Rotation when presets only to realize your favorite was one apply their drop shadows or glows to a
in the Tutorials section at www.layersmaga- Use the same colors over pages. You don’t have to bore yourself to banking around bends). you already deleted—and you can’t remem- layer that is matted. With ordinary effects,
zine.com.—Ed.] and over sleep anymore. Record the repetitive task ber its name? Before you start, duplicate you would have to precompose first.
When you design a site, you want to make using Start Recording under the Commands Taming the frame rate your text layer a few times and use these
Use descendant (contextual) sure that the colors you use are consistent. menu. Stop when you see fit, and replay Effects that randomize on every frame (such duplicates to rehearse various presets. Keep
selectors when working with CSS Rather than writing the colors down on the command (Commands>Play Recorded as Numbers) often look too nervous or busy. layer 1 “clean” as a backup. With only layer
When you start formatting pages, there a sheet of paper, use the Assets panel Command) on all of the pages you need to To animate at a slower rate, precompose 2 visible, apply a preset and preview it. If
are going to be times where specific CSS (Window>Assets) to keep track of the colors re-create the action on. the layer (Layer>Pre-compose), open the you don’t like it, Undo. If it looks promising,
rules will apply to tags only when they’re you’ve used. precomp’s Composition Settings (Compo- turn off layer 2, turn on layer 3, and apply
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used in a specific content. Probably the sition>Composition Settings), and set a another. When done, compare the results
most common of these is the application Wrap an image with text lower frame rate. Then under the Advanced and keep your favorite.
of CSS to the image tag, but only when Setting up text around an image doesn’t tab, enable the Preserve Frame Rate When
it’s used within the <a> block. What if you really require a table with two columns. Nested option. This trick is also useful for Editing Photoshop text
would like the IMG tag to have a border, Clicking on the Align option in the Property masking 24 fps footage when nested into If you create text layers in Photoshop then
but have no border when an image is used inspector lets you specify how you want the a 29.97 fps comp to stop the mask from import this file as a Composition, its text
as a link? Select the Advanced option in text to wrap along the image. interpolating at the higher frame rate. layers default to being rendered as pixels.

*,
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Printable shortcuts J- and L-cuts made easy After Effects appear as sequence markers
If you want to print your keyboard shortcuts, Using the Selection tool, select a clip either in Adobe Premiere Pro. Sequence markers
press Shift-Command (PC: Shift-Ctrl), go to by its video or audio (depending on what in clips exported from Adobe Premiere Pro
Edit>Keyboard Customization, and you’ll you want to edit) on the Timeline. Press appear as chapter points in an Adobe Encore
see a new button for Clipboard. Click the Option (PC: Alt) and drag left for a J-cut and Timeline. Sequence markers in clips exported Corey Barker Scott Kelby
Clipboard button, go to your text editor, and right for an L-cut. Note: Make sure you’ve from Adobe Premiere Pro appear as cue Corey Barker is an Education and Curriculum Developer Scott is Editor-in-Chief and co-founder of Photoshop User
paste the text. You should see a huge list of trimmed your clip and you have enough points in Adobe Flash projects. for the National Association of Photoshop Professionals. and Layers magazines. He is President of the National
keyboard shortcuts that you can now print. header or tail on your clip to make the cut. His expertise in Adobe Photoshop and Adobe Illustrator Association of Photoshop Professionals (NAPP), the
Make a match has earned him numerous awards in illustration, graphic trade association for Adobe Photoshop users, and the
Overwrite protection If you ever have issues with media not design, and photography. best-selling author of several books including The Adobe
When moving clips around the Timeline, matching your project settings (e.g., aspect Photoshop Lightroom Book for Digital Photographers.
you can avoid accidentally overwriting ratios or frame rate), you can quickly fix this Rafael “RC” Concepcion
another clip’s video track or audio track by by selecting a clip in the Project panel and Rafael “RC” Concepcion is an Education and Curriculum Matt Kloskowski
first selecting the audio track of the clip going to File>Interpret Footage. You’ll see Developer for the National Association of Photoshop Pro- Matt Kloskowski is an Education and Curriculum Devel-
you want to move and moving it down to choices for Frame Rate, Pixel Aspect Ratio, fessionals. An Adobe Certified Instructor in Photoshop oper for the National Association of Photoshop Profes-
another available audio track. Move the and Alpha Channel. Choose the settings and Illustrator, RC has more than 10 years’ experience in sionals. He has authored and co-authored several books
video up to another available video track that match your project settings. the I.T. and e-commerce industries and has hosted train- on Photoshop and Illustrator, including the soon-to-be-
and you’ll see that both the video and ing seminars in the U.S., Europe, and Latin America. released Layers: The Complete Guide to Photoshop’s
audio tracks are still in sync as you move There’s no place like Home Most Powerful Feature. He also teaches an advanced
them around the Timeline. One new feature in all Adobe CS3 applica- Dave Cross Photoshop course for Sessions.edu.
tions is found in Adobe Bridge CS3. The Dave Cross is Senior Developer, Education and Curriculum,
Marker sharing new Bridge Home button can link you with for the National Association of Photoshop Professionals. Mike McHugh
Sharing Markers between Premiere Pro, new tutorial videos, community groups, and He is the author of Photoshop Finishing Touches and The Mike McHugh is an Adobe Certified Training Provider and
Quick replace
Encore, and Flash is now easier than ever. Clip blogs. With an Internet connection, simply Photoshop CS2 Help Desk Book, and is featured on a Adobe Ambassador from Melbourne, Australia. He is also
Premiere Pro CS3 inherits an old feature
markers from Premiere Pro come into After click on the Bridge Home button, wait for it series of Photoshop training DVDs. the co-author of How to Wow with InDesign CS2 and How
from After Effects that makes replacing
Effects as layer-time markers on the layer (clip) to load (pings Adobe for new updated info), to Wow with Photoshop Elements 5, both published by
clips on the Timeline quick and easy. Once
with which they were originally associated. select the CS3 application you’re using, and Marcus Geduld Peachpit Press. Mike also hosts a popular video podcast,
replaced, all of your effects and keyframing
Layer-time markers in clips exported from a page full of great info appears. Marcus Geduld is the Senior Flash Developer for Nabbr Creative Sweet TV.
will be applied to the new clip. Here’s how:
Press Option (PC: Alt) and drag the clip you .com and an Adobe Certified Expert who has written
want to use from the Project panel on top of Let it snow via the MediaCore folder several books on Adobe products. He speaks regularly Trish & Chris Meyer
the clip you want to replace in the Timeline. at conferences such as NAB, Macworld, and the Editors Trish and Chris Meyer of CyberMotion (www.cybmotion
If you use Production Premium CS3 you can quickly share some of your After Effects plug-ins
Retreat. He lives in New York City and is the Artistic .com) have used After Effects since version 1. They are the
with Premiere Pro. One group of plug-ins included with After Effects CS3 is the new Cycore
Audio precision Director of Folding Chair Classical Theatre. authors of After Effects Apprentice and Creating Motion
effects. Here’s how you get them to work with Premiere Pro and After Effects:
Want more control when trimming a clip’s Graphics with After Effects, 4th Edition (both published
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ÞVœÀi8Êvœ`iÀʈ˜Ê>Vˆ˜ÌœÃ…Ê É««ˆV>̈œ˜ÃÉ`œLiÊvÌiÀÊ vviVÌÃÊ
-ÎÉ*Õ}‡ˆ˜ÃÉ
audio? Try this: From the flyout menu of David Helmly by Focal Press).
Effects (PC: C:Program Files\Adobe\AfterEffects\Support Files\Plug-Ins\Effects\Cycore).
the Source Monitor panel or the Sequence David Helmly has worked for Adobe Systems, Inc.
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ÞVœÀi8Êvœ`iÀÊ̜ÊޜÕÀÊ`iÎ̜«°
panel, change Timecode to Show Audio for more than 12 years and has specialized in digi- Ted Padova
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œÀiʈ˜Ê>Vˆ˜ÌœÃ…Ê ÉˆLÀ>ÀÞÉ««ˆV>̈œ˜Ê
Time Units. This will allow you to get incred- tal video and digital imaging products for more Ted Padova has written more than 25 computer books
-Õ««œÀÌÉ`œLiÉ
œ““œ˜É*Õ}‡ˆ˜ÃÉ
-ÎÉi`ˆ>
œÀiÊ­*

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ible zooms for greater audio precision in than 21 years. Currently, David is working as and is one of the world’s leading authors on Adobe
Plug-ins\CS3\MediaCore).
your audio edits. the Sr. Business Development Manager for Acrobat. His books have covered Acrobat, Photoshop,
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ÞVœÀi8Êvœ`iÀʈ˜ÌœÊ̅iÊi`ˆ>
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DV/DI for North America. Check out his blog Photoshop Elements, Microsoft PowerPoint, and Illustra-
After Effects will share
Red sync alert on video, imaging, and audio at http://blogs tor. One of his more recent books is the Adobe Acrobat 8
these plug-ins.
Sometimes when you move a clip on the .adobe.com/davtechtable. PDF Bible.
Timeline, you may see red timecode on Note: Many of the included
the clip. This means that you accidentally After Effects plug-ins and
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moved either the linked audio or video track third-party plug-ins will not
and it’s now out of sync. This usually hap- work in Premiere Pro as they
pens if you were holding a combination of use different adjustment set-
modifier keys when you moved a clip. This tings than Premiere Pro. To be
can be quickly fixed by Right-clicking on the safe, I recommend moving
red timecode and selecting Move into Sync œ˜ÞÊ̅iÊ
ÞVœÀi8Êvœ`iÀ°
or Slip into Sync.

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By Rod Harlan

Every year, during the beginning of the holidays (last part of November, first part
of December), I get a very specific kind of question, and this past year was no dif-
ferent. First, it came from Layers VP of Sales, Kevin Agren, as I was walking down the
hall; then, it came from about a half dozen people at my church; and finally it came
from my neighbor Mike from across the street—they all wanted to know what was the
best digital video camcorder for them to get to record their family events that holi-
day season. Naturally, this is one of those questions that invites me to respond with
a barrage of additional questions: Do you want to edit the video on your computer
or just show it directly on your TV? How much do you want to spend? Do you want a
separate mic hookup? Do you want to capture video in HD? And on and on and on…
Then there’s this problem: At the Consumer Electronics Show (CES) in January,
the major camera companies announce new models of consumer video cameras. This
makes many who bought cameras during the holidays feel like they should have
waited. What they don’t tell you is that most of these new models won’t be avail-
able in retail stores until the summer months. They’re just trying to build up some
JN B HF T; ªJ TUPD LQ IPUP !!J MMV TU SBUJP O; ! UB G GZ !P S MP X T L J
hype and momentum before they send early release models to the various publica-
tions to get reviewed.
So what’s a person supposed to do who wants a great video camera now? Today.
Right this very moment! Well, the best thing is to look for cameras that have been
on the market at least three months and have been tested by both professional
reviewers and by your average everyday consumer in forum posts and
on sites, such as Amazon.com.
What? You don’t have time to look through the hundreds of models,
and then read the thousands of reviews, blog postings, and forum com-
ments to whittle down your options? Then take a look at my following
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picks for the video cameras that deliver the best bang for the buck.
The best part is that you can go out and buy these cameras today. I’ve
broken them up in five categories based on price.

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8;IJ97C9EH:;HKD:;H(&& cuts the effective price down to $675. That means that you can get an
I know, it sounds crazy. Can you really find a good DV camera for less HD camcorder for only $175 more than my miniDV camcorder pick.
than what it will cost to buy a good external drive to edit the footage [For more information, visit www.usa.canon.com/consumer.]
on? The answer is, yes! The Canon ZR800 miniDV Camcorder comes
with a variety of features, including 35x optical zoom, image stabilizer, The contenders
16:9 widescreen capability, and an external mic jack—something you I like the Sony HDR-CX7 ($1,099; street price around $850) and the
can’t get on some camcorders costing two to three times as much. Panasonic HDC-SD1 ($800) because they both record to solid state
This is the perfect camera to leave in your car’s glove box to catch memory based cards, similar to your digital still camera (the Sony uses
those unexpected family moments or to document an accident just Memory Stick PRO Duo cards and the Panasonic uses SD cards).
after it happens. Sony DCR-HC96 MiniDV Handycam Camcorder I really feel that this is the way all video recording is going in the near
Over at Amazon.com, some of the commenters complain about the future—away from tape capture and recording directly to a digital
one-chip (CCD) camera, which means that I usually wouldn’t recom-
file. In fact, the Sony HDR-SR7 ($1,399; street price around $1,200) is Panasonic AG-HVX200
motor noise this camera makes, but believe me, for an average street mend it (preferring to encourage people to spend a little more for a
price of around $175, you’ll notice the money you still have left in your a good choice if you want a camera that has a 60-GB hard drive built
three-chip camera). However, in test after test this camera does better
wallet more than the motor noise. And with the built-in mic jack, you can into it. But the problem with all of these cameras is that they record to I really like the great lens, optical stabilizer, and super-fast focus that
in low-light situations than most three-chip cameras costing a couple
go to Radio Shack and pick up a $20–$40 lavalier mic, pin it to your kid’s the AVCHD format, which is a highly compressed format and is, quite come standard with this camera. At this price point you’re not able to
hundred dollars more. This is mainly due to the fact that the one chip in
jersey, and get an “on-the-field report” after his team’s winning soccer frankly, a real pain to try to edit. change out the lens for another, but the 20x Professional L Series Fluorite
this camera is twice as big as the chips in the other cameras. So you’re
match that will make him feel like he’s on ESPN and make him sound On the Mac, you can use any of Apple’s software (iMovie 08, Final fixed lens that the XH A1 ships with provides excellent image fidelity.
getting better quality at a lower price!
almost as good. Cut Express 4, or Final Cut Pro 6.0.2) to edit your files, but you’ll find My only complaint is with the onboard mic. You can easily triple the
This camera also has the distinction of being able to pass analog
Now don’t expect this camera to be as good as my next pick in the that all three of the programs transcode the AVCHD format into the audio quality that this camera records by buying a decent shotgun
video through the camera’s FireWire port directly into your computer.
under $500 category. Remember, that camera costs more than twice as Apple Intermediate Codec (AIC). This means that your 4 GBs worth mic ($500) and attaching it to the included shotgun mount. All in all,
This means you can hook up your VCR or old Hi8 camera to the Sony
much! The Canon ZR800 is missing the ability to take pictures and does of AVCHD video files quickly turn into 40 GBs of crowded editing a fantastic camera for the price. [For more information, visit www.usa
DCR-HC96 and digitize all of your old media with ease. It’s like get-
poorly recording video in low-light situations. But for the money, and for footage on your hard drive. And on the PC, the only decent AVCHD .canon.com/consumer.]
ting an analog-to-digital converter for free. And the best part is that
the fact that you can go to online stores such as B&H (www.bhphoto- editing solution is the pro-level Sony Vegas application (retail $585),
it has an average street price around $479. [For more information, visit
video.com ) and get free shipping and a free training DVD on how to www.sonystyle.com.]
which costs almost as much as the cameras. All in all, I’m just not 8;IJFHE#B;L;B>:97C;H7
shoot and produce better videos, the Canon ZR800 is a steal. [For more sold on the AVCHD format yet. EL;H)"+&&
information, visit www.usa.canon.com/consumer.] Now this is the category where we pull out all the stops and look for
Note: The Canon ZR900 miniDV Camcorder should be available by 8;IJ9EDIKC;H>:97C9EH:;H the best of the best—but please don’t take that to mean that I’m
the time you read this but I haven’t had a chance to test it yet. The new KD:;H'"&&& including the $75,000 VariCam setup for the next great Hollywood
cinematographer. I’m actually just focusing on those cameras less than
model should retail for around $250. So now that I’ve made my picks for the best camcorders less than $200
$10,000 that still deliver a great bang for the buck and also offer a
and less than $500, we can move onto the category that gets all of the
little something extra. And with these criteria, the choice was easy.
media attention these days: Best Consumer HD Camcorder. You’d
Arguably the hottest camera on the market today is the Panasonic
think that with all of the choices available and with all of the advertis-
AG-HVX200. Every pro I know either already has one or is getting one
ing that has gone into marketing camcorders in this category that
in the near future. Even podcasters are scooping these up in quantity. My
this would have been a tough decision for me—but it wasn’t. So this
friends over at Photoshop User TV (www.photoshopusertv.com) already
time I’m not only going to tell you which one I picked as a winner,
have two of these units, and I wouldn’t be surprised if they picked up two
but also which ones I didn’t pick and why.
or three more before the end of the year. The guys over at DJ TV (www
For me, the winner in this category is the Canon VIXIA HV20 HDV
.digitaljuice.com/djtv) also swear by them.
Camcorder, which captures images in the larger HD resolution of
So what’s all the fuss about? Well, the camera is compatible with
1920x1080 onto a miniDV or miniHDV tape. It uses a 1/2.7" CMOS
Canon VIXIA HV20 HDV Camcorder DVCPRO HD, DVCPRO 50, DVCPRO 25, and consumer DV recording
sensor chip to capture those images, which tends to process faster than
standards. It also uses three wide-aspect CCDs for true 16:9 recordings.
the more standard CCD chip found in a lot of cameras. In this price
category, it also tends to capture richer color and sharper detail than its
8;IJFHE#B;L;B>:97C;H7 It even comes with a wide-angle Leica Dicomar HD 13x zoom lens with

competitors. But my favorite feature is that it can capture footage at the


KD:;H)"+&& advanced glass coatings. But the most significant reason it stands
So now let’s look at the more professional-level HD cameras costing out from the pack is that it uses Panasonic’s new P2 memory cards
Canon ZR800 miniDV Camcorder movie film rate of 24p, something that’s practically unheard of at the
less than $3,500. These cameras are near and dear to the working for recording. This disk-based recording medium makes the video
$750 street price that this camera regularly sells for. (Quick Tip: Turn on
8;IJ97C9EH:;HKD:;H+&& the camera’s Cinema Mode when capturing in 24p if you want to try to
professional in the commercial, corporate, educational, and wedding
fields, among others. The winner for me in this category is the Canon
immediately accessible to nonlinear editing systems (such as Premiere
Pro, Final Cut Pro, etc.) and forever leaves behind the boring task of
Sure, HD cameras and those that record direct to hard disk are all the achieve a more film-like look to your video footage.)
XH A1, which is an amazing piece of engineering for a remarkable price. digitizing video footage from tape.
rage in the media these days, but those aren’t the ones the average The HV20 also has an HDMI output so you can hook it up directly
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At just more than $3,000 (with rebate), the XH A1 camcorder has But this editing ease and technology innovation doesn’t come cheap.
family man is looking to buy. In fact, everyone I talked to over the to your new HDTV, and it has an optical image stabilizer to get you
three 1/3" 16:9 interlaced CCDs that capture images at 1080i resolu- While you can get a camera for around $5,200, by the time you add a
holidays had the same thing in common: They all wanted to buy the smoother results when you zoom in using the 10x optical zoom. A
tion. The camcorder features selectable frame rates of 60i, 30F, and couple of extra P2 cards and an accessory or two, you’ve easily spent
best camera they could get for less than $500. That seems to be 3.1-megapixel still camera that records images to a mini-SD card
24F. This allows you to capture sports at 30 frames or a more film-like your $8,000 budget in one fell swoop. Ahhh, but as many happy users
everyone’s magic price point. They don’t need the latest technology rounds out the cool features found in this camera. I’m a little disap-
look at the 24 frame rate. The 60i frame rate is the current resolution are eager to tell you, it’s totally worth it. [For more information, visit www
or the newest format; they just want the best bang for the buck! pointed that it doesn’t do better in low-light situations (this is where
of choice for many reality TV shows. .panasonic.com/business/provideo/cat_camcorders.asp.]
So here’s my pick: the Sony DCR-HC96 MiniDV Handycam Cam- three-chip CCD cameras usually do better), but for the money this is one

[ ]
corder, with 10x optical/120x digital zoom, 3.3-megapixel CCD, color incredible camera. And speaking of money, a number of online stores Rod Harlan is a video industry veteran and founder of the Digital Video Professionals Association. Through his company DriveDV Inc., Rod works on special projects for Fortune 500 clients
viewfinder, and 2.7" Touch Panel LCD screen. Surprisingly, this is a are currently offering gift cards or rebates of $75 on this camera, which such as Adobe and private institutions such as the NAPP. His popular industry blog is packed with tips, tutorials, and industry insight and can be found at DVconfidential.com.

+(
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in this particular village,
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immediately. It was
Seeing the light—the contrast, shadows, and highlights—in a
S J D L ! | ~ ! T B N N P O scene is the first step in getting the best possible in-camera pic-
photographic love at
ture. The second step is knowing how to capture and control the

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first site.
light, either by using a flash, reflector, diffuser, or by moving the
So, the first tip is
subject into the shade.
to find a subject that
This little Himba girl’s face was partially shaded by her hair. To
you absolutely must
fill in the shadows, I used a flash for daylight fill-in flash photogra-
photograph, someone
phy. The picture doesn’t look like a flash picture (my goal with all
For the past 20 years, I’ve had the good fortune who moves you to say,
my flash pictures) because I dialed down the output of the flash,
to lead photography workshops to the far corners “I’ll do anything to get
which balanced the light from the flash to the ambient light.
of the world, mostly to photograph interesting, that person’s picture
diverse, and remote cultures. Talk about travel for myself and to share
being a great education! with others.”
This past November, eight students and I traveled with VSP Work- One of my favorite
shops (www.vspworkshops.com) to Namibia, where we had the unique photography adages is
opportunity to photograph the Himba, an ethnic group living in the that the camera looks
northern part of the country. One of our goals, in addition to taking both ways—in pictur-
candid and lifestyle shots, was to take a series of on-location portraits. ing the subject, you’re
In this column, I’ll share with you some of the photographs from that also picturing a part
shoot, along with some of the specific goals we set for ourselves. of yourself. When you
keep in mind that the
Nblf!qjduvsft-!epoÖu!kvtu!ublf!qjduvsft energy, emotion, and
Anyone can take pictures, but not everyone can make pictures. feeling that you project
Making pictures is creative, fun, and easy. Rather than simply pointing will be reflected in your
your camera at a subject and pressing the shutter release button, subject’s face, especially
take the time to carefully position your subject or subjects in a scene, the eyes, you’ll get a
as I did when I photographed these two Himba women posed against high percentage of
a clear sky. pictures that you like.
I’m sure you can tell
how I was feeling when
I took this photograph.

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When taking headshots, take a head-on photograph, a profile, and a
three-quarter’s view (as illustrated by the opening photo and the two
previous photos). Photographing a subject from different angles gives
you an assortment from which to choose your favorite.

QHWj^[hj^Wdi_cfbo Dbquvsf!b!obuvsbm!npnfou For the trio of tight headshots of the beautiful young woman
To capture a natural moment, you need to establish a sense of trust pictured earlier in the column, I had a student hold a gold reflector
fe_dj_d]oekhYWc[hWWjW with your subject. That takes time—time you need to spend talking so the sunlight (which was over and behind the woman’s hut) was
to your subject, learning about her life, sharing information about your bounced back onto the subject. That’s why the pictures of the sub-
life, and why you’re there taking pictures.
ikX`[YjWdZfh[ii_d]j^[ Work with a subject on his or her pose and expression. Create
a balanced photograph. Watch the background. Choose the best Perhaps the most important part of establishing a sense of trust is to
ject positioned in the dark shade look so bright and colorful. Without
the reflector, the pictures would have looked dull and flat. So don’t
f-stop for the appropriate depth-of-field, and the best shutter find a guide who has previously visited the location and who has already leave home without a reflector, diffuser, or a flash. And keep an eye
i^kjj[hh[b[Wi[Xkjjed" speed to either stop or blur action. Work—and play—at making gained the trust of the people, as our group did with the Himbas. on the light.
pictures and you’ll feel a sense of accomplishment when you see
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When you put a print in a frame, you basically dress up and enhance When you share your pictures with your subjects, you make photo

fei_j_edoekhikX`[Yj°S Gbmm!jo!mpwf the picture so the frame complements the photograph. On site, you sessions more fun and interactive. After all, who doesn’t like seeing
For me, the key to getting a good on-location portrait is to fall in can frame a subject with a doorway, window frame, tree branches, or their pictures? That’s especially true for the Himba, who live in a
love—photographically—with the subject. That’s exactly what I did a fence. The frame must complement the subject. Framing a subject can relatively remote part of Namibia. Share your pictures, and you’ll
when I saw this young woman. Out of the 50 or so people who lived also add depth to the scene, helping to create a 3D effect in a 2D image. see how easy it is to make new friends.

[ Rick Sammon has published 27 books, including Idea to Image in Photoshop CS2 and Rick Sammon’s Complete Guide to Digital Photography 2.0. He also produces training DVDs. Every
year, Rick teaches at dozens of workshops and seminars covering everything from shooting to printing. See www.ricksammon.com and www.rickspixelmagic.com for more information. ]
+* All images by Rick Sammon.
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Convert to Grayscale (V) Desaturate Color

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After we’ve determined that the image looks good in black and It would take forever to convert your images to black and white if
white, the most important step in getting good black-and-white you had to lower the Saturation sliders for each color, so instead,
images is to remove the color from the image in the Develop let’s create a preset. Select an image that hasn’t been adjusted
module. If you press V to Convert to Grayscale, Lightroom displays and in the Saturation section of the Develop module’s HSL panel,
the Grayscale sliders, but…the more superior option is to “stay in lower the sliders to remove the saturation from the image. Next,
color” and remove the saturation manually. Just go to the Develop click on the plus icon in the Presets panel. In the New Develop
module’s HSL panel and lower the Saturation slider for each color. Preset dialog, enter the Preset Name (Desaturate), choose the

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While more time-consuming, this option allows you to make stron- Folder (User Presets), and click Create. Now you’re set for the next
ger adjustments without adding unnecessary noise (compared to time you want to convert an image to black and white.
converting to grayscale).

There are many reasons why I thoroughly enjoy using Lightroom, and near the top of my list is creating black-and-white
images. Although the majority of my work is in color, I’m constantly drawn to black-and-white photography because it
uniquely “…reduces, simplifies, goes deep, and gets beneath the surface,” as photographer Ryan Caldwell explains.
Let’s dive into the process of how to use Lightroom to create better black-and-white images.

Before After

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Before beginning the black-and-white conversion, correct the color How do you know if an image will look good in black and white? Now that our image is desaturated, we’re about ready to begin Select the virtual copy from the Filmstrip and in the Luminance sec-
and tone to bring the image to a “normal” starting point (and mini- Certain photographers have the gift of being able to identify good making adjustments. We’ll want to see a quick before/after to tion of the Develop module’s HSL panel, click on the Target Adjust-
mize later exposure problems). With your image open in Lightoom, tonal relationships and “see past the color.” But what about the determine if the adjustments look good; however, by pressing the ment tool. This tool lets you change the luminance of specific areas
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press D to select the Develop module, then press W to choose rest of us? Using Lightroom, it’s as simple as pressing the V key, Backslash key (\) to do this, it will display the original color image. of your image. For example, to darken the tonality of the sky (which
the White Balance tool. Click on an area of the image that should which will give you a quick black-and-white conversion based on How can we ensure that our “before” is the desaturated image? used to be blue), move the Target Adjustment tool over the sky, click,
be neutral. It’s best to choose something other than pure white: the Develop module Temperature and Tint sliders. Think of this as The easiest way is to create a virtual copy, which will then act as and drag down. To brighten the shorts (formerly red), click on them
Try something that’s off-white or gray. Next, adjust the Exposure, a quick way to see past the color to determine the black-and-white our “original.” Just press Command-’ (PC: Ctrl-’) and the virtual and drag up. As you progress, evaluate the quality of the adjustments
Recovery, Fill Light, Blacks, Brightness, and Contrast sliders so that potential. Don’t expect this conversion to look amazing: Remember copy will appear to the right of the original image in the Filmstrip. by pressing the Backslash key (\) to toggle between the before and
the image looks good. it’s just a starting point! after views of the image.

+,
your camera support experts
Desaturate

Basic adjustments
custom camera
Luminance adjustments
L-plates – mount
in landscape
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At this point, the image is looking much better but as a result of the
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Lens Vignetting is a critical step that many photographers overlook.
or portrait!

Luminance adjustments, the overall contrast and tone of the image In Lightroom, Lens Vignetting allows to you darken or brighten the
has become a bit muted. In the Develop module’s Basic panel, use corners and edges of an image. In the Develop module, open the
the Tone sliders to make any needed final adjustments. In our exam- Lens Corrections panel. Under Lens Vignetting, move the Amount
ple, we wanted to create a high-contrast image so we brightened slider to the left to darken corners or to the right to brighten
the image using Exposure, Fill Light, and Brightness while at the corners. Move the Midpoint slider to the left to apply the vignetting
same time increasing Contrast and Blacks, and slightly decreasing adjustment to a larger area or to the right to limit the adjustment to
Recovery. (Although these adjustments are subjective, I based them the corners.
on my knowledge of my printer and paper type.)
superior quick
release clamps
With noise reduction Without noise reduction

top-quality ballheads

...and the best

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When you convert a color image to black and white and make
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When you reduce the noise in an image, you simultaneously reduce
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So, be on the lookout for noise. In this particular image, we Amount to adjust the overall intensity of the sharpening, then
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After all of this work, it’s easy to overlook something, so I find it Let’s make one final virtual copy so we can experiment with the
invaluable to look away from the computer, stretch, blink a few image even further in the next step. (I use virtual copies almost like
times, and then look back. Next, use one of the shortcuts to toggle layers or history snapshots, as they allow me a certain amount of cre-
between the before and after view of the image. As mentioned ative freedom.) Press the shortcut Command-’ (PC: Ctrl-’) to create a
previously, try pressing the Backslash key (\) to toggle between the virtual copy. Remember that when you create a virtual copy, it’s auto-
before/after view of the entire image. But try pressing the Y key to matically stacked with the master photo. To expand and collapse the
get a more interesting side-by-side view of the before/after image, Stack in the Library module Grid view, press the S key.
or Shift-Y to view a split view (as shown).

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Many of the traditional black-and-white printing processes add a bit
of tone to the final print—there’s something compelling about a slightly
toned black-and-white image. Here’s how: Select the virtual copy
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created in Step 12, then open the Split Toning panel in the Develop
module. Determine the color by moving the Hue slider, and the
intensity of the color by moving the Saturation slider. Try adding a mix
of color to the Highlights and Shadows. Finally, use the Balance slider
to fine-tune the strength of the Highlights/Shadows adjustments.

Q
Chris Orwig, a photographer, book and video author, is on the faculty at the Brooks Institute of Photography in Santa Barbara, California. His publications include Adobe Photoshop CS3 100
How-Tos: 100 Essential Techniques (Peachpit Press) and a number of best-selling titles at Lynda.com. Check out his website at www.chrisorwig.com. S
,& All images by Chris Orwig unless otherwise noted.
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Before

After Before After

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Reducing color noise is easier than reducing luminance noise. When used incorrectly, the Dust & Scratches Filter can be heavy-
In Camera Raw, the default is set to 25, so there’s always some handed and can turn a sharp image into an impressionistic mush.
amount of color noise reduction applied. Generally this setting is But with a very light touch, it can help reduce the light speckles
quite good—I only have to raise it on extremely noisy files. found in a noise pattern. Choose Filter>Convert for Smart Filters
In Photoshop, you can easily hide color noise with a copy layer and then Filter>Noise>Dust & Scratches. Set the Radius to 1,
of the image that has been blurred: Duplicate the Background Threshold to 40, and click OK. A low Radius and high Threshold

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layer (Command-J [PC: Ctrl-J]) and set its blend mode to Color. are essential for preserving detail and texture in the image.
Then blur the detail on the layer by choosing Filter>Blur>Gaussian
Blur. In the dialog, set the Radius to 5 and click OK.

Noise is the bane of digital photographers. The best way to deal with noise is to try and avoid it in the first place.
But sometimes you’re faced with shooting in available darkness and the only way to get the shot is to crank up
the ISO. In this tutorial we’ll take a look at various techniques for dealing with noise.

Before After
Before After

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One way to avoid noise, even if you’re forced to shoot with a high With a RAW file, the first step to reducing noise is in Camera Raw (or The Surface Blur filter blurs fine detail while maintaining well-defined Start with a low Radius value of 3 or 5 and slowly increase the
ISO setting, is to make sure your shots are well exposed. Underex- Lightroom; both programs have the same noise-reduction capabili- edges, making it quite useful for noise reduction. Here’s how: Make Threshold slider to minimize the noise. Adjust the Radius and
posed shots are much more likely to suffer from objectionable noise ties). The Detail tab (third icon from the left) contains two sliders for a copy of the Background layer (Command-J [PC: Ctrl-J]) or, if Threshold until you arrive at a balance between the softening of the
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than properly exposed images. Consider the images in this example: noise reduction. Each addresses a different type of noise: luminance you’re using Photoshop CS3, apply the filter as a smart filter. Then luminance noise and the preservation of important details. Higher
Both were shot in low light at 3200 ISO, yet the one on the left is noise and color or chrominance noise. Luminance noise is trickier choose Filter>Blur>Surface Blur. The Radius slider determines how Threshold values will cause more noticeable softening, blurring, and
underexposed and the noise levels are dramatically higher. Good to reduce because it forms the visible noise structure. Reducing the much blur or softening will be applied and the Threshold slider in some cases, posterization. As a general rule, watch for image-
exposure matters. (Note: These files have been lightened in Camera luminance noise is often a tradeoff between smoothing the noise controls the number of tonal values that will be blurred. degrading artifacts if you raise the Threshold more than 10. Modify
Raw to make the noise more visible for this comparison.) pattern while trying to preserve delicate details, but when carefully as needed with layer opacity or layer masks. In this example, we
applied to RAW images, it can produce a subtle improvement. masked the blur effect on the fine details on the lamp.

[If you’d like to download the images used in this tutorial to practice these techniques, visit www.layersmagazine.com/downloads.html. All files are for practice purposes only.]
,*
Before After

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This filter is found under Filter>Noise>Reduce Noise. It offers
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Reduce Color Noise removes color noise mottling and does a very
controls for minimizing both luminance and color noise, as well good job of it, too. Try not to go above 50% or the colors may get
as access to noise reduction on a per-channel basis, which can be too desaturated. If you find that you need to use a value higher
useful on some images. In the dialog, Strength controls how much than 50%, then consider adding a Hue/Saturation adjustment layer
luminance noise is removed; and Preserve Details attempts to do after applying the filter to boost the color saturation a bit. Sharpen
what it says, but on very noisy files it can be frustrating to find the Details at face value might seem to be a good thing but if you’re
right balance. Work with both the Strength and Preserve Detail not careful, this can cause nasty edge artifacts. It’s better to leave
sliders to find the setting that works best. this at 0 and apply input or capture sharpening after noise reduction.

Red

Green
Power Stroke
Power Stroke introduces a simple, interactive stroke-based interface to quickly
Blue and intuitively perform targeted adjustments. Instead of meticulously select-

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In Advanced mode (click on the button), you have access to the
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Although most people want to reduce noise, there are times
ing regions or hand-painting masks, regions of interest are isolated by drawing
a few simple strokes with adjustments then made only in those areas. Strokes
can be assigned multiple corrections and effects such as color correction, re-
individual color channels. This can be useful because in some files, when it’s useful to add noise to an image. To do this in a flexible
luminance noise is much more pronounced in the Blue channel. way, choose Layer>New>Layer. In the dialog, set the mode to
coloring or desaturation, colorization of black and white images, blur, fill light
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By targeting specific channels, you can reduce the noise where it’s Overlay and click the checkbox to fill the layer with 50% gray. for dimly lit image areas and Diffusion/Glow. At long last, gestural selection and
causing the most problems. Keep in mind, however, that any set- Click OK and choose Filter>Convert for Smart Filters. Then use image adjustment have been combined into one natural, fast and easy process.
tings you apply in Advanced mode are applied in addition to any Filter>Noise>Add Noise to add the desired amount of noise. The
that you’ve already made in the Basic mode. advantage of adding noise in this way is that it remains totally flex- Available for Adobe® Photoshop® and Adobe After Effects®
ible and can be modified with opacity or a layer mask.
Digital Film Tools brings together the unbeatable combination of superior software designers, motion picture visual effects
Q
Seán Duggan is the co-author of The Creative Digital Darkroom and Photoshop Artistry. He teaches regular workshops on digital photography and Photoshop for Photographers.
Check out his photographs, as well as musings on digital imaging, at his photo blog, www.f1point4.blogs.com. S veterans, video editors and photographers. Add three Emmy Awards and experience in creating visual effects for hun-
dreds of feature films, commercials and television shows and you have a recipe for success. Stay tuned for new products.

,, All images by Seán Duggan unless otherwise noted.


www.digitalfilmtools.com
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Make sure the duplicate layer is active, and then from the Filter To make the black lines thicker, go to the Filter menu, choose
menu, choose Blur>Smart Blur. Change the Mode to Edge Only, Other>Minimum, and set the Radius to 1 (for higher resolution
the Quality to High, and adjust the Radius and Threshold to get images you may need to increase the Radius to 2 or 3). Click OK.
mostly outline details. (Generally, you’ll probably end up with a low
Radius and a Threshold in the 10–20 range.) Click OK to close the
dialog and press Command-I (PC: Ctrl-I) to invert the image.

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Some effects look best when applied to an entire photo, while other effects look best when used only in certain
areas. By nature, the filter used in this technique will affect the entire photo, but with a little (easy) work, you can
create an interesting outline effect on just part of your photo.

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Now fine-tune the effect by using the Brush tool (B) to paint over To make the white areas see-through, double-click to the right of
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the areas with white where you don’t want to have any outlines. the layer name in the Layers panel to open the Blending Options.
This effect will work on all types of images, but may work best when Then, lower the Opacity of the outline layer in the Layers panel Go to the Blend If sliders at the bottom of the dialog and drag
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you have a main object you want to draw attention to. After opening and paint with black to add more detail to the outline where the white triangle on the This Layer slider to the left. As soon as
and sizing your image, press Command-J (PC: Ctrl-J) to duplicate the needed (use a brush size that matches the width of your outline). you do, the white areas should become completely transparent.
Background layer. When you’re finished, return the Opacity to 100%. Click OK to close the dialog.

[If you’d like to download the image used in this tutorial to practice the technique, visit www.layersmagazine.com/downloads.html. This file is for practice purposes only.]

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Finish before you start. TM

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If there are any areas where the outline effect is too strong (such as the There are a couple of steps to change the color of the outline. First,
center of the flower in this example), add a layer mask by clicking on the click on the Create a New Layer icon at the bottom of the Layers
Add Layer Mask icon at the bottom of the Layers panel. Using black panel. Drag this new layer below the outline layer. Click on the out-
as the Foreground color and a brush Opacity of 30–40% in the Options line layer and press Command-E (PC: Ctrl-E) to merge the two layers
Bar, paint over the areas where you want a less obvious outline. together (this will permanently change the white areas to transparent).

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Use the Add a Layer Style pop-up menu at the bottom of the Layers
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If you want the outline to stand out, you can try adding other layer
When you’re faced with time limits, budget constraints or need creative content fast, let our templates
do the work. Our library of designs is packed with brochures, newsletters, flyers, postcards, ads,
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panel to add a Color Overlay. Click on the red color swatch to access styles such as a drop shadow (shown here), bevel and emboss,
the Color Picker, choose a color, and click OK twice. (By using the inner shadow, etc. (Note: You can only add these styles if you com-
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Color Overlay layer style, you can easily change the color by double- pleted Step 7.)
clicking on Color Overlay in the Layers panel.)

1-877-833-3305 www.stocklayouts.com

QDave Cross is Senior Developer, Education and Curriculum, for the National Association of Photoshop Professionals. He is the author of Photoshop Finishing Touches and The Photo-
shop CS2 Help Desk Book, and is featured on a series of Photoshop training DVDs. S
All images by Dave Cross unless otherwise noted.
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Go into the Effect menu again but this time go under Photoshop Because this is a Photoshop filter, we have to look in the Photoshop
Effects to Texture and choose Texturizer. In the dialog, click the folder to find the texture, which is located in the Applications folder
small arrow to the right of the Texture pop-up menu and select (PC: Program Files folder). In the Adobe Photoshop CS3 folder
Load Texture. there’s a folder called Presets; inside this folder is the Textures
folder; then inside that folder, select the texture called Rust Flakes,
and click Load. In the Texturizer dialog, set the Scaling to 175%,
the Relief to 2, the Light direction to Top Right, and click OK.

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People tend to forget that Illustrator contains several Photoshop filters that can be applied directly to vector objects
inside Illustrator. Here we’ll use them to create a quasi-realistic leather patch logo complete with buttons and stitching.
As always, experiment with the settings as you go: You just might stumble onto a happy accident!

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Select the Rectangle tool (M) from the Toolbox, then click once on With the shape still selected, go under the Effect menu, under Go under the Window menu and select Appearance to open Click once in the artboard with the Type tool (T) and type “South-
the artboard. In the dialog that appears, enter 6" for Width, 3" for Illustrator Effects, and choose Stylize>Inner Glow. In the dialog, the Appearance panel, where you’ll see all the properties and ern” using the Rockwell Extra Bold font at 60 points. Set the Fill
Height, and click OK. In the Color panel, set the Fill color to R:156, change the Mode to Multiply, then click the color swatch and effects applied to your shape. Click-and-drag the Fill item to color to R:107, G:78, B:46 and the Stroke to R:127, G:94, B:64.
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G:123, B:83 and the Stroke to None. enter R:89, G:39, B:5 in the Color Picker, and click OK. Next, the Duplicate Selected Item icon at the bottom of the panel. Click on the Selection tool and enter “2 in” in the Height field in
change the Blur setting to 0.4 in, leave the Edge button checked Now open the Transparency panel (Window>Transparency) and the Control panel (make sure it’s not linked to the Width field). Go
on, and click OK. change the blend mode of the duplicated fill item to Overlay. under the Effect menu and choose Warp>Arc Lower. Change the
This will enhance the color of the shape. Bend to –30% and click OK. Set another line of text (“Stylin’”) the
same way, using the Arc Upper warp instead, but still keeping it
set to –30% for the Bend.

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Select both text objects and position them inside your textured
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Select the Rectangle tool and draw a box that covers all but the
rectangular shape. Open the Transparency panel and change the outer edges of the original rectangle. Set the Stroke to the same
blend mode to Difference, which will dramatically change the look light brown that we used in Step 1 and the Fill color to None. In
of the text. Next, go under the Effect menu, under Illustrator Eff- the Control panel, click on the word “Stroke” and in the dialog
ects, and choose Stylize>Outer Glow. Set the Mode to Multiply; that appears, set the Weight to 2 pt, click on the Round Cap icon
click the color swatch and choose R:224, G:210, B:198; and then to the right (circled), check the Dashed Line box, set the Dash
set Opacity at 100% and Blur to 0.07 in. (Note: Multiply mode option to 8 pt, and the Gap to 5 pt. Now open the Transparency
usually affects darker colors but because the object is in Differ- panel and change the blend mode to Multiply.
ence blend mode, it’s just the opposite.)

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With the stitching object still selected, copy it to the Clipboard by
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Select the Ellipse tool (L), hold Shift, and draw a small circle in
pressing Command-C (PC: Ctrl-C), and then press Command-F (PC: the upper-left corner over the stitching. In the Control panel, set
Ctrl-F) to place the object directly in front of the original. Change the Stroke to None, click on the Swatches panel, and choose
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the blend of this object to Color Dodge in the Transparency panel the Radial Gradient 2 (circled). Go under the Effect menu, under
and press the Left Arrow once and the Up Arrow once—this will Illustrator Effects, and choose Stylize>Inner Glow. Set the Mode
give the illusion of dimensional threading. to Multiply, Opacity to 100%, and Blur to 0.04 in. Click OK. Then
access the same menu and choose Drop Shadow: Set the Mode
to Multiply, Opacity to 85%, and the X and Y Offsets to 0. Set the
Blur to 0.04, leave the color as black, and click OK.
continued on p. 76

-*
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With your initial button created, copy-and paste the object by press-
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Now we need a small ornamental shape between the words.
ing Command-C (PC: Ctrl-C) then Command-V (PC: Ctrl-V) three Choose the Spiral tool from the Toolbox (it’s under the Line Seg-
times, and place one button in each of the corners of the shape. ment tool), hold the Shift key, and click-and-drag to the right to
draw the shape. Set the stroke Weight to 4 pt and the color to the
same light brown. Now select the Reflect tool (it’s grouped with
the Rotate tool). Double-click the tool icon to open the Reflect
dialog. Select Vertical, 90º Angle, and click Copy. This will create
a duplicate and flip it. Then just nudge the shape over to com-
plete the design.

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Finally, change the blend mode to Multiply and apply the Outer Glow effect that we applied to the original text in Step 7. Then just place the
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shapes in the center between the text. And there you have it!
You obviously don’t have to use the exact same text as we did—it’s the technique that’s important. So feel free to experiment with
the settings as you go along. You may discover something new and exciting.

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
-,
.QIQP.GCTP world class online training

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Q J>;7HJE<JOF;S The fraction bar ( ⁄ ) isn’t the same as the common solidus, or slash ( / ). To save this work for later use in InDesign, select the fraction and
K B N F T ! | ~ ! G F M J D J For one thing, a fraction bar rests on the baseline (except in a handful choose Export from the File menu. In the Export dialog, select
of faces), so it bottom-aligns with the fraction’s denominator; however, Adobe InDesign Tagged Text from the Format (PC: Type) pop-up

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a solidus extends below the baseline, where it typically bottom-aligns menu, give the file a name you’ll recognize, such as “one eighth,”
with a typeface’s descending characters. Another important aspect and click the Save button.
of the fraction bar is that it has special kerning characteristics so that Later, when you need it, you can use the Place command to
numerators and denominators snuggle up against it more closely than bring this file back into a page, where it will appear in the correct
they would with a solidus. fraction format. At that point, you can change the numerator and
Back in third grade, Mrs. Ditzel taught us fractions. Finding the fraction bar on the Mac is easy, as it’s always been denominator as needed. (InDesign really needs a Library for saving
So nearly 50 years later, I ask myself why Adobe a part of the basic Mac character set: You’ll find it at Shift-Option-1. complexly formatted text elements for future use.)
programs have such a hard time coping with this If you’re using Windows, it’s easier to find it using the Windows To save your fractions for later use when working in Illustrator,
third-grade issue. Sure, if you happen to be using Character Map than using the Glyphs panel in InDesign or Illustrator, build them in a special file, from which you can cut-and-paste them
one of the few score OpenType Pro fonts on the market, your pro- where you can’t search for a character by name, Unicode number, into future documents—hardly an ideal system, but it works.
grams can build fractions automatically at the press of a button. But or glyph ID number. Nor do Adobe programs allow you to use Note: When recycling fractions this way, if you change the type-
what if you’re using one of the other 30,000 or 40,000 non-Pro fonts a glyph’s Unicode number (in this case U+2044) to key in a code face you’ll probably have to do some base-alignment and kerning
out there? Read on. sequence to access a glyph. In the Windows Character Map (Start/ tweaking. The sizes, though, should be okay unless the face you
The vast majority of PostScript Type 1, TrueType, and Open- All Programs), just type “fraction bar” in the Find field and the choose is bold or very light.
Type (non-Pro) fonts don’t contain the numerator and denominator program will find it for you. Double-click the fraction bar to select
glyphs needed to make fractions. To make professional-looking it, click the Copy button, and then back in your program, paste it B!rvjdlfs!bmufsobujwf
fractions using these fonts, you have to scale and then position the where you want it. There’s a faster way to make fractions with InDesign but it requires
numerals manually. a little “bridge burning” by changing the specifications for how
Virtually all fonts, though, contain three prebuilt—or piece— Gsbdujpot!tufq!cz!tufq! superscripts and subscripts are set. There’s not too much use of the
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fractions: ¼, ½, and ¾. These consist of a numerator and denomina- STEP ONE: To make a fraction in InDesign or latter (unless you write about CO2, for example), but superscripts are
tor that are scaled to about 60% of the size of regular numerals, and Illustrator, first type the numerator, fraction bar, commonly used for footnotes.
they flank a special character called a fraction bar. On a Windows and denominator in a series without spaces. If you don’t use either super- or subscripts, however, here’s the
PC, you can access them by holding down the Alt key while typing fix: Go to the Preferences>Advanced Type dialog and change the
their ANSI encoding numbers: 0188 (¼), 0189 (½), or 0190 (¾). STEP TWO: Drag a ruler guide down to Size for both Superscript and Subscript to 60%. Now change the
Apple never saw the wisdom of including these fractions in the basic top-align with the fraction bar. Now select Position for Superscripts to 28% and for Subscripts to 1%. Click OK
Mac encoding scheme, so there’s no keyboard access for them on the numerator and reduce its size to 60% of and from then on, you can just select a would-be fraction’s numeral,
the Mac. You have to fetch them using OS X’s Character Palette the size of the surrounding text (type “60%” in and in the Control panel, click on the Superscript or Subscript button
(Edit>Special Characters) or an Adobe program’s Glyphs panel. the Font Size field of the Character panel, and to convert them to a numerator or denominator. Remember though
These piece fractions are a great convenience if they’re the only InDesign will do the math for you). Nudge it that you’ll still have to tweak the kerning.
ones you’ll be using in a document. But if you need others as well, upward with the Baseline Shift control tool (in
you’ll often find that it’s hard to get them to look the same, as you the Character panel) until the top of the numerator
can see below. The Times fractions on top are almost identical touches the ruler guide.
but the Univers 55 piece fraction is noticeably bolder than its built

QJ ^[lWijcW`eh_jo equivalent, which is commonly the case. STEP THREE: Now scale the denominator to the
same size.

e\FeijIYh_fjJof['" STEP FOUR: At this point you’re close, but you’ll


probably have to kern both the numerator and
Jhk[Jof["WdZEf[dJof[ denominator a bit nearer to the fraction bar. Do this
using your keyboard controls: Option-Right/Left One problem with building your own fractions is that scaling down

ded#Fhe\edjiZed¼j Arrow (PC: Alt-Right/Left Arrow). the numerals makes them a bit too light. Numerals intended for use
in fractions—as in most piece fractions built into a font, or those used
STEP FIVE: If you’re doing this in a magnified view in OpenType Pro fonts—are made slightly bolder to make them more
YedjW_dj^[dkc[hWjeh (Zoom), it’s easy to overkern. Remember that in text legible and more in harmony with the type around them. If you
size, the numeral in a fraction is going to be very happen to be using a typeface family with a semibold weight, you
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WdZZ[dec_dWjeh small—6 or 7 points—so print a proof to make sure might try using that weight for fractions within regular-weight type.
If you have to use any of these piece fractions together with that in kerning you haven’t crowded it too much Sometimes these appear a bit too bold, but often they’re preferable
others, you’re often better building them all from scratch. That
]bof^id[[Z[Zje sounds worse than it is…because after you’ve built the first one for
against the fraction bar. Here’s our finished fraction. to fractions that are too wispy.

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any particular typeface and point size, you can use it as a template
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
to build others in a jiffy. magazine, PDFZone.com, and Publish.com.

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You could create the rest of your fields and then start drawing the Since the Name field is going to take up the entire top line, we’re
lines where people will fill in their information; however, if you ever going to set our tab at the far right. Select a Right-Justified Tab
need to make changes such as font and font size, then you’ll have (the third icon from the left) in the Tabs ruler and click just above
to move your lines too. That’s why were going to use leader tabs the ruler at the 3.75" mark. Don’t worry if you don’t click in the
instead. Bring up your Tabs ruler by choosing Tabs from the Type exact correct position because you can move the tab afterwards.
menu. By default the Tabs ruler magnetically sticks to the top of
your text frame. This will help you line up your tabs.

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It kills me when someone sends me a form in Microsoft Word and he or she expects me to fill it out on my com-
puter. Of course, the minute I go to type, everything starts to move around. So let’s learn the right way to build a
form in InDesign (with a cameo appearance of Acrobat to make it fillable).

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Either create a new InDesign document or open an existing docu- At this point we need to key in the name for our first field. For this Now that you’ve inserted your tab, the next thing you have to do Key in the word “Address” and press the Tab key to create the
ment and navigate to a blank page or blank area of a page so that example, type in the word “Name” in the text frame. You’ll be is give it a leader of an underscore character (_). So with the tab underline. The next line gets a little more complicated because we
you can create a text frame. In this example, we’re going to create tempted to jump ahead and start creating all the other fields and you just placed still selected, click in the Leader field on the Tabs need to set both tabs and leader tabs for multiple fields. Use Left-
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a magazine subscription card, so create a 4x3" text frame using the I commend you for your eagerness, but you might want to read the ruler and key in an underscore character (Shift-Hyphen). Now click Justified Tabs (the first icon) for the field names and Right-Justified
Type tool (T). To make it exactly 4x3", select the text frame after you next step first. back into your text frame after the word “Name” and press the Tabs for the leader lines. Set the “City” leader tab at 2"; set the
create it and key in those measurements in the Control panel. Tab key on your keyboard. You should see an underline from the tab for “ST” at 2.15" and its leader tab at 2.75"; and set the tab for
word “Name” to your tab stop. Hit Return (PC: Enter) twice to “Zip” at 2.85" and use the existing leader tab at 3.75". Don’t forget
skip a line. to add the underscores for the leader tabs.

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The next field that we want is Email. In order to get back to one
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Our form fields are done. Now let’s lock it down and create a new
long leader tab, remove the extra tabs from only that line by layer for the rest of the subscription card layout elements. Bring
simply dragging them off the Tabs ruler. Next, let’s create some up your Layers panel. Hold down the Option key (PC: Alt key) and
radio buttons. On the next line, type “New Subscriber” and click the Create New Layer icon at the bottom of the panel. This will
“Renewal.” (Now that you got the hang of tabs, you’ll probably allow you to create a new layer and name it all at the same time (we
want to create tabs for these two words to give you room for the named ours “Graphics”). Double-click the name of the original layer
radio buttons.) Use the Ellipse tool (L) while holding the Shift key and rename it “Form.” Then click the little box to the right of the
to create circles in front of each word. Eye icon to lock the Form layer.

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At this point you can place other text and graphics on your page.
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This is where the magic happens. Choose Run Form Field Recognition
Be sure not to cover up any part of your form’s text or lines. After from the Forms menu in Acrobat 8 Professional. This should create
your design is complete, go to the Adobe PDF Presets under form fields over your existing lines and circles. Click the Highlight
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the File menu and choose Smallest File Size (or the one that best Fields button to make sure the fields were recognized. Anyone can
meets your needs) to export this InDesign document as a PDF. now type into this form with Adobe Reader or the full version of
Be sure that View PDF after Exporting is checked in the dialog. Acrobat. So now you can send a form that’s actually usable. [For an
in-depth look at creating and editing forms in Acrobat, check out
“Getting into Form, Part 1,” Layers magazine, Jan/Feb 2008, p. 76,
and “Getting into Form, Part 2” on p. 86 of this issue.—Ed.]

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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Click on the Combo Box tool (third from the left on the toolbar). Click on the General tab. Type in a name for this field—for exam-
Drag your cursor over the area to the right of the State/Province ple, State/Province. Next, type in a Tooltip that you want to appear
entry in the form and a Combo Box field is placed on the form. when a user rolls his or her mouse over this field. In our example,
The Combo Box Properties dialog appears (see Step 4). we used “Tab to or click on this field to select a state/province.”
Note: Whenever you create a new custom form field, a proper- Click on the Form Field menu and choose your preferred option—
ties dialog like this will appear. Its content will vary depending we selected Visible. If you want this to be a required field, check
upon the type of form field created. the Required box. To make sure the list of choices will be available,

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be sure Read Only is not checked.

PDF forms can be edited easily in Acrobat 8, including adding eight types of custom form fields. Once you have
your form just the way you want, you can distribute and track it, then when the completed form is returned, you
can also use Acrobat 8 to collect, compile, and review your form’s data.

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Acrobat 8 allows you to create eight varieties of custom fields in Open a copy of the form you want to edit (we’re using the form Next, click on the Appearance tab and click on either the Border Click the Options tab and type in the name of a state/province in
your form. Activate the Forms toolbar (Tools>Forms>Show Forms we created in Part 1, Layers magazine, Jan/Feb 2008, p. 76). Click Color swatch or Fill Color swatch to choose a color, or No Color. If the Item field, then click Add to add this choice to the Item List.
Toolbar), which contains all the tools you need to edit, preview, on the Edit Layout tool (all the fields are highlighted with corner you assign a border color, then configure the Line Thickness and Repeat this for each list entry you want. You can assign an Export
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and distribute your PDF forms. The toolbar’s left side contains eight and side control points). To activate a field, roll your mouse over Line Style to control the border’s appearance. Under Text, assign value to each item, typically an alpha/numeric value, if you want to
tools: Button, Checkbox, Combo Box, List Box, Radio Button, Text the field. To resize the field, click-and-drag on any corner or side a Font, Font Size, and Text Color. Tip: Keep it simple; for example, track statistics on this field. For our example, we want to know how
Field, Digital Signature, and a Barcode. The right side contains the control point. In our example, we’re going to click on the State/ sans-serif fonts display more legibly onscreen, particularly at small many form fillers were from Alabama. Check the Sort Items box to
Edit Layout/Preview (depending on the current state of your form), Province field and then press Delete to remove this field. We’re point sizes. automatically sort the list alphabetically and turn on the Commit
and Distribute tools. going to replace this with a Combo Box containing a list of states Selected Value Immediately box to prevent multiple selections.
and provinces.

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Close your Combo Box Properties dialog to apply all your settings.
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When either/or items need to be created, such as Payment Method
Now select the Hand tool and either tab or click on your newly cre- in our example, use radio buttons. For multiple choices, check-
ated State/Province combo box. Click on the down-facing arrow to boxes are appropriate. During our automatic forms creation process
the right of the first item, then use your Up and Down Arrow keys in Part 1, Acrobat automatically recognized our Payment Method
(or the alpha keys) to navigate the list. Press the Return (PC: Enter) checkboxes and replaced them with Acrobat forms checkboxes.
key to apply your list choice. Because this is an either/or option, we need to replace the boxes
with radio buttons. Click on the Edit Layout tool, select the Check
and Credit Card checkboxes, and delete them.

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Select the Radio Button tool, then click-and-drag over the Check
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Press the Option (PC: Alt) key as you drag the Check Radio Button
checkbox, and the Radio Button Properties dialog appears. Under over the top of the Credit Card checkbox, making a duplicate copy.
the General tab, type “Payment Checkbox” in the Name field and Double-click on this new button and under General, keep the same
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“Click here to select payment by check” in the Tooltip field, and Name “Payment Checkbox” but for Tooltip, type in “Click here to
turn on the Required checkbox. Next, click on the Options tab and select payment by credit card via PayPal.” Click on the Options tab
select Check from the Button Style menu. Now type “A” in the Export and type “B” in the Export Value field—by having the same name
Value field, and Close the dialog to create the Radio Button. but different export values, users may check only one of these
boxes. Also check the Button Is Checked By Default box to make
this the default.
continued on p. 90

..
PHOTOSHOP WORLD IS THE OFFICIAL CONVENTION OF THE
NATIONAL ASSOCIATION OF PHOTOSHOP PROFESSIONALS

Photoshop World: ®

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'( Q;:?JJ78EH:;HS
Q9h[Wj[W<_bc<hWc[S COMING TO ORLANDO, FL. APRIL 2-4, 2008
After you’ve clicked the Close button to create your Credit Card Click on the Edit Layout tool. Choose Forms>Edit Fields>Set Tab Mark Your Calendar! The world’s largest Adobe® Photoshop® educational event, featuring
Radio button, select the Hand tool. Click on the Check Card Order. You’ll get a message asking if Acrobat should set the tab
checkbox and then click on the Credit Card checkbox. When you order for you. Click No, and each data entry field will be labeled the latest Photoshop CS3 training and an expanded 3-day tech expo is coming
click on the Credit Card checkbox, the Check checkbox should in the upper left with a tab order number. Note the Name field, to Orlando, Florida!Photographers, graphic designers, Web developers, educators, art
automatically uncheck. If this doesn’t happen, return to the Edit should be #1, but it’s labeled 3 because of the two extra fields
Layout mode and check the properties of both radio buttons to at the top created by the Auto Form Field Recognition in Part 1 directors, students, and Photoshop fanatics — this is the conference you don’t
make sure they have the same Name (Payment Checkbox) but (delete these at any time). To set the tab order, simply click the
want to miss in 2008!
different Export values (A and B). form fields in the order you want them to be activated.

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Select the Hand tool again, click on the Name field, and tab through
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If you’re manually creating form fields with two or more identical 1TCPIG%QWPV[%QPXGPVKQP%GPVGT†#RTKN
the fields to make sure they’re in the order that you want. The tab fields, try this timesaver: Create your first field (ours is a Text
order should finish up at the Submit button. If you haven’t removed field), then in Preview mode, select Forms>Edit Fields>Place
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the two extra auto-created tab fields, keep tabbing to find them. Multiple Fields. In the Create Multiple Copies of Fields dialog,
Return to the Edit Layout tool to select and delete them. specify the Number of Fields, Overall Size, and Overall Position
for the multiple fields you wish to create. Check the Preview
checkbox to preview the setting results prior to clicking OK. Register Today! Call 800.738.8513
or visit online www.photoshopworld.com
/&
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 Adobe, the Adobe logo, and Photoshop are registered trademarks of Adobe Photoshop Incorporated.
CONFERENCE TRACKS AT-A-GLANCE
The overall class schedule allows you to customize your curriculum by attending any
session, in any track, and move between them as you see fit.
04.2-4.08 CONFERENCE HIGHLIGHTS
Photoshop® World® ADOBE WEB TOOLS
® Learn how Photoshop®, Flash®, and Dreamweaver®
come together to make compelling websites.
Pre-Con Workshops: Tuesday, April 1
This three-day track – featuring Dave Cross, Fay Sirkis, and Take part in any of 12 elective work-
CREATIVITY Bert Monroy – will inspire your creativity and imagination.

Come Face to Face With


shops held prior to the conference.
Separate registry and fee required; a
PRODUCTIVITY Work faster and smarter with tips and tricks from such
instructors as Taz Tally, Dan Margulis, and Jeff Schewe.
full listing of pre-con classes is available
at www.photoshopworld.com/work-

The Future of Photoshop ®


shops.html.
DIGITAL PHOTO These six class sessions – featuring Helene Glassman, Jim
DiVitale and Frank Cricchio – will teach you the same light-
LIVE STUDIO ing, posing, and studio techniques the pros use.
Opening Keynote: Wednesday, April 2
Entertaining and full of surprises, the
Photoshop World Conference & Expo – Find out how applications like InDesign®, Bridge®, and
opening keynote is not to be missed!

The Ultimate Adobe Photoshop Experience


® ®

ADOBE CREATIVE SUITE


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Camera Raw can take your work to new levels.
Past keynotes have introduced Light-
room® and Photoshop Extended®…
what revelations await you this year?

Tech Expo: Wednesday, April 2;


Prepare yourself for three extraordinary days of Photoshop, photography, Thursday, April 3 & Friday, April 4
digital media, and graphic design training like nothing you’ve ever encoun-
PHOTOSHOP ® This learning track – featuring Scott Kelby, Deke McClelland,
and Ben Willmore – will show you how to boost your For three days, check out the newest

tered before…
TECHNIQUES Photoshop skills, productivity, and creativity. plug-ins, digital cameras, scanners,
printers, imaging software, hardware,
storage devices, and more from some
PHOTOSHOP & DESIGN Learn the eye-catching graphic design tricks and tech-
®
t.PSFUIBOJOEFQUIJOTUSVDUJPOBM t5IFMBUFTUQSPEVDUTBOEDVUUJOH FEHF niques that you see in top magazines and advertisements. of the biggest names in the industry.
sessions taught by an all-star team of technologies at the 3-day Tech Expo
industry legends. – a Photoshop World first!
LIGHTROOM Get better pictures and a faster workflow with classes by Portfolio Reviews: Wednesday, April 2
®

Matt Kloskowski, Tim Grey, Andrew Rodney, and more. Get invaluable feedback from Photo-
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shop® World instructors at this once-in-
events where you can mingle with hosted by Photoshop World spon- Dive into the amazing world of motion graphics with six
your peers, as well as conference sors like Adobe, Kelby Training, MOTION GRAPHICS class sessions by Rich Harrington and Rod Harland.
a-lifetime opportunity. Availability is on
a first-come, first-served basis during
instructors. and Microsoft. the first day of the Tech Expo.
PHOTOSHOP &
®

Additionally, all conference attendees receive the Photoshop World workbook: Discover how special digital photography tricks and
Photoshop World After-Hours
Photoshop techniques can help you create sharper, more
a massive compilation of notes, tips, tutorials, and step-by-step instructions for almost DIGITAL PHOTOGRAPHY colorful, more vibrant images than ever before. Party: Wednesday, April 2
Don’t miss your chance to mix with
every class and instructor at the conference in one easy-to-reference volume.
fellow attendees and instructors at B.B.

Join us for the ultimate Photoshop and digital King’s Blues Club – Pointe Orlando for
a night of food, fun, and music. Tickets
imaging experience… PRO PHOTOGRAPHY Photographers such as David Ziser, Moose Peterson, and Eddie
Tapp reveal their “tricks-of-the-trade” in this six-session track.
are limited, $49 per-person.

Art of Digital Photography:


PHOTOSHOP &
®

INSTRUCTOR ROSTER Choose from five sessions that delve into advanced techniques
in Photoshop – including automation, retouching, and lighting –
Thursday, April 3

PHOTOGRAPHY as well as special topics in photography.


Gain inspiration from eight of the most
elite artists of today. These outstand-
Scott Kelby Taz Tally David Ziser Jack Reznicki ing photographers will reveal how and
Dave Cross Eddie Tapp Helene Glassman Tim Grey PRINT/PRE-PRESS Join Dan Margulis as he shares tips for making the entire
print/pre-press process easier than you ever imagined.
why they create their inspiring images
at this interactive panel discussion.
Bert Monroy John Paul Caponigro Rich Harrington Andrew Rodney
Matt Kloskowski Deke McClelland Lesa Snider-King Laurie Excell
DIGITAL PHOTOGRAPHY Learn artistic techniques specifically for digital photo-
graphers in these two class sessions by Vincent Versace.
Midnight Madness: Thursday, April 3
That’s right…time to kick back and cut
Jay Maisel Felix Nelson Chris Orwig Corey Barker
loose. Join conference attendees, in-
Moose Peterson Rod Harlan Peter Bauer Stephen Johnson Open your mind and discover how simple Photoshop tech-
ARTISTIC PHOTOSHOP
®
structors, and the NAPP staff for a night
niques can transform ordinary images into a works of art.
Vincent Versace Jim DiVitale Jeff Schewe Rafael Concepcion of games, giveaways and goofing-off!
Joe McNally Kevin Ames Frank Cricchio Edward Greenberg
Terry White Fay Sirkis Joe Glyda Jason Scrivner
For a complete class schedule go to Register Today!
Ben Willmore Jack Davis Dan Margulis
www.photoshopworld.com
All classes, class materials, and instructors are subject to change without notice. Adobe, Photoshop, Lightroom, InDesign, Bridge, Flash, and Dreamweaver are registered trademarks of Adobe Systems Incorporated.
Photoshop® World
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K B O J O F ! | ~ ! X B S O F S
PRO PASS Upgrade to a Pro Pass and get a hold of the coolest Photoshop World gear
as soon as you walk in the door. A $100 Pro Pass gets you:

tPhotoshop World Party Ticket: This special ticket t Exclusive Photoshop


guarantees your place at THE after-hours event of World Water Bottle:
the conference. A $49 value! Keep hydrated with a
tOfficial Conference Attaché: Stay organized and on- convenient spill-proof
the-go with this multi-compartment canvas briefcase. souvenir water bottle.
tBadge Holder: This billfold-style carryall stores your tNotebook & Pen Combo:
money, keys, and business cards while displaying Take notes and keep track
your admission pass. of new contacts with your pad and pen combo.
tOfficial Photoshop World Attire: Get your limited tExtra Photoshop World Workbook: On the last
edition themed t-shirt and ball cap when you pick- day of the conference, you’ll be able to pick up
up your Pro Pass attaché. a second conference workbook.

Reserve your Pro Pass today…only 250 available!

OFFICIAL We have arranged special room rates for attendees at our two official host hotels – the Peabody Hotel and

HOST the Rosen Plaza Hotel. Please identify yourself as a Photoshop World attendee when reserving your room.

HOTELS THE PEABODY ORLANDO HOTEL THE ROSEN PLAZA HOTEL


9801 International Drive 9700 International Drive
Orlando, Florida 32819 Orlando, Florida 32819
(800) 732-2639
www.peabodyorlando.com
(800) 627-8258
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Located next door to the Orange Located adjacent to the Dreamweaver can insert Flash video (FLV) files, as well as Flash files with the SWF extension. In the last issue,
County Convention Center’s south Convention Center and only I used Dreamweaver to add Flash video to a webpage; this time, you’ll learn how to insert Flash files with the
entrance, the Peabody Orlando minutes from Orlando attrac- SWF extension. The process is similar to inserting an image file, but Dreamweaver has more settings for Flash.
Hotel offers Photoshop World at- tions, the Rosen Plaza offers
tendees an atmosphere of relaxed attendees resort-style luxury
elegance, luxury, and hospitality. and beautiful accomodations.

For a full listing of hotel amenities, room rates, rules, regulations, and cut-off dates, visit www.photo-
shopworld.com/map.html. All room rates listed are quotes exclusive of appropriate state and local taxes.

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PRICING Register Today! For this tutorial, we assume that you already have a completed
Flash file (in SWF format) and you want to add it to your webpage
using Dreamweaver. To create a Flash file, like the Turtle Puzzle
NON-NAPP MEMBER $
699 * NAPP MEMBER $
599 game we’re using, you’ll need Adobe Flash or a similar program
that supports the Flash format. Because Flash is an open standard,
you can create Flash files with a variety of programs, including

KEN RIDDICK
Adobe Photoshop Elements, which uses the Flash format to save

To Register Call 800.738.8513 automatically generated Web galleries.

or Visit www.photoshopworld.com
Copyright © 2008 National Association of Photoshop Professionals – all rights reserved. Adobe, the Adobe logo, and Photoshop are registered trademarks of Adobe Systems Incorpo-
rated. All other company names, logos, and trademarks are the property of their respective holders.
/-

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Before you start, move or save the Flash file into your root site To add a Flash file to a webpage, open an existing page or If you have accessibility options turned on, you’ll be prompted Dreamweaver displays Flash as a solid, gray box with the dimensions
folder. If you prefer, you can create a subfolder to store your Flash create a new document by choosing File>New and specifying to add alternative text. Enter a short text description of the Flash of the Flash file. Click on the gray box to display the Flash options in
files. If you’re not sure what a root folder is or how to define a root the file type in the New Document dialog. In this example, we’re file. Use the Access Key and Tab Index options in the Object Tag the Property inspector at the bottom of the workspace. As you’ll learn
folder in Dreamweaver, refer to my online tutorial, “Defining a Site creating a new page from a Dreamweaver template. You can Accessibility Attributes dialog to include a key command to start in the following steps, you can use these options to alter the size of
in Dreamweaver,” at www.layersmagazine.com. Defining a site add a Flash file to any webpage. In any case, it’s always good or control the Flash file if you want to provide an alternative to the Flash file and the way it’s displayed on your page. Clicking the
enables you to manage files and folders without breaking links practice to save a new page before inserting a Flash file. those with accessibility challenges. Click OK to close the dialog Edit button will open the file in the Flash program (if you have the
using Dreamweaver’s Files panel (shown here). and the Flash file is inserted into your page. program on your hard drive).

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Click to insert the cursor where you want the Flash file to appear on
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In the Select File dialog, browse your drive to locate the Flash file
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Click on the Play button in the Property inspector to play the Flash
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When the Play button is clicked, all the features of a Flash file are
your webpage and choose Insert>Media>Flash. Alternatively, you that you want to insert in your page and double-click on the file to file. In this example, the Flash file is a puzzle game so clicking the activated using the Flash Player, just as they would if the file were
can use the Insert Media button from the Common Insert bar at the select it. Play button displays the game options and images. (Note: When the displayed in a Web browser. As you can see here, we’re testing this
top of the Dreamweaver workspace. Play button has been activated, the button text changes to Stop.) Flash puzzle game by clicking-and-dragging to move the pieces
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into place.

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Quality software since 1993

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You can make a number of adjustments to the way a Flash file dis-
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Change the Scale setting to specify if the Flash file will have a border.
plays by changing the settings in the Property inspector. Check the Use the Quality setting to control the file quality that will be displayed.
Loop box to set the file to replay continuously; uncheck the box if Note: The higher the quality, the longer it will take to download.
you want the file to play only once. Checking on the Autoplay box
causes the file to begin to play as soon as the page is loaded into
a browser.

Get a glimpse of the future


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If you have a Mac and want to express yourself

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When you insert a Flash file as we did in this tutorial, Dreamweaver
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It’s always good practice to preview your work in a Web browser after
Freeway is desktop publishing for the web—you
simply draw boxes and add text, graphics, video,
audio, Flash or other rich content. It is easy
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you upload it. You can also preview your pages in a browser on your Freeway 5 from www.softpress.com today.
automatically creates a script file to accompany it and saves it in a enough for home users, yet powerful enough for
folder, appropriately called “Scripts.” Make sure to upload the entire local hard drive. And here’s a tip: When you preview a page with a professionals. Full of features to simplify and au-
Scripts folder when you publish your Flash file and webpage to your Flash file and the JavaScript locally, Internet Explorer treats the script
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server or it may not display properly. as a potential threat on your hard drive and prompts you with a secu- Leopard ready
rity warning in the Information Bar. This shouldn’t happen when the freeway shop
page is published and viewed online in Internet Explorer, and Firefox
(shown here) doesn’t use a security prompt with Flash.

Q
Janine 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 Freeway Pro and Freeway Express are Universal, Leopard-ready and include a fully integrated, easy to set-up e-commerce solution—for free.
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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The first order of business anytime you create a new Flash movie Flash CS3 comes with a whole library of premade buttons for you
should be to set up the layer structure for your movie. It’s much to use in your Flash projects. (To be honest, most of them look
better to be organized from the beginning, rather than having pretty cheesy but there are a few gems.) Choose Buttons from
to clean up a disorganized Timeline. Rename the first layer to the Window>Common Libraries menu. This opens a Library panel
actions and lock it. Whenever you write ActionScript, it’s impor- containing folders of button symbols. Double-click on the Classic
tant to keep it on its own layer to have an organized movie. Click Buttons folder and then the Arcade Buttons folder. With the first
the Insert Layer icon to create a new layer above that and name it keyframe in the button layer selected, click-and-drag the Arcade
button. Create another layer above that and name it textfield. Button – Red onto the Stage. With it still selected, give it an Instance
Name of button in the Property inspector.

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It’s quite rare to come across a Flash site that doesn’t incorporate sound in one way or another, so it’s an important
skill to learn. This tutorial will walk you through how to build a simple random sound machine using ActionScript 3.
This version of the ActionScript language is more advanced and is now the de facto standard for professional
Flash work.

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After downloading the four MP3 files from the Layers website, open Now it’s time to start writing the ActionScript 3 code. Select the To create the playSound function, on line 3 of the Actions panel,
Flash CS3 and create a new Flash File (ActionScript 3.0) document first keyframe in the actions layer and press Option-F9 (PC: Alt-F9) enter the code shown here. The code on line 5 outputs a string to
from the Welcome screen. Save this document as sound.fla into the to open the Actions panel. The first piece of code that you need the Output panel using the trace function. This function is commonly
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same directory as the MP3 files. In the Property inspector, set the to write is to set up the listener for the button’s click event. Add used for debugging purposes. Press Command-Return (PC: Ctrl-Enter)
Background color of your movie to black and change the Frame the code as shown here. This code essentially tells the button that to test your movie. Every time you click on the button you should see
Rate to 24 fps. whenever it’s clicked on, it should call a function called playSound. the string, “It was clicked,” added to the Output panel.
You’ll be creating this function in the next step.

[If you’d like to download the four MP3 files to randomly play inside your Flash movie (as well as preview the final effect), visit http://layersmagazine.com/downloads.html. All files are for personal use only.]

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Now that you’ve confirmed that the button click is being handled
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In the previous step, you created the sound object and pointed it
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Select the first keyframe in the actions layer and open the Actions
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Now that you’ve generated the random number, the next step is to
correctly, you can delete the trace function from line 5. Replace it by to the first MP3 file. This line of code prepared the MP3 file to be panel. Add the code shown above on line 6. This code creates a new populate the textfield on the Stage with that number. Add the code
entering the code shown here. In this line of code you’re creating a played but it won’t actually play until you call the play method of Number object named “num.” The Math.ceil function takes whatever shown above to line 7 of the Actions panel. Here you’re setting the
new Sound object with the name of “s.” To the right of the equal sign, the sound object. Now add the code shown in this step to line 6 number you send to it and rounds it up to the nearest integer. The text property of the textfield to be equal to the random number that
you’re initializing the object by sending a new URLRequest object with of the Actions panel. Hit Command-Return (PC: Ctrl-Enter) to test number you’re sending to it is the product of the Math.random you generated in the last step. This is a Number object, however, and
the URL to your sound file. For now, you’ll simply be playing the first your movie. Now when you click on the button, you should hear function, which returns a random number between 0 and 1, and the the text property can only accept String values. To overcome this,
sound named sound1.mp3. the first MP3 file playing. number 4. This will always return a random integer between 1 and 4, you need to call the toString method of the Number object, which
which works perfectly for this example. converts it into a String value.

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You now have the basics for playing external sounds in your Flash
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Select the first keyframe in the textfield layer and hit the T key to
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Hit Command-Return (PC: Ctrl-Enter) to test your finished movie. When-
Now you need to load the random sound file. Add the code shown
movies. But there are many available options when it comes to select the Text tool. Click on the Stage to create a new textfield and here to the Actions panel on line 8 to create a new String object ever you click on the button you should hear a random sound and also
playing sound files. For instance, when you test your movie and enter the number 4. This textfield will display the random number see the number displayed in the textfield. This example may seem a
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named path. You first assign it the string “sound” and then add to
repeatedly press the button, it creates a new sound for every click— that we generate. In the Properties panel, select Dynamic Text, give it the text currently displayed in the textfield, which is the random little useless, but we’ve covered a lot of really useful ActionScript 3 code
leading to interesting results if you click the button rapidly. Since you it an instance name of bigNum, set the font to Impact with a size of number. You add strings together using the + operator. Finally, you dealing with sound and numbers. The use of random numbers forms
probably want it to start a new sound and mute all the others, add 150, and align it to the center. Now align both the textfield and the add the string “.mp3” to complete the path. On line 9, you pass the backbone of all computer games, not just ones built in Flash. Using
the code shown here to line 5, which stops all sounds in your movie button on the stage to your liking. This movie is more about learn- the newly generated path to the Sound object replacing the hard- random numbers for things like sound and animation also ensures that
before playing the new one. ing ActionScript but it doesn’t hurt to make it look nice too. coded string. things will be different every time the user sees your movie.

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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At 0 seconds along the Timeline, go to Layer>New>Light. In the With the light selected, hit P to show its Position property, and
Light Settings dialog, select Spot from the Light Type option, set place it centrally on x and y, but further back on the z axis, behind
Intensity to 100%, Cone Angle to 90°, and Cone Feather to 50%. the camera (as the camera would be inside the “room”). The cor-
Check the Casts Shadows box on, with 100% Darkness and 0 ridor is slightly lit, but overly bright at the end. Select all the layers
pixels Diffusion. Most importantly, click the Color swatch, set the that make up your walls, ceiling, floor, etc., and press AA to reveal
color to a very light cream—a more accurate simulation of day- their 3D Material properties. Change Diffuse to 0%, Specular to
light, as light is not pure white—and click OK to close the Color 30%, and Shininess to 0% for all of the 3D layers. This sets us up

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Picker. Click OK to add the light, and it will appear in the scene, for the all-important ambient light.
which is suddenly very dark!

Changing the look, feel, atmosphere, temperature, and mood in an After Effects 3D scene can make all the difference
to your animation. Lighting and color go a long way to achieving this but using some little-known techniques and tricks
can really take your scene to the next level of reality. In this tutorial, we’re going to animate rain shadows.
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To begin, you’ll need a 3D scene with a camera in After Effects. In your Timeline, double-click the Camera icon to bring up its set- Still at 0 seconds on the Timeline, go to Layer>New>Light, and Now we’ll create the window shape through which our spotlight
The best way to do this is to use the wonderful Vanishing Point tings dialog and make any changes to enhance your scene. In this from the dialog choose Ambient for the Light Type. Set the Inten- will shine from outside. The best way to do this is in Adobe Illus-
Exchange (VPE) feature between Photoshop CS3 Extended and case, we chose 35mm from the Preset menu. Make sure that the sity to 70% and check that the same off-white (daylight) color has trator, using a solid black shape with a “hole” shape(s) created on
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After Effects CS3, which was the subject of my “Two-Dee Three- Enable Depth of Field checkbox is disabled and click OK. Then go been selected from the Color swatch. Click OK, and the scene is top, and then turned into a Compound Path using the Pathfinder
Dee” tutorial (see Layers magazine, Nov/Dec 2007, p. 94). You to Layer>Transform>Auto Orient, click the Off radio button, and now additionally lit with ambient light, making it much more pleas- function. You can also do this in After Effects by creating a solid
can also build one yourself by using solids or imported, texture click OK. Now hit the P key to reveal the camera’s Position prop- ing and realistic. Note: If you hit P, Ambient lights don’t contain (Layer>New>Solid), using the rectangular mask tools to create the
images. For this tutorial, I’ve created a VPE from a still image of a erty in the Timeline, and drag on the X, Y, and Z values to position position values: They add light to all parts of a scene, regardless of hole areas, then setting the mask modes to Subtract; however,
long corridor, imported it into AE, and opened its composition. your camera to a more interesting angle in your scene. position or orientation. Illustrator is more accurate and can create more intricate shapes.

[If you’d like to preview the final effect, visit http://layersmagazine.com/downloads.html. All files are for personal use only.]

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In After Effects, double-click in the Project panel to locate and
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Switch back to Active Camera in the Composition window. Now
then import the Illustrator file from Step 6. Drag it from the Project you might ask two questions: “Why is the scene black?” and
panel into the Timeline, click the 3D Layer switch in the Switches “Where are the shadows from the window?” The scene is black (in
panel, hit S to reveal its Scale value, and adjust (if necessary) to fit this case) because the black window image is sitting right in front
across your room. Now reveal the Position property, and position of our camera—but making it transparent wouldn’t allow shadows
Add 4.0GB to
the “window” back along the z axis to sit in front of the spotlight to be cast. So, with the window layer selected, hit AA to reveal the most Mac and PC
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To add outside elements, it’s best to use animated clips such as
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rain, snow, leaves, etc. For rain, I’ve imported a clip (UW124) from Effect Controls panel, drag the Master Saturation value to –100.
the Ultra Water collection by Artbeats. For a moment, set the Casts Go back to the same Effect menu and choose Levels. Then in the MacBook® Pro, MacBook,
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and iMac® Intel Memory:


Shadows option on the window layer back to Off, then drag the Histogram section of the Effect Controls panel, drag the black,
Up to 4.0GB
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switch. Access its Position property, position it just a shade outside levels, making the rain as white as possible on a black background, Upgrades for up to 32GB
the window layer, then hit S, and scale it down to just larger than with as little gray detail as possible. This will make the raindrops
the hole area of the window. more solid, casting better shadows. 00
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continued on p. 108 Computing. All other product names, brand names, and marks may

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be trademarks or registered trademarks of their respective owners.

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Finally, go to Effects>Channel>Shift Channels, and choose Depending on the speed of your rain clip, it might look like snow
Luminance from the Take Alpha From menu to make the raindrops instead. If this is the case, hit the {} icon in the lower-left corner
appear on a transparent background. Now, select both the rain of the Timeline to show the Time Stretch options, and adjust the
and window layers, hit AA to reveal the 3D properties, and set Stretch value of your clip accordingly—in our example, 50% faster.
both of their Casts Shadows options to Only (clicking Off twice). Hit T to reveal the Opacity options, and change it to around 50%.
Now if you hit 0 on the keypad to do a RAM Preview, you’ll see Finally, to make the rain taller, show the Scale property, uncheck
animated rain shadows in your room being cast from a light out- the link icon next to the values, and adjust the Y value (height) to
side! Very cool, but we’re not done yet…. around 500%. Much better!

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To give the scene a little less accuracy, let’s tilt the window shadow
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A few more things can be done to enhance this scene. Select
slightly to give it an interesting angle. Close the Time Stretch the spotlight, and move it on the X, Y, or Z position to adjust the
options, then Control-click (PC: Right-click) in the top of the angles and size of the shadows being cast into the room. You
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Switches panel and choose Columns>Parent. Under the Parent can go to Layer>New>Adjustment Layer, then add effects such
panel for the rain layer, click the Pickwhip icon and drag it onto the as Hue/Saturation and Levels to adjust the color and contrast of
name of the window layer to link them together. Now select the the whole scene—even easier if you have Look Suite from Magic
window layer, hit R to show its rotation values, and drag the value in Bullet (thank you, Red Giant!). And, you can animate the camera
either direction to rotate both the window and rain together! through your incredibly realistic scene. 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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In almost all the Adobe apps, you can edit shortcuts by choosing Photoshop will save the new set of keyboard shortcuts as a KYS
Edit>Keyboard Shortcuts from the menu (or use the shortcut, Shift- file, which you can transfer from computer to computer (it’s also
Option-Command-K [PC: Shift-Alt-Ctrl-K]), which will open the a good idea to back it up). If you use Photoshop for multiple,
Keyboard Shortcuts dialog. Note: If you start editing the shortcuts discrete purposes, consider saving various sets of shortcuts; for
in Photoshop right away, you’ll be changing the default set of example, you could save one for print work and another for video
shortcuts and that’s a little unsafe. So, we recommend that you work. That way, within each set, you can assign the F5 key (for
click the Create a New Set Based on the Current Set of Shortcuts instance) to do something different. You can switch from set to
icon (to the left of the Trash icon), which will allow you to save a set via the pop-up menu at the top of the dialog.
copy of the shortcuts and edit that instead.

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Nothing makes you look and feel more like a pro than mastering keyboard shortcuts. While beginners are search-
ing through menus, your fingers will be flying across the keyboard and you’ll be ten steps ahead before they can
apply their first command. In all of the Adobe applications, you can view shortcuts; in most (but sadly, not After
Effects or Encore), you can edit them and add new ones.

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To learn the shortcuts for your favorite app, select its Help file from You can add a shortcut to almost any command in Photoshop. Adding a new shortcut is easy: Just locate the command, click on
the Help menu; for example, in Photoshop, choose Help>Photo- If you want to edit a shortcut for a tool rather than a menu item, its name, and type the shortcut you’d like to use for this command
shop Help. Keyboard Shortcuts are always listed near the bottom, simply choose Tools from the Shortcuts For pop-up menu. in the white field. Photoshop will warn you if you’ve chosen an
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so scroll down. (It’s also a good idea to print out the Help pages.) illegal shortcut: one that Photoshop can’t understand or one that’s
The third time you use a command from a menu, ask yourself if already assigned. It’s okay to reassign a shortcut if you want to;
it’s a command that you’ll use all the time; if so, force yourself to just make sure it’s one you won’t be needing.
look up the shortcut and use it from then on. It may take a few
attempts, but soon you’ll have it memorized.

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Add shortcuts for those commands you use most often; for example,
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The Keyboard Shortcuts dialog in Illustrator works almost exactly
we gave the Gaussian Blur filter a shortcut as we use it all the time. the same way as in Photoshop, with a couple of exceptions; for
After you’ve finished making your changes, make sure you click example, the Save button is on the right-hand side of the dialog.
the Save button (circled).

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In addition, the Keyboard Shortcuts dialog in Illustrator has an
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In Premiere Pro, we like to use markers, so let’s create shortcuts
Export Text button that, when clicked, will create a text file listing for that. In the Keyboard Customization dialog (Edit>Keyboard
all of your shortcuts. You can view it in a text editor, such as Text- Customization), choose Panels from the second pop-up menu,
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Edit or Windows Notepad. twirl open the Source Monitor Panel group, and then add short-
cuts for Go to Next Marker and Go to Previous Marker.

continued on p. 114

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Premiere Pro users who are transferring over from non-Adobe edit-
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In Adobe Soundbooth, make sure you click the Save As button


ing applications may wish to select one of the built-in shortcut sets, (circled) before editing or adding shortcuts in the Edit Keyboard
which mimic shortcuts for Avid Xpress DV and Final Cut Pro. Shortcuts dialog. Adding a shortcut in Soundbooth is a little dif-
ferent from doing so in other apps: First you need to select the
command, type the shortcut in the Press Shortcut text field at the
bottom of the dialog, and then click the Assign button.

“The Photoshop book I wish had been around


when I was learning Photoshop”
Matt Kloskowski: Adobe® Photoshop® Guru, Author, and NAPP Instructor
When Matt Kloskowski was asked about his latest book, he described it as, “The Photoshop book I wish had been
around when I was learning Photoshop.” Written in casual, easy-to-understand language, Layers: The Complete Guide to
Adobe Photoshop’s Most Powerful Feature covers such topics as…
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Flash veers the farthest away from the standard workflow: While PC
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If like me, you’re driven bonkers when you can’t flip graphics in


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users will be able to edit keyboard shortcuts by choosing Edit>Key- Flash without going to the menu, then why not add shortcuts to  t-BZFSTCBTFEQIPUPSFUPVDIJOHBOEEFTJHOUFDIOJRVFT
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31
board Shortcuts, Mac users must choose Flash>Keyboard Shortcuts. Flip Vertical and Flip Horizontal?
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standard set by clicking the Duplicate Set icon (circled), then choose a mands from the Commands pop-up menu. Twirl open Modify then 1IPUPTIPQUJQTBOEUFDIOJRVFTZPVOPUPOMZOFFEUPTVDDFFE  NAPP Member Price: $2399*
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''* QMarcus Geduld is the Senior Flash Developer for Nabbr.com and an Adobe Certified Expert who has written several books on Adobe products. He speaks regularly at conferences such
as NAB, Macworld, and the Editors Retreat. He lives in New York City and is the Artistic Director of Folding Chair Classical Theatre. S t o o r d e r c a l l 8 0 0 - 2 0 1 -7 3 2 3 o r g o t o w w w. k e l b y t r a i n i n g. c o m
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The Epson Perfection V500 Photo scanner does a reassuringly profes- With several features that should appeal to graphic artists and
sional job of archiving valuable documents that people cherish and try to photographers, the Gateway E-295C Convertible Notebook includes
save when natural catastrophes hit. This is the first Epson scanner to use the convenience of a built-in, 7-in-1 memory card reader and the ability
the faster LED (light-emitting diode) as its light source, eliminating the to convert the notebook into a tablet by simply pivoting the screen to
conventional warm-up time. lie flat over the keyboard. This adjustment turns the scratch-resistant
With USB 2 connectivity, the V500 scans both reflective copy and film glossy screen into a sketch board and allows you to write directly on
from 35mm through medium format. The film holders are anchored for the 14" display with the included Wacom stylus—similar to using a
exact alignment with the lid’s built-in light source. The glass document Wacom Cintiq—and it performs beautifully. The screen responded
bed measures 8.5x11.7". When raised, the lid locks in place, freeing your instantaneously to the stylus as I made various image manipulations
hands to arrange documents. The lid can also be removed or raised to within Adobe Photoshop Elements.
accommodate scanning 3D objects. There’s a five-way navigation control for page scrolling and brighten-
The Epson scan driver is easy to use and quite good. It can be used ing the screen when in the tablet mode. On the screen’s bottom left are
as a standalone desktop application or accessed through third-party four control buttons that default to features such as rotating the contents
imaging applications, such as Photoshop. The interface has three levels of the screen, opening Window’s journal notebook, etc. And one of the
of sophistication for the beginner, intermediate, or professional. The buttons can be programmed to open any application. The tablet also
three levels share some common features but the professional level supports handwriting recognition and converts script into text for placing
provides the most options for image correction. Two powerful features in emails or a text document. I found the text conversion to be accurate
are especially impressive: Digital ICE to remove dust and scratches from about 85% of the time, but occasionally I had difficulty getting the text
film; and Easy Photo Fix technology to remove dust and magically input panel to work with Microsoft Word. Note: This is a known issue to
restore color to faded photographs. These features increase scan times tech support and I was reassured that it’s being dealt with.
but save time back in your imaging application. To ensure image detail The brushed-black notebook operates quietly, has a solid feel, and
and smooth color gradients, the V500 has a maximum optical resolution ing a document as an email attachment; and converting documents into performs quickly and smoothly. At 6.2 lbs, however, it’s heavy to carry On the left of the keyboard is a practical feature to place icons rep-
of 6,400 dpi for film and 4,800 dpi for reflective copy at 48 bits. A 35mm PDF files (which I found especially useful). Two caveats: converting to around all day. Booting up takes 50 seconds and browsing the Web and resenting the numerous connectivity ports found directly underneath
slide scanned at 48 bits at 6,400 dpi, using color restoration and Digital email is supported by only a few email programs in both Mac and running various graphics applications was fast and problem-free with a on the side. The E-295C has three USB ports, one FireWire, a PCMCIA
ICE, took 5 minutes. At these high settings, file sizes can be big and Windows systems; and tech support acknowledged that all of these built-in Wi-Fi card. expansion card slot, Ethernet, and a VGA port. The unit came with a
unnecessary, because quality scans can be obtained at lower resolutions. presets are currently unstable using the Mac OS 10.4.11 software. By Indoors, the screen is bright and colors are consistent from edge standard, 8-cell, lithium-ion battery that lasted an impressive 5.5 hours
The quality of the film and photo scans I made was excellent. Out of the time this review is published, however, Epson said there would to edge; however, it has a narrow angle of view, and in bright outdoor with continuous use—and the notebook never got hot. The Gateway
the box, the color reproduction is so accurate that I didn’t bother to cali- be support for Leopard. light, the screen washes out. The screen’s native resolution is 1280x768 E-295C Convertible is an impressive notebook.
brate and profile the scanner. The Perfection V500 rivals dedicated film If you don’t already own a scanner, the Epson Perfection V500 Photo but it can go out to an external monitor via the VGA port and support a Note: In recent months, MPC Computers acquired Gateway’s
scanners although occasionally, medium-format film buckled slightly in is a great choice.—Steve Baczewski resolution of up to 2048x1536. The screen is hinged and can pivot 180° business-class notebooks, including the E-295C.—Steve Baczewski
the plastic film holder. You can place as many photos as can fit on the smoothly for sharing with others.
glass document bed, then select and make image adjustments to each You can customize the E-295C Convertible Notebook. The one
photo separately, and finally scan them as a group. Each photo will appear I tested had an Intel Core 2 Duo processor running at 2.2 GHz and
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in your imaging application as a separate file. Company: Epson America, Inc. Price: $249.99 it shipped with a modest 80-GB, 5,400 rpm hard drive, 2 GB of Company: MPC Computers Price: $1,539 (base)
As a standalone, the Perfection V500 Photo scanner comes with Rating: ● ● ● ● RAM (holds a maximum of 4 GB), and a preinstalled copy of Windows Web: www.mpccorp.com Rating: ● ● ● ●
Web: www.epson.com
four preset buttons on the front of the scanner for use with the included Vista OS. It came with an ATI Mobility Radeon HD 2300 graphics card
Hot: Quality scans Hot: Fingerprint pad reader
Epson Creativity Suite software. Each button has a specific function for: with 256 MB of RAM and a combo, optical DVD/CD drive that can be
document scanning; copying documents directly to your printer; convert- Not: Flimsy film holders swapped out for a second battery. Not: Weak speakers

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Your ultimate resource


center for all things related to
Adobe Creative Suite 3

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The imagePROGRAF iPF6100 is the latest 24" wide-format printer
released by Canon U.S.A. With the promise of solid performance and
great-looking prints, I was eager to put this printer through its paces.
As the printer weighs in at more than 150 lbs, it took two people to
set it up. The ink installation was pretty self-explanatory and straightfor-
ward but we ran into some difficulty loading the paper. It wasn’t long,
however, before the printer was up and running, ready for testing. The
iPF6100 sports USB 2 connections as well as 10/100 network connectiv-
ity, which I opted for, and in just a few minutes, I was able to connect the
printer successfully to a Mac- and a PC-based system.
This wide-format printer has a total of 30,720 nozzles with non -
firing detection and automatic compensation—so any nozzle clogging
is handled automatically. Another great feature is that the printer heads
are warranted for a full year or 10 trillion ink drops (1,100 24x36" prints).
Canon has installed a logging feature to track the overall life of the
printer. The iPF6100 is also Energy Star compliant.
After the inks were loaded and run through a 14-minute setup, The best series:
I was ready to start printing and performing some basic tests on
sample paper supplied by both Canon and Hahnemüle (www. hahne- $**)''%"&''#1'"*!+++)
muehle.de). My first test was a 24x36" print out of Adobe Photoshop
Lightroom on glossy photo paper. (Lightroom offers wonderful color
"*,$,"#+)+ ,"1 '.'*1$')$
reproduction and great color saturation and detail.) The printer ran
much quieter than other printers I’ve used, and printed much faster From the experts you trust:
than I expected—a real plus.
Attempting the same print using Adobe Photoshop didn’t work as Overall, the Canon imagePROGRAF iPF6100 produced stunning
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well but thankfully Canon provides a Photoshop CS3 export plug-in that prints at a variety of sizes. Its quick and quiet output was a welcome ++$'*#'.*#"1)+'&)'01 !)"*)." 1
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resolved this problem, bypassing the Photoshop Print feature entirely. feature and its ease of use made for a pleasant print experience. While ))0!"+1#
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When I used the plug-in, the prints were accurate, showed an impres- the ICC and driver problem was a bit of a turnoff, the quality of the '% )"&'1
')"%"+!1"&&+)*1&%')2
sive amount of color range and saturation, and a great amount of detail. prints more than made up for any frustration.—Rafael “RC” Concepcion
Switching between rolls proved easy and in 30 minutes, I had matte,
glossy, and watercolor prints that looked amazingly accurate.
In the format you need:
One of the biggest problems that I ran into was finding the correct )""*,$$0*)!$))&&$)&"& ($+')%'&+"&"& 
drivers and ICC profiles on the Canon site even after I asked others to Company: Canon U.S.A., Inc. Price: $3,495 )')& '+!&"$'&+&+)!)'**!("+*)+"-
help in the search. A phone call to our Canon representative resulted in Web: www.usa.canon.com Rating: ● ● ● ● '$$+"'&' +"+$*&"*'-)/+$0+!"&')%+"'&0',&
a CD with all of the required information and I was good to go. (Ideally,
mmm$B7O;HIC7=7P?D;$Yec

Hot: Great color saturation, print speed, detail; quiet +'*'$-()'$%*$)&&.*#"$$*&*+0,))&+


the process of setup should be a little more straightforward and the
Not: Website difficult to navigate for ICC profiles, drivers, etc.
website more concise in their offerings.)

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LAURIE EXCELL
CjhQjduvsf!4!! There are times when the laws of physics won’t let us capture an image as
we see it—especially when working with a macro lens up close. Depth of
field is just plain lacking. So, do we pack up our cameras and go home?
UBLF!DPOUSPM!PG!ZPVS!HSBQIJDT! Not anymore…the people at Helicon Soft have defied the laws of physics shutter and repeat, focusing slightly into the frame with each shutter click
XJUI!UIJT!JOEFTJHO!QMVH.JO with their amazing software, Helicon Focus, allowing us to capture from until you have a selection of images with sharp elements from the nearest
near to infinity in sharp focus. to the farthest points. Load the images into Helicon Focus, sit back, and
BigPicture is one of those plug-ins that’s so useful you wonder why Helicon Focus takes the sharpest areas of multiple images and com- watch the magic unfold before your very eyes.—Laurie Excell
Adobe didn’t create a BigPicture-like interface in an earlier version bines them to create one image that’s completely sharp. It’s designed for

Fqtpo!NpwjfNbuf!83
of InDesign (the BigPicture XTension for QuarkXPress has been out micro, macro, and landscape photography to solve the shallow depth of
since 2001), instead of spreading the info over half-a-dozen other field issues that photographers face. It even aligns the images where they
places. To see all the information available at one time in BigPicture, may shift from frame to frame. Company: Helicon Soft Ltd. Price: From $115
DPNCP!QSPKFDUPS-!EWE-!BOE!NVTJD!QMBZFS you’d need to access at least four panels, their menus, and other It’s quick and easy to use; in fact, Helicon Focus does most of the Web: www.heliconsoft.com Rating: ● ● ● ● ●
menus separately. work for you. Simply set up your tripod, compose the frame, and select a
Some of the best features of BigPicture aren’t available directly
Hot: Takes depth of field to a whole new level
A first-rate combination projector and home-entertainment center, the fairly wide aperture. Now here’s the tricky part: Go to manual focus, turn
Epson MovieMate 72 covers a wide range of audio/visual connectivity in InDesign, including the ability to rename graphics, relink identi- the focus ring until the closest area in the frame is sharp. Then click the
Not:
including VGA, USB, composite, component, and S-Video. The HDMI cally named graphics from one folder to another, move graphics to
port connects to external Blu-ray and HD-DVD players, video-game another folder and relink them, and search for missing graphics on
consoles, or HDTV, all scaled to 720p, high-definition signal. available volumes. Those four features alone would be worth the
The base of the MovieMate includes a built-in DVD/CD player that price of the plug-in.
swivels for front or rear positioning. The four 5-W, built-in Dolby stereo A couple of other useful features include: distinguishing between
speakers produce great sound but if that’s not enough, you can connect anchored graphics and static graphics; the option to hide duplicate
to an external-powered subwoofer or optical audio output. I simultane- images in the list; identifying the creator of the file; and the ability to
ously inserted a DVD and connected a video iPod, TV, and my laptop open graphics in a different program than the creator.
and was able to switch smoothly between each device using the source My main complaint is that there’s only one customizable column.
control button on the unit and the remote. With wider monitors, it would be nice to be able to add as many of
The projector houses a 140-W lamp and 3-LCD technology, produc- the custom-column views as you want, rather than having to switch
ing beautiful, vibrant colors at up to 1,200 lumens with a 1000:1 contrast to one column. One minor nitpick: The plug-in (actually a separate
ratio at a native resolution of 1280x720. Images display at 4:3 and 16:9 application) is listed under the File menu and I’d prefer it under the
aspect ratios and image adjustments include keystone and color cor- Window menu with the rest of the panels.—David Creamer
rection. A fantastic set of manual, lens-control dials adjust the size and
position the vertical/horizontal placement of the image—I projected an
80" diagonal image from 6.5' away. To optimize image quality, there are
five preset color modes for specific situations, such as playing games or Company: Badia Software Price: $119.99
for use in rooms with bright ambient light.—Steve Baczewski Web: www.badiasoftware.com Rating: ● ● ● ●
mmm$B7O;HIC7=7P?D;$Yec

Hot: All-in-one graphics organizer


Not: Mac only; limited customization

Company: Epson America, Inc. Price: $1,199


Web: www.epson.com Rating: ● ● ● ●
Hot: User friendly; full-featured remote
Not: Heavy; PDF manual

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Official tour sponsors:

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When I heard that Wacom was releasing a new, smaller Cintiq, I was
immediately intrigued and at the same time a bit skeptical. All too

in the World
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e m in a r To u r
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disappointed in the end. This, however, is not the case with the

The Most Po
Wacom Cintiq 12WX.

QMVH.JO!DSFBUFT!NVMUJQBHF!MBZPVUT The newest model in the Cintiq line has completely won me over.
First, the size is just right. Unlike the previous Cintiq models, this
one isn’t much bigger than a regular Wacom tablet, which means it
If you don’t have an entire CS3 suite, which includes InDesign, you It’s time to get excited about Photoshop® all over again!
might be inclined to use Illustrator as a page-layout program. After travels much easier. It actually fits in my laptop bag. Another plus
Don’t miss your chance to get up close and personal with the world’s most renowned
all, it has most of the basic typographic features of InDesign, including is its versatility. You can prop up the tablet using the built-in easel
Photoshop® authors, teachers, and creative gurus. Ask questions, get your favorite
paragraph and character styles. But there’s always one feature many stand or you can lay it flat on your desk. Not only that, but because
Photoshop® books autographed, or just hang out between sessions and talk Photoshop®
Illustrator users clamor for: multipage layout. Whether Illustrator will it’s tethered by one long cable, you can easily place it in your lap,
one-on-one. The Adobe® Photoshop® Seminar Tour provides a rare opportunity to see
ever have that feature remains to be seen. Fortunately with MultiPage 4 almost like you would hold a regular sketchbook. This is especially
the best on the planet teaching the absolute hottest and latest tips, tricks, and techniques
for Illustrator, you don’t have to wait. nice for those coming from a traditional artistic background.
The Cintiq 12WX comes complete with all the built-in features
that are sure to keep your creativity on the cutting edge. Welcome to the Show!
If you’re familiar with page-layout programs, MultiPage is easy to use.
It has master page features—including auto-page numbering—and the you’d expect, such as ExpressKeys and Touch Strips that are
ability to export the pages as a single, multipage PDF or as separate programmable to your most-used keystrokes and functions. The
PDFs. MultiPage uses layers in a clever way: by turning top-level layers screen is at a widescreen ratio of 1280x800 and, of course, it comes
into individual pages, new pages become new layers. If you already with Wacom’s patented battery-free pen. (Quick tip: If you have
have layers in your document, be sure you make them sublayers before an Intuos3 tablet, the pens are compatible. I have both and switch
activating MultiPage. between them using the same pen.)—Corey Barker
When printing or exporting (to PDF, EPS, or JPEG), you have to do it

$ 99 $ 79
through the MultiPage palette. If you send the Illustrator file to someone For only NAPP members
without MultiPage, you must convert the auto-page numbers into regular Produced by pay only
text. When exporting to PDF, take care that you don’t export with top- Company: Wacom Technology Corp. Price: $999
Your one-day seminar also includes a detailed seminar workbook, keyboard shortcut guide,
level Illustrator layers converting to Acrobat layers. Web: www.wacom.com Rating: ● ● ● ● ● issue of Photoshop User and Layers magazines, and a bonus Kelby Training DVD ($29.95 value).
For occasional use, the MultiPage features could be done manually; Hot: Smaller, more manageable size; portable To register visit www.KelbyTraining.com/seminars

#OMINGTOA#ITY.EAR9OU
but if you’re doing any long-term projects in Illustrator, this plug-in pays
Not:
for itself very quickly—David Creamer
mmm$B7O;HIC7=7P?D;$Yec

Company: Hot Door, Inc. Price: $99


Web: www.hotdoor.com Rating: ● ● ● ● Scott Kelby Dave Cross Burt Monroy Ben Willmore

Hot: Page-layout palette WASHINGTON, DC EDISON, NJ RICHMOND, VA BOSTON, MA


SALT LAKE CITY, UT AUSTIN, TX CHICAGO, IL PORTLAND, OR
Not: Nothing major MINNEAPOLIS, MN DALLAS, TX SAN FRANCISCO, CA DENVER, CO
LOS ANGELES, CA LIVONIA,MI PHILADELPHIA, PA INDIANAPOLIS, IN

for more locations, dates and information about these in-depth and inspiring
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Adobe, Photoshop, Illustrator, InDesign and Photoshop Lightroom are registered trademarks of Adobe Systems Incorporated.
E B S X J O!X J H H F U U
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QGS How can I take a number of separate paths in Illustrator the document, it can be fairly safe, but not very efficient

B 7O;HIC7=7 P?D;SQC7H%7FH(&&.
and join them into one path? for public-access documents. Certifying signatures won’t
protect the document; it only proves that the document
The Illustrator method is to join two points at a time—
Q9H;7J?L;IK?J;G7S not very efficient when dealing with a multifaceted object.
was altered. Digital signatures will work, but only to a
known group of people who have shared their public digital
I suggest using the Concatenate plug-in from http://rj-graffix
signatures with you. If you have the budget, contact Adobe
.com ($20 or $60/site).
about their enterprise-level PDF server-security products.

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

QGS Can I create a color swatch when making a para-


graph or character style? QGS What are AP Elements and how can I use them
on a page?

Actually, you can, and it’s surprisingly simple: In the New AP (Absolutely Positioned) elements are HTML elements that
Character Style dialog, select Character Color, then just you can place in a specific place on a page (absolutely), giving
double-click on the character color swatch icon, and it you the option to lay out your content with great precision.
opens the New Color Swatch dialog. The other cool part about AP elements is that you can stack
them on top of one another, and even show and hide them.

QGS Does InDesign have something like FrameMaker’s


conditional text feature?
Combine this with behaviors, and you can create some inter-
esting page effects.

InDesign doesn’t have that feature, nor to my knowledge


is there a third-party plug-in. If your needs are simple, you
can mimic the effect. For example, if you’re doing a “stu-
QGS What are behaviors?

Behaviors are Dreamweaver’s way of making your program-


dent” and “teacher” edition, you can use nonprinting text ming life easier. In the Behaviors panel, you’ll notice many com-
boxes for the teacher’s answers (via the Attributes panel). monly used Web-design features that are automatically coded
When printing or exporting, you can include the nonprint- for you. All you do is create a link (sometimes you don’t even

txffu!botxfst!gps!tvjuf!rvftujpot ing elements. Ideally, the nonprinting boxes would be


anchored in the text, but the text wouldn’t “collapse” like
conditional text in FrameMaker, so place them accordingly.
have to) and go into the Behaviors panel. In a couple of dialogs,
you’ll be throwing error messages, jumping to new pages, and
opening windows with the best of them.

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B Y P E T E R B A U E R
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B Y D A V I D C R E A M E R B Y C Y N D Y C A S H M A N , P H . D .

QGS I shoot RAW and want to maintain the advantages


of 16-bit color, but Extract is grayed out. Is there
of that document, don’t go to File>New, simply play your
action. (Remember, too, that for absolute precision, you can
QGS
any workaround? place the guides using the View>New Guide command.) QGS I’m sending PDFs to other people and I need them to
print at actual size, not the shrink-to-fit setting. Can
How do I speed up or slow down sections of
an animation?
I control the page-reduction size when printing?
Yes, use Extract on an 8-bit copy of the image, then load Animation is about creating an illusion. Even though a Flash
that mask into your original. Here’s how: Choose Image> There are two basic Page Scaling settings: Default and document can have a setting of only one frame per second
Duplicate, Image>Mode>8 Bits/Channel, Filter>Extract,
then Image>Mode>16-Bits/Channel. Switch back to your
Q7ZeX[?bbkijhWjeh9I)S None (None is what you’re looking for). To find these set-
tings, go to File>Properties and in the Document Proper-
(fps), you can speed up and slow down sections of an
animation by decreasing or increasing the number of
B Y D A V I D C R E A M E R
original and use the Select>Load Selection command. Load ties dialog, click on the Advanced tab. You can even set frames between keyframes. Additionally the distance an
Layer 0 Transparency from the duplicate image, then copy
your selected subject to a new layer. Voilà, Extract for 16-bit QGS Is there a way to edit the existing profile, or make
my own document profiles?
a few other print settings there too, including Print Page
Range and Number of Copies.
object moves on the Stage affects the perception of speed.

images! Note: Make sure to turn off Open in Photoshop as


Yes, simply make a new Illustrator file with all the settings
Smart Objects in the Workflow Options dialog in Camera Raw.
mmm$B 7O;HIC7=7 P?D;$9EC

you want and save it in the New Document Profiles folder


found at User/Library/Application Support/Adobe/Adobe
QGS What is the best way to protect PDF documents
posted on my website? I’ve heard that passwords

QGS How can I create a document preset that


includes guides?
Illustrator CS3 (PC: C:\Document Settings\Application
Data\Adobe\Adobe Illustrator CS3 Settings). You can
are not that secure.

Generally, passwords set to prevent editing PDFs can be


Record an action that creates the new document at your make custom page sizes and use custom transparency “cracked” with the right software (such as PDF-Recover).
required size and adds the guides. When you need a copy flattener presets this way too. If you have a strong password that’s required to open

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WQ-!Tbmft!bu!924.544.3481!!Gby;!924.544.6124!
Fnbjm;!lbhsfoAlfmcznfejbhspvq/dpn!!!
Nbsdi0Bqsjm!3119

J O E F Y ! P G ! B E W F S U J T F S T

1&1 Internet, Inc.. . . . . . . . . . . . . . . .32–35 Digital Photography Book, Media Lab, Inc. . . . . . . . . . . . . . . . . . . . .75
www.1and1.com volume 2, The . . . . . . . . . . . . . . . . . . . .126 www.medialab.com
www.kelbytraining.com
4 Over, Inc.. . . . . . . . . . . . . . . . . . .128–129 Moment It Clicks, The . . . . . . . . . . . . . .134
www.4over.com www.kelbytraining.com
 Q;S
 Q7S eprintFast . . . . . . . . . . . . . . . . . . . . . . . .140  QES
www.eprintfast.com
Adobe Photoshop Seminar Tours. . . . .123 onOne Software . . . . . . . . . . . . . . . . . . BC
www.kelbytraining.com ExpoImaging Inc.. . . . . . . . . . . . . . . . . . .13 www.ononesoftware.com
www.expoimaging.net
Alien Skin Software . . . . . . . . . . . . . . . . .19 Other World Computing. . . . . . . . 15, 107
www.alienskin.com Extensis . . . . . . . . . . . . . . . . . . . . . . . . . .25 www.owcomputing.com
www.extensis.com
AMC Colorgrafix . . . . . . . . . . . . . . . . . .133
www.amc-color.com
 Q=S  QFS
 Q8S Griffin Technology . . . . . . . . . . . . . . . . . .77
Peachpit Publishing Group . . . . . . . . . .119
www.peachpit.com
www.griffintechnology.com
B&H Photo. . . . . . . . . . . . . . . . . . . . . . .138
www.bhphotovideo.com Photoshop World

Berthold Direct . . . . . . . . . . . . . . . . . . . .23


 Q?S Conference & Expo . . . . . . . . . . . . . .91–94
www.photoshopworld.com
www.bertholdtypes.com IMS Printing & Signs . . . . . . . . . . . . . . .141
www.imscolorado.com PrintRunner . . . . . . . . . . . . . . . . . . . . . .137
Bestblanks.com . . . . . . . . . . . . . . . . . . .141 www.printrunner.com
www.bestblanks.com iStockphoto.com . . . . . . . . . . . . . . . . IFC–3
www.istockphoto.com
Boss Logo . . . . . . . . . . . . . . . . . . . . . . .135  QHS
www.bosslogo.com I.T. Supplies . . . . . . . . . . . . . . . . . . . . . . .10
www.itsupplies.com Really Right Stuff . . . . . . . . . . . . . . . . . . .59
 Q9S www.reallyrightstuff.com
 Q@S
CDW. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9
www.cdw.com Jakprints, Inc.. . . . . . . . . . . . . . . . . . . . .109
 QIS
www.jakprints.com Shutterstock. . . . . . . . . . . . . . . . . . . .62–63
Clipping Factory . . . . . . . . . . . . . . . . . .113 www.shutterstock.com
www.clippingfactory.com
 QAS Softpress . . . . . . . . . . . . . . . . . . . . . . . . .99
Copy Craft Printers . . . . . . . . . . . . . . . .130
Kelby Training . . . . . . . . . . . . . 78–79, 132 www.softpress.com
www.copycraft.com

You Still Don’t Have to Be a Pro


www.kelbytraining.com
StockLayouts . . . . . . . . . . . . . . . . . . . . . .71
Corel. . . . . . . . . . . . . . . . . . . . . . . . . . . . .29
www.stocklayouts.com
www.corel.com
 QBS Strata . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7
cPanel. . . . . . . . . . . . . . . . . . . . . . . . . . .141
www.cpanel.com Layers Magazine . . . . . . . . . . . . . . . . . .131 www.strata.com

to Shoot Like One


www.layersmagazine.com
Creative Juices. . . . . . . . . . . . . . . . . . . .141
www.bigposters.com Layers: The Complete Guide to  QJS
Photoshop’s Most Powerful Feature . . .115
CreativeHeads.net Inc. . . . . . . . . . . . . .IBC www.kelbytraining.com Twisting Pixels . . . . . . . . . . . . . . . . . . . .121
www.creativeheads.net www.twistingpixels.com
Layers TV . . . . . . . . . . . . . . . . . . . . . . . .136
The Digital Photography Book, volume 2 by Scott Kelby  Q:S www.layersmagazine.com/tv
 QMS
Best-selling author, Scott Kelby, is back with an entirely new book that picks up right where his LC Technology, Inc. . . . . . . . . . . . . . . . .139
Dahle North America . . . . . . . . . . . . . .136 www.lc-tech.com Wacom. . . . . . . . . . . . . . . . . . . . . . . . . . .11
best-selling The Digital Photography Book, volume 1 left off. In The Digital Photography Book, www.dahle.com www.wacom.com/americas
volume 2, Scott reveals nearly 200 tricks and techniques that will get you remarkably sharper, Data Robotics . . . . . . . . . . . . . . . . . . . .136  QCS Westcott. . . . . . . . . . . . . . . . . . . . . . . . . .61
more dramatic photos, and transform your work from snapshots to gallery prints. Cover Price: $24.99* www.drobo.com www.fjwestcott.com
Machine Wash Image Filters
DAZ 3D . . . . . . . . . . . . . . . . . . . . . . . . . .17 from Mister Retro. . . . . . . . . . . . . . . . . . .89

Kelby Training Price:


$
1999 *
NAPP Member Price:
$
1499 * www.daz3d.com
Digital Film Tools . . . . . . . . . . . . . . . . . . .67
www.misterretro.com
Markzware Software . . . . . . . . . . . . . . . .85
 QPS
Zoo Printing . . . . . . . . . . . . . . . . . . . . . .134
www.digitalfilmtools.com www.markzware.com www.zooprinting.com

*All prices in US dollars. Copyright © 2007 Kelby Training, Inc. – all rights reserved. Adobe and Photoshop are registered trademarks of Adobe Systems Incorporated. Every attempt has been made to make this listing as complete as possible. However, its accuracy cannot be guaranteed.

t o o r d e r c a l l 8 0 0 - 2 0 1 -7 3 2 3 o r g o t o w w w. k e l b y t r a i n i n g . c o m
TOLL FREE:877-782-2737
FAX: 877-972-9117

5900 San Fernando Road, Glendale, California 91202


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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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