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layers 2008-11-12

layers 2008-11-12

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iStockphoto.com I The world's leading stock destination


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30] Three Keys to Designing for the Web

Making a great-looking website is only part of the equation. If visitors can't find the information they're looking for on your site-or worse yet, if they can't even find your site-your chance of success decreases dramatically. We'll hand you the three keys that you'll need to open the door to a dynamic Web presence.-Mark Jackson

[FEATURE] 36] Taking Aim

What does it take to get great composition in your digital photographs? Learn these tried-and-true secrets, and you'll soon be looking at subjects through your viewfinder ina whole new light..-Tim Grey


44] Adobe Photoshop Ughtroom:

From Import to Output-Chris Orwig

50] Adobe Photoshop CS3 for Photographers.:

Take Control ofTonal Blending-Sean Duggan

54] Adobe Photoshop CS3 for Designers:

Wa;rped Perspective-Dave Cross

58] Adobe Hlustrator CS3:

Quick Logos with Live Trace-------Corey Barker

66] Adobe InDesign CS3:

Automate Your Designs with Nested Styles -Terry White

72] Adobe Acrobat 9 Professional:

Customize Preflight Profil·es- Taz Tally

78] Adobe Drearnweaver CS3:

Slide Shows: The Quick and the Creative -Janine Warner

84] Adobe Flash CS3 Professional:

Create Some Noise-Lee Brimelow

90] Adobe After Effects CS3:

Keep Your Eye on the Ba.II-Steve Holmes

94] Adobe CS3 Production Premium:

Right on Cue-s-Marcus Geduld


18] Design Makeover:

More Than Just a Business -Jake Widman

22] Artistic Expressions:

The Dark Side-Bert Monroy

40] The Digital~ Camera:

Light Control-Rick Sammon

64] The Art of Type:

Ligatures; Fusion Power-James Felici

88 ] Digital Video Solutions:

Get Your Video Online-Rod Harlan


8] Letter from the Editor

l2] Layers News

26] The Digital Canvas 28] Designer Spotlight l06] Tips & Tricks

Il0] Creative Suite Q&A l30] Design Contest

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paGe 21;


Matt Murphy has been illustratinq for a little more than six years now, and his unique style of illustration, combined with photographic images, has landed him such clients as The New York Times, The Independent, and Reader's Digest, Look for Matt's art throughout this issue of Layers,

[Man Murpl,yl


lOO] Universal Type Server-Da,vid Creamer

99] Epson Stylus Photo R2880-Steve Baczewski

101] Nikon COOLPIX paO-Steve Baczewski

102] HP xw4600 Workstation-Bruce Bicknell

,."J Whenever you see this symb, 01 at ,the en,d of an article, it means there's either additional material ora download .. for that story at www.layersrnaqaaine.com. So be sure to visit the website end check it out.

103] FOLDRite Template Master-David Creamer 103] Plustek OpticFflm 7500i SE-Steve Baczewski 104] Nikon Capture NX 2-Laurie Excell

98] Axiotron Modbook-Steve Baczewski

99] Canon XH A 1-Daniel M. East

101] Toast 9 Titanium-Daniel M. East

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Want to keep up to date on all the latest tutorials. on both the Layers website and in the magazine, as well as all the latest industry news? Vtsit the Layers website 'now and sign up for our monthly e-newsletter.



Hosted by Corey Bar~ker and Rafael "RC" Concepcion www.layersrnagazine.com/tv

Be sure and join Corey and RC in their weekly video podcast, 'From killer ti ps and tri cks to fu II-b I own tutor i a I s, Corey and RC cover a II of your favorite print. Web, and video apps.




Every issue, we have a new Layers Back Page Design Contest where you cs n show us yo u r skills. Be su rs to visit the Leyers web site for a II the deta i'l s and to see the cool prizes that you could win.

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When .Adobe announced Creative Suite 4 on September 23, wela.unched one of the most comprehensive laarninq centers for C54 on the Web. We currently have 50 video tutorials to get you up to speed on all the new applicetions, including Photoshop, Illustrator, Flash, Dreamwea,ver, Fireworks, After Effects, and Premiere Pro. Here is Just a small sample of what you can find there:



Photoshop C54 Tone Correction (Video): learn how to use the new Adjustments panel in Photoshop to really speed up your color correction workllow.-J ay Kinghorn



JIIustrator C54 Artboards (Video).: Learn how to create and use the new multiple artboard feature, from creating artboardso! various sizes to organizing your workspace.-Cheryl Graham

iJJustratof C54 Gr(ldients (Video): Create and edit complex gradients with the newly made-over Gradient tool in lllustrstor C54.-Cheryl Graham



FJash (54 Motion Tweening (Video): The new motion editor in Flash C54 has some new options that make motion tween" ing faster and easier.-David Stiller

Flash C54 Animating Puppets (Video); Learn how to use the new inverse kinematics tool to create and control your very own dancing pupper=-David Stiller



Dreamweaver C54 Smart Objects (Video): Take advantage of the new Smart Objects 'feature to increase your productivity between Dreamweaver and Photos-hop.-Geoff Blake



Firework.s C54 Layout Tools (Video): Find out how you can take advantage of the new and improved layout tools, induding display rulers, smart guides, and tool tips.-Jim Babbage



After Effects C54 Cartoon f(fect~ (Video); Give your videos a un iqus look using the new cartoon effects arid the Bilateral Blur.-FrarMin McMahon



For a magazine like ours, news doesn't get any bigger than this: On September 23,2008, Adobe introduced the new version of the Creative Suite (C54), and by the time YOt1 read this, it will actually be shipping. (A lot can happen between issues, eh?) Although we won't be starting our full C54 coverage until next issue, on the Layers magazine website (www.layersmagazine.com).

we.'ve put together the most comprehensive (S4 Learning Center you'll find anywhere, with more than 50 videos from our own instructors, writers, and a host of industry experts, Adobe added some absohrtely amazing new features (and most lrnpcrta nt to me~e.nha ncements toexisti ng feal'ures), so you 'have to check it out (Make sure you take a look at the new I nOesTgn features for placing graphics~that alone is worth the upgradeJ)

Also on the Layers magazine website, keep an eye out for "Scott Kelby's 3rd Annual Gonzo Holiday Gear Guide." (The print version now runs in the December edition of our sister publi-

cation,Photos-hop User magazine,) So head by the site and check

[ .. ,on the Layers it out. (Did you notice the subliminal "check" reference? That's right-better bring yOI,JT checkbook, 'cause there's lots of really cool new stuff in this year's guide!)

Here in the ma gazine, we. have afeatu re story from Mark Jackson called "3 Keys to Designing for the Web." M<Jrk looks beyond just the simple desigh of a website; he looks at lts usability and visibility, and he shows why these are so important and how to incorporate these ideas into your site, it starts on page 30.

We' also have a feature from photographer, author, and instruotorTim Grey called "Taking Aim" on how to compose in the viewfinder (instead of trying to flx it later in post), Since I'm such a "Photos-hop Guy," it might surprise you that I feel the same wayTlm does about "getting' it right in the camera" Most times, 10 seconds spent getting it right in the camera can save. hours in Photoshop,

magzine website, we've

put together the most

comprehensive [54

learning Ienter vou'll find anywhere ... ]


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and to me, thats never been more important than it is now. I want to spend more- of my time in Photoshop "finishing" my photos and being creative and less time flxill~ them and doing boring production work. Oheck out Tim~s article on page 36.

Also, our f@turedartist this. issue is digital llhrstrator Matt Murphy, Our interview with Matt starts on page 28, and Matt's work appears throughout the magazine. (To see more of Matt's very cool art, visit www.blackcoffeeproject.com.)

A:; alwaysall your favorite columns are here, atong with news and the most trusted product reviews fro m our -crew of T ndustry experts,

See you next issue, When We kickoff our in-depth ,coVerage of C54!

All my best,


'Editor and Publisher


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www.l aye r s magazj ne.ce m

EDITO~·IN·CHIH Scott Kelby




A~SISTA NT ED I TOR tssac S tol zen bac h

TRAffiC QIRKTOR K;m Gabriel



CONTRIBUTING WRITERS Sre"". Sanew,ki • (orey Barke' Peter Bauer· Bruce Bicknell

lee Brimelow' Cyndy Cashman Rafael "RC Concepcion. David

C ream or • Dave Cross • S.a~ 0 C!W n Daniel Ea't . Laurie Excell • James Felid· Marco> Ceduld- Tim Grey Richard Harrington . S,ev. Holme, Mark [ackson . Ben Monroy· Chris Orwig. Rick Sammon· Tal Tal'ly

Ia ni ne Wa me r . T err; Whi re

Jake Widman

(~EA 11 V~ QIRKT OR 'elix NelS{) n



A5S0CIATE 0131 G NE R C h ri Sly Wi me'

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ADV~RTISING DESIGNERS Margie Rcsensrein . Nicole Prominer le,li. Mome negro

DIRECTd~ OF (I ~ (LIlA 1"1 ON Ro 0 oi ° 'N ei I

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SLJBSCillniONS $29.9S (U.s,) Call (toll·free) 877,622·863'2; subscribe online ar wwwJaye rsrn ~g.'i ne, corn

CdyER DE,'I GN Cover image co u r""sy of MmMurphy

COLOPH ON P roduced us i I1.g Adobe InD. sign

C 53, Adobe Ph otos no p G5 3, ~ n d Adobe 1:11 us rraror C S 3. Body, copy

is SE [ in A 'lJeni r, H eadli noes are set in Solex, Word' ro live by: Never bring a shamrock '0 a knife figh~ leprech~wl$. fou,·leaf clO'i'er~ and trish whiskey

are no march forsugar canes, tropicaJ .b reezes, and. 1977 Chevy c. price lowrlder, Ahl va 11 I", mil!", del (haR.~!

All coruants C COP'VHI'GHT 2.QoO.B Ke'lby Mooia aroup, lnc. An righ1':S reserved .. Ar.'1 use or jhe C{IfI!er1ts "J( Ill!.s publicaOolJ, wililcul Ihe express wnltBfJ permission of Iha PIJ'blistie~ l!'i! skicUy :pmhilliIM, l-tlyelS rnagt:!;zl:n1'3 is en frld'03per~:h:m1 ;tJ\J[Ile;1 IlQ'I Gljli II? "ed WILh Adobe Sl"''' ""', ItIC. f\<Io!;.. 1M _be !09"o MrOO(ll. Adob. P .. ."Ior •. Arter Erfoct,s. nreamwssver. Flash. 'II usnator, InDttsigo. Liglt'room, ar)t1 pnotesnep .;)~ f.l1!hs.1' regis.ieroo lrademarks or If.a..oomarks of AOObe Systems toccrporatest In the U nUeO: States a~f other o,'XIol.Ifllr1es,", An o1trer !raaemariW Eilre. '(he, propaf~ 'I Of m~r respecl]'oI~ cwners, Sot"tloE! oi Ina vi~~ ~xpl"l£!ssed by cOtJlrlbLilQ('& ,I"t)dV ~ be the rgpre::;(!fllaJj1ru views 0{ Ihe P~istu:~r, ISSN 1.584'~1 E.X

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new 5

CjrapHICS o as rqn news. new prODUCTS. ut qr rat, VIDeo news. OTHer STUFf

A abe announces Creative Suite 4

variably sizedartboerds in a single document; save multipie.ertboards in a single, rnu Itipage PDF file; or 6>o;port them in one step as sequentially numbered files. IIIustratorCS4 also indudesthe new Blob Brush tool for creating complex vector shapes,

Photoshop. CS4 Extended adds the new Adjustments panel that bypasses dialogs arid allows direct, nond.estructive editing, Also new ,is the Masks panel, which speeds up the process of creating and finetuning pixel .and vector masks,

ln InDt\sign CS4~, Adobe redesigned -th<1 Llnks panel to make it easier to 'find, manage, ~nd organize placed hies; to' quickly scan a eustormzable selection of linked-file attributes; and to identify fil'es by scanning thu mbnads instead of oonfusing filenames. InDesign also i ntred ucas srna rt gu ide S, wh i eh a re ~ lso in Pho tosh op, II: I ustrator, and Rreworks. SlTIert guides &;pl<ly inlorrnaticn such <IS height, Width" X and Y coordinates, and rotatlon and shear al\9les-,as you drag--so th a t yo u' ca n precisely pos ition or resize. objects.

Flash li'rofessional CS4 makes it easier to venture into animation and interactive design. New object-based animation makes designing in FlasA more straightforward and similar to working with other Adobe creative a ppl icatro"s.

Adobe also improved the text engine that works in all-the appllcalions, and added options to aid in designing for mobile. devices.

Adobe CreatiVe Su ite 4 Design Prem ium isavai lable for an estimated price on 1,799 (or fer $1,399 you can buy the Standard edition, which does 1'101 include Flash, DreamweaNer; or FireworKs, and comes with the standard edTtlon of Phot0s/10p).

Creativs Suite. 4 Production Pramium includes After Effeds, Premiere li'ro, Photoshop Extended, Flash Prcfessiona I, Illustrator, Soundbooth, On Lm;ation, Encore. and Device Central. This edition is built for video and audio editrng: still and motion graphics production; visual effects: and inter.actlve media; as well as DVD, Blu·ray Disco and mobkle ~Llthoring. Adobe is aiming to sell ptoduttiO[) profes.sio~a'is a complete package of tools that they can use, from project planning all the way through delivery.

Just like the design package, these products offer enhanced integratlol1 .. For example., the expanded Adobe DYl1ijmlc Link alloW'S users to work faster by eliminating intetmedla,le reRder)ng when moving assets between After Effeds,AdCilbe Premiere Pro, SOW Ild booth , and Encore.

Users can also import 3D models into Photeshop CS4, work on thernthere, and then import Photoshop 3D layers into After. E!fects, move them in space, animate cameras around them, adjust I1gntrng, and composite them with other elements,. This new integratjon makes it easier than ever to compoSite 3D elements into a scene and to make more desig n de cisi ons rig ht in Afte f Effetts.


On September 23,2008, Adobe Systems, Inc, held a special media ellllnt to introduce the world to the latest version 01 the Creative Suite, The various editions of CS4 contain most of the major appl ications that Adobe has to offer, which means Adobe has been hard ,at wCr~ updatinqthosa apps to make them available all at the same tirns, (This includes tile, Production Premium edition, whiCh was previously on

a different update schedule.)

The follow~ng is just a brisf overview of some of the new features that you'~1 find ill the various ,<lPPS and editions 01 C$4. But ;1" you really want to see what OJ II the new software can do, we encourage you to visit om Adobs Craafivs Suite 4 ll;1arning Center at WWw.lilyersmagazine.comlcs4. You'lf f.nd more than 50 video tut0rials to get you up to speed on everything from Photosh.op C54 to Premiere Pro CS4.

creative Suite 4 Design Premium indudes new versions of IriDesign, Photoshop Extended, III ustrator, Flash Prolessional, Dreamweaver, Fireworks, and Acrobat Pro Adobe corrtinues to refine the interface to provide familiar work environ)nen tl:; as you move among DeSign Prsrnlurn components. or even between Macintosh and Window~ platforms. Not only do InDesign, Photoshop, Illllstrator. and Flash offer th ese E'nilancemen ts, but the i nterfa ces i"n Drea mWe<lver and Fireworks have been redesiqnsd fGr greater consistency with other Dssiqn Premium applkatlons.

New-features and tools have been Cldded as well, In lllustrator CS4, the new rnultiple-artboard ability allows, USElfS to design orr up 10 100


Shoot grea pictures

(and video) with the new Nikon D90

The new Nikon 090 digital SLR emphasizes image quality and versatility with its advanced Scene Recogni-

tion System, creative controls, fast performance,

and its ability to create HD movie dips at 720p in the new D-Movie mode.

According to Nikon, the 090 was inspired by Nikon's 0300 and built on the success of the 080. The 090's image quality is built on top of its CMOS image sensor and 123 effective megapixels, combined with Nikon's EXPEED image-processing system. Photographers will enjoy

tJsing the Live View Mode on the large 3" , nO,OOO-dOI, h igh.resolution LCD scree". The l1-point autofocus system uses Nikon's Scans Recognition System and Face Detection to help make the best shot.

The D90 is available for $999.95 for the body only, and $1299.95 for a body and lens outfit, wh ich includes the AF-S OX Zoom-N IKKOR 18-1 05mm f/3.5-5.6G ED VRlens_ For more information, please visit www.nikonusa.com.

Canon has you covered

with its new crop of cameras

Canon U.S.A., Inc. announced several new cameras, including the EOS 50 Mark II digital SLR, the EOS SOD digital SLR, and the

PowerShot G10 point-and-shoot.

The new EOS 50 Mark II is powered by the Canon's proprietary DIGIC 4 image processor tha t powers the 14-bit a n a log- to-d ig ita I conversion for smooth color tones and gradation. This new camera offers a full-frame 24x36mm, 21_1-megapixel CMOS sensor; continuous shooting at 3_9 frames per second (fps); and includes a 1 5.point autofocus sensor; Not to be outdone by the new

Nikon D90, the EOS SO Mark II also feature:> 1:6:9

Full HD video capture at 1920x 1080 pixels and 30 fps, as well as 4:3 standard TV I1ua1ity (50) Video capture at 640x480 pixels and 30 fps-both capabilities appearing for the first time in a C;lnQnSLR carnara.

The EOS 50 Mark II will 'be available at the end of November in a body-only confiquration for $2,699, and in a kit version with Canon's EF 24-10Smm f/4L1S USM worn lens for eround $3,499_

The other new digital SLR, the EOS 500., has a resolution of 15,1 meg'apixels and Canon's new DIGIC 4 image processor: Acco(dillg to Canon, thls camera is design€tCI to offer extraordinary quality and image control for the advanced photographer. The EOS 500 includes an exp_anded ·ISO r<inge-, improved noise reduction, and in-camera photo editing features.

The EOS 50D Will be ~va:ilable in a body-only conft9uration forClpproximately $1,399, arid in a kit version with the Canon EF 28-1' 35mm f/J 5--5..6 IS USM zoom lens for $1,599

The PowerS hot G1 a digital pomt-and-shoot camera offers serious amateur shooters and prcfessional photographers several essential ingredients, including the DIGIC 4 image processor, 28mm Optical ilma.ge Stabillzed lens, and RAW mode. This trilegy of 'Style, performance, and. image qua lity IS an ideal professional complement for anyone- seeking the photo quality oj a digita I S LR, combined with the- convenient size of ,a point-and-shcot.

The PowerSho! G 1 a di.gita I ca mera will have all estimated se.lHn.g price of $499:99 _ Information on all Canon products can be found at www.usa.canon.com.

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As a creative professional these days, you Layers is the only magazine that brings you exclusive need to be multifaceted. You need the tutorials and in-depth articles for every application

skills and versatility to create stunning in the Adobe· Creative Suite . And with the latest designs, vib rant Web content, and industry news, product review.s, feature articles, and dynam Ie video. You need to be a contests, you'll find yourself more inspired, creative, Ph otosh op guru and so much more .. _ and competitive than ever before.

Subscribe online at "J\lVw.1 yersmagazi re, om/oobeyond

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I: Upcoming Events

PHOTOSHOP L1CjHTrOOI11 2 TOLJI" Dallas, TX (October 27, 2008) Orlando, FL (October 29, 2008)

Los Angeles, CA (December 4,2008) www.kelbytraining.com

LJI CjIT<lL VIlJE'O EXpO WeST November 4-6, 2008

Los Angeles Convention Center Los Angeles, CA www.dvexpo.com

M<lXIIllUIll PHOTOSHOP [S4 TOur Denver, CO (November 14, 2008) Portland, OR (November 17, 2008) Seattle, WA (November 24, 2008)

San Francisco, CA (December 9,2008) www.kelbytraining.com


For' paoroqrapuers Tour Boston, MA (November 14, 2008) Baltimore, MD (November 19, 2008)

Ft. Lauderdale, FL (November 24, 2008) Dallas, TX (December 3, 2008) VoNIW.kelbytraining.com

PHOT05HOp (54 rrearrvrrv TOLir November 19, 2008

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65HjHT: THE' FUTure Of IIll<lCjIIlCj November 18-20, 2008

Monterey Conference Center Monterey, CA www.pmai.org/indexdrn/c:i_id=36439


Expand your InDesign

toolset with these plug-ins

Two new InDesign plug-ins recently became available. TypeFirter Pro brings automated typefitting features to Adobe InDesigfi CS3. The new plug-in is aimed ~t autornatinq the process of cleaning up type without cornpromisinq quality typog.raphy. TypeFi,tter Pro offers the abil.ity to create custom typefit rules to fix such text-flow issues as widows, oversets, and irnbatartced columns. It also includes the timesaving manual typef,tting tools leatured in the classic versioo ofTypeF,itter. Visit www.teacups-oftware,corri for more info.

Also available 10 InDesigri users is WoodWing~s Smart Styles ~Hlo·fQrmatrin9 pluq-in that the company rer;ently announced would becornpanbte with the CSA version of InDesign. Smart Styles allows you to define a style ard then drag-and-drop that style onto other object> that need forrnattinq. Smart Styles (ecogniz.es complex structures wi,thin tables and text, and if styles need to be modified, Smart Styles will update the entlrli! document With a simple .actlen. For mora inforrnationon Smart Styles, vh.it www.wdodwing.Ol:om

iWOW injects a jolt

of energy into your iPod

According to SRS Labs, the iWOW for iPod adaptor attaches to the iPod and uses patented SRS audio solutions to (estore the audio cues. that are buried in t:he original source material so music and video files sound the way they were originally meant to be heard on your iPod, SRS iWOW for iPod will work with all iPods featuring

a 3D-pin connector, starting with the iPod classic, iPod nano 3G, and more.

The second part of this new technology 'bundle is the rNOW software plug-in for Mac and Pc. This new version of the iWOWsoft,ware plug-in is built upon lhe iWOW for Mac software, which was ,a top iTr;mes third-party software download durTng 2007, acco.rclTng to WWWapple,com

Besides opening up tile software to both platforms, SRS hasalso updated iWOW's user interface and provided the abi lity to persona liza acoustic preferences with an array of music and video presets, such as rock, Class-ical, ian, blues, and country<

For more information., visit www.srslabs.com.

Turn your videos

into paintings

RE:Vision Efie,cts has released Video Gogh 3, whrd'l employs the same techl1ol-ogy used in the movie What Dreams May Come' to produce painted anfrra!ions, Video Gogh uses optical flow technology to move brush strokes without stuttering artifacts. Thesoftware also opeos up other possibilities in motion graphics desigl'1 by intrcdueinq the option lor users to define their own brushes, which may then be animated.

Version -3 adds new vrsual effects opportunities that have been requested by users over the, years T1"1ese new f.eatures include thme default brush styles, Oily, Watercolor, ·afld Chalk, There's alsoa custom Brush Set and a new Non-Additive Blending Mode that allows users to make properly semitransparent layers.

Video Gogh 3 works in Combustion 3.0,4 and later; After Effects 5 and up on Windows, After Effects 7 anG up 011 Mac; F.inal Cut Pro 5,1 and later; and Premiere Pro 1 and up 01) Windows, and Premiere Pro C53 and up on Mac. Demo materia I, exam pies, ilnd software are available at www.revisionfx.com.


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Apostle Construction] [www.apostlecollstruction.com

more than just a business

The voice mail at Apostle Construction Company greets callers with a cheery, "Could your project use a miracle?" That question encapsulates both the Christian underpinnings and the cando attitude that Apostle would like its log.o to project,

Apostle Construction was founded as a roofing company in 1996 by Robert Brooks, a minister who wanted to create mare than just a business. According to Brooks's wife, Monica, he wanted Apostle to be a business that operates with integrity and honesty and that gives back to t,he community. Now licensed in six states, the Maryland firm takes on such jobs as doing all the roofing and siding. for a school or a hotel; the company also handles complete construction jobs, such as houses.

Apostle's current logo was put together by the sign company that made the signs for the company trucks. Brooks specificelly requested


they use the Iarn il iar praying hands picture and his favorite color is blue, so the design of the logo pretty much took care of itself Monica Brooks .says the logo works in that it catches people's eyes and starts a conversation, and it gives the business a chance to convey their belief system along with their competence.

Therearaissues. with the current logo, however. For one, ltsappearance and presentMion is inconsistent, as a comparison of a business. card to one of the company vehicles will show. For another, the praying hands image is so familiar that, by itself, it doesn't uniquely identify Apostle Construction. So we asked three designers to perform a minor miracle and create a logo that would maintain a religious connotation while stil'l communicaiing the other quatities ihat distinguish the company. According to Moni'ca Brooks, it's not too big to give personal service, but not too small to take on a big job; the attitude that "the job's not done unti I the custom er is satisfied;" and a commitment to do what they say they're going to do.

. the praying hands image is 50 familiar that, by itself. it dnesn't uniquely

i denll fy Apos tie Construction.

[Jake Widman is a wrile' and editor who hves jn San Francisco. He's been coverlng rhe intersect;on of compurers and graphic design for about 20 years now-since b8Ck .] whe~ it was all ""lied "desktop pub);shjng."

rnaxenver SUBmISSIOns

We're looking for product packaging or labels, print advertisements, and rnaqszine covers that are currently in the marketplace for future "Design Makeovers." So if you or someone you. know has a' desi:gn that you'd like us to consider making over, or if you're a' designer and you'd like to be considered for a future "Design Makeover," drop us a line at letters@,layersmagazine.com.



I placed the cross graphic inside the "0" of Apostle, where it's contained within th e overa II structure of th e logo ...


<410 548 1392

y primary goal in reworking the Apostle logo was to not only update tile concept but al so give it a sleeker, less bulky appear" anee. My issue with the original logo was that all the words had the same

The original logo used the same font for all text, but mixing serif and sans-serillonts in logos with multiple words is a treatment that's always more appealing to the eye. The word "Apostle" obviously has a religious connotation; therefore, I decided to use. a serif typeface {Aviano from Insigne) to convey a professional, yet historical look. The word "Consnuclion" should have a masculine quality, 50 I set it ill the sans-serif version of Aviano. The sans-serif version lends a strong appeal, while remaining sleek and relined.

For reasons of personal preference, the mail) color choice for the oriqinal lcqo.wes blue, so lstayed on the same path f.or my redesign. Instead of the !fat royal blue of the original, I opted to use a rnors.sletelike blue. and applied a gradienteffecL Taken together, tha approach hslps modernize this. ~eW logotype.

weight-llothing pu'lled for attention. When I designed my updated version, I made sure that the word "Apostle" was a primary graphic, while the word "Consnucfion' played a secondary role ..

I also swapped religious graFih ics, as I felt tha t the pr ayil)g hands i mag e was the most outdated element of the logo. I updated that graphic with what seems to me to be the most reoognizableimagery when it comes to ,re'ligious items: a cross. I placed the cross graphic inside the "0" of Apostle, where it's contained within the overall structure of the logo-unlike the praying hands. which were fioatinfl.loose on the side, This new element gives the logo a polished and finished 13 ppearante. without l"Coking dated.




Jeff Cook

Jeff was born in the-northwestern .suburbs of Chteago in 19H1. As a youllg child, he loved to color and constantly Wu~ community coloring contests. As he grew older, he recognized that hewas fascinated by logos, so he started studying layout and composition, A 2003 graduiite of the Illinois lnstltote of Art, Jeff holds 11 degree in Visual COmmunications, Shortly thereaftN, he gained four years of graphic desi9t1 eXperie(1ce at 8rlan Keith Advel'tising, the. midwest's largest and most. respected real estate agert.cy,

HIO Gurrently f!OSid!OS in Arlington Heights. lllinois, and works as a graphic designer for the in-house creative dePflrtment 01 Campil1_g Werld, a nationwide chain of camping and outdoor stores. Healso strives for greatnesswith his at-horns, freelallce compar.y, JC Design. Jeff loves spending time-with his niece and t1ep'hew, who love to color just as much as he does. He can be reached at Jeffcook88@yahoo.com.

APP LlCAl ION USEO; Adobe IIIustratorCS2


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DESIGNERS: Don and Amy New www.newslandingdesign.com

Armed with the list of words, we selected several candidates that [Quid be treated graph I cellv,

I J ewslanding's brand redesign methodology' always starts with

a client survey of the existing mark, We want to know what the client 'likes about the currant logo and why they're motivated to change at that point. Graphically speaking, the client expressed only one requirement-that the final treatment dearly portray the owner's faithand one preference: the owner's favorite coloris blue. It's a wlse desIgn principle that iJ the guy writing the checks prefers the color blue, at least one iteration in your presentation should use blue.

Our next step in the re-branding process is usually to write a creative brief with the client. For this makeover, we just used the notes provided us from a conversation with the owner's wife,

.After all that, we go someplace quiet and si mply write out words.

With Apostle, we created categories ilnd' under each, listedas many words within those categories as we could come up with before hitting the. €lId Google button-or goin,g to our tavorite online thesaurus. In our

"rei igiousicons" category, we ended up' with such terms as crass, Star of David, crucifix, olive branch, fish, dove" robes, candles, halo, praying hands, steeples, and 50 on.

.Armed with the list of words, we selected several candidates that could be treated graphically. Next, We began combining appropriate typestyles with sketched icons-srhe dove was a combination of several dove shspes I had in my scrap files, Everything at this point was being done in black and white. Once all the assets are in digital format, we can work very fast with combinations, overlays, transparency, typography, and color.

With Apostle Construction, we ultimately rendered the dove ifj Adobe Illustrator and selected -a font that rei nforced the fine craftsmanship so important to the client. We set "Apostle" in l.inotype's Herculaneum and used Adobe's Orator SId for "Construction Company" and other text The result was a Ilgaturelicon that would show as well on the side cfa construetlon trailer as on a golf ball.

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Don and Amy New J[ Newslanding Oeslgn

As a g raduate 01 the University of Oregon's Sc-hool of Architecture and Allied Arts, Don founded his first firm, Graphic Medi~, ill 1980. This company grew to a ~ulltime staff of 65, held tile top pOSition for markstinq communications firms in portland for 10 years, and during that time, Don was 'the runner-up for Inc:', Entrer preneur of the Year for the Pacific Northwest regi0i'1.

Don sold Graphic Media to his partners (I") 1995 and 11")1997, [olnsd Portland's Creative Media Development (CMD) as Corporate Crealive Di!ecto!, He was named Chief Creative Offlcer the follOWing year. In 2001, CMD garneled mora than 30 regional and national. creative awards.

In 2004, Don and 'his wife Amy formed NewsLanding in 'l'<lh" Osweg.o, Oreqcn. Their current clients, who consider NewsLanding to be an extension of their marketing staff, ranqe from real estate firms to a biofuels refinery. NewsLanding is also co m rn itte d ttl pro b a no work fo r several nOr) profit s an d a grea t little C hri S Ii an- based 0 rp h a riag e i r"I EI S alva dor.

A P P Ll C AT! C1N 5 lJSEO Adobe Phetoshop and Adobe lllustrater


DESIGNER: John Webb] [www.jweb3d.com

, ~

I also thougl1tth~ winged lion would be a strong, trustworthy mascot [fol lack of a better word] to represent a Christian construction company.

n re"creating the Apostle Construction corporate identity,

I wanted 10 maintain the religious aspect of the logo but give it a more professional look. The sketched praying hands have been overused, ;.0 I didn't feel that image offered the individual identity a Gompany would benefit from. They also had two different variations of the logo, so I wanted to give them a consistent brand mark that can be used on all of their collateral. I felt the font was very plain and that the black arid blue color choices weren't aesthetically pleasing.

The fl rst thing I wanted to do was find a Christian symbol that was powerfu I, could relate to the company, and wasn't seen on every Christian building and book. That ruled out a fish, cross, sacred hesrt, etc. Through my research, I came across the winged .liM, which is a symbol for Saint Mark, representing faith and a connection to God. The wings represent a messengerofGod"which I felt was symbolic of a company thai does charity work, such as offering aid to Hurricane




Katrina' victims (as I read on their website), I also thought the winged

I ion wou I d be a stron g, tru stwo rth y mas cot (10 r I a ck of a bette r wo rd) to represent a Christian construction company. I found a photo of a winged lion statue" traced over [t in Adobe lllustrator, printed out the sketch, drew over it by hand to add detail and modi fy some of the shapes, .scanned my drawlnq back in, and manipulated It until

I was satisfied whh the result. The final image looks something like a gargoyle, which 5ugge.sts the roofing aspect of the-company's services.

For the word "Apostle," I chose Cleirvaux LT STD Roman from l,inotype, which has a biblical look. And for "Construction Company" and any text that would accompany business material, J Chose Adebs Garamond Pro because it's easy to read, fits well with Clairvall)l LT STD Roman, and is a proiessioral-looklng font.

To top it off, I felt a COGI gray and an eye-catching blue gave ita nlc€> modern color scheme.

lohnWebb][ www.jweb3d.com

John is a multifaceted artist bas.ed in Philadelphia, Pennsylvania, offering a wide rahge of services~from graphit design to nne art and airbrushing, 80m in 1980, John has been drawing since childhood, using mostly pencils, pastels, PantoM markers, and ink. To this day, much of his work is i nspi red by graffiti and by the comic books he enjoyed as a child. During his high school year.s, he excelled in art classes, which led him to pursue a career in this field.

In 2001, John began airbrushing and c.reatlng T-shirts and tattoo designs for his friends. Then he started creating and selling custom J-sbirts in a store he partially owned in West Philly. The following year, he bsqan to try his hand at firl€ art, with a focus on acrylics. His work in computer arts, primarily graphic dssiqn, began in 2003. At present, John is refining his knowledge ol the Adobe D~eamweaver, After Effects, and Flash programs. He.att.ai~ed his Associate's degree in Graphic Design in June of 2008.

Appll CATIONS USED: Adobe Photcshop (S3 and Adobe Illustrator CS3."


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[A R TIS TIC _E X pRE 5 5 ION 5 ]



the dark side

[ Shadows add dimension

to an image; without them


In the world of imaging, one of the most important things to consider is that lighting sets the mood. The composition and subject matter are one thing, but how a scene is lit tells the story. The time of day, the light source, and the subsequent shadows all come together to form the image. This is a crucial consideration, especially when you're cornpositlnq multiple images into a single image. All the elements must relate to each other arid cast shadows that conform to the overe II lighting of the scene.

The importance of shadows

Shadows add dimension to an image; without them an object will appear flat. Both Illustrator and Photoshcp are two-dimensional programs, but shading a scene properly will give it the illusion of a third dimension.

Composition-wise, lights and shadows will determine the relationship of one object to another and their place within the total: scene. When you're compositing multiple objects into one scene or adding an object to art existing scene, it's crucial that the light intensity, direction, color, and shading for each object match correctly. Even an untrained eye will be able to spot a discrepancy. For instance, an object sitting undera lamp can't have a shadow on its top.

Light travels in a straight line. As it meets an object, it casts a shadow that fa-lis within that straight line. If yoU' were to add an object to an existing image, the first thing you'd need to do is deter~ mine the light source and direction. This example shows a platform

of an elevated tram, If you were to place on object on the platform, it would have to cast a shadow onto the platform that matches the shadows in the rest of the scene. In our example above, a briefcase has been placed onto the platforrn=-it looks off. lts too bright and casts no shadows, making it appear as a pasted-in object.

Match placed object to scene

Study the overall scene and you'll see that the sides of the structure on the platform are in shadows and appear darker. The first thing to do is to match th e shad e for the side of the b ri efca se that's fa c i n g the viewer, This is simply a matter of selecting the side of the briefcase and apply" ing any of the methods for darkening that Photoshop has to offer. Here you can see how the side of the briefcase has been darkened.

Now it needs a shadow to set it in its place on the platform To do this,it's necessa ry to determ ine the direction of the I ight source (in this example, it's the sun). Unfortunately, the sun is out of the field of view in the image. This isn't a problem because the effects of that light source are clearly visible in the scene. To determine the position of the sun, draw a line in a layer from the edge of the canopy top to where the shadow first appears against the railinq below, Following this line tells you precisely where the sun is in the sky.

To set up a guide to create the shadow, move the line depicting the angle of the light source down so it touches the top of the brief· case. The line shows where the shadow will fall against


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the platform, US'ing the Pen tool (P), create a path to rep~esent the shadow. Create;j new layer to contain the. shadow. then fHl the path with black. Lower the Opacity for the shadow layer so it matches the Intensity of the reS! of the shadows ln the scene, The resu1t makes the briefcase appear as H' Ft belonqs there (see previous page).

[0 1l51d erations

There are many factors to consider when creating lighting effects for your scene. Among them are:

• The number ofli_ght sources

• The position of the light sources

• The strength of the lights

• The color of the lights

• Do other objects block the light?

This last point brings up an interesting problem; What if the briefcase is dose r to th e railinq? If this is the case, then the shadow will travel

a long the pi a tfor m floor as before, but it will also travel up the railirlg, As you can see below, the briefcase is closer to the fa i ling, thus casting a shadow up the side of the railinq, This was accomplished by duplicating the layer containing the shadow. The duplicate

shadow was rotated 90" clockwi~e (Edit> T ransform>Rotate 90" ON) .and flipped horizontally (Edit>Transform>Flip Horizontah to match the angle, Layer masks were then applied to each of the shadow layers to conceal the areas where the platform and railinqs end,

This is (lot a formula; it's what worked in this instance. Things may vary in your partiDUla( sltuation.The direction of the light source deterrninad how h.igh up the. railillg the shadow would travel,

Do your homework

It's not as complicated as- It seems .. You might ~ay. "This i~ fifle b1jt my situation is dlft"e.rent" The solution to all problems lies withInyour grlJsp. Irs a matter of looking ill the right places lor the answers, I never guess <It what something should look like. I study tl1eworld around me for the answers. When it comes to complex shading situations where I have no sources that l-ean refer to, I create medals to study how" shadow wliliook. What if you need to have a shadow traveling up a staircase? What will it look like? Here you carl see a staircase that's simply a sheet of paper that was folded to form the steps" An object is Ht in front of the makeshift stalrcase and the shadow falls into place, givirlg you a reference from which to create your shadow.

Shadows are crucial. They add life to an image. Study them, Use them, They will make your images come to life,_

[Bert Moo"')' is considered one of the piOllee,,; of digital M. ' His work has been seen ,'n many magazines and scores "f books, He has served on !he faculty of many well-known instituti""s. lIofflten J. many bocks, ond appeared on hundreds of N sho,,", .",und the world.



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Design: Symbiotic I I Personal Work I I Designer Tracye Shearin I I Softwa re Adobe Photoshop C 52 I [ t sheva.devl antert.com



Design, Aoral Fusion ) I Personal Work ) [ Designer: Tracye Shearin lI Software: Adobe Photoshop (S2 ) I t.sheva.dsviantart.com

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De sign: Th e Trinity I I Persona I Work I I Desig nero T r acye Shea ri n I I Software Adobe Photoshop (S2 J [ t.sheva.devlantart.com

Illustration: Stars Air Rescue Helicopter

I I Perso nal Work I I De 5 ig nero Dave Bell I [ Softwa re Adobe Iliu s tr ato r

Illustration: 1926 Ford Model T

I I Personal Work I I Designer; Dave Bell I I Softwa reo Adobe Illustrator

III ustra!i 0 n: 1905 Fire Re:iCtJe Car from Fort Edmonton I [ Perso nal Work I [ De signer: Dave Bell

I [ Softwa re: Adobe III u str ator

The staff at Layers magazine appreciates the time and effort Involved in the creative process, no matter how large or small the project With this In rm nd, we offer you the opportunity to display your work on The Digital Canvas Please subm It you r print, Web, or packaging design Upeg or eps format) to cmaln@layersmagazine com Please Include name of piece, client name (If applicable), applications used, and any website where our readers ca n view more of your work



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Matt M u r p h Y works under the nerne BLd Coffee P_' " D'_ Enqland. H, has beenillustratinq

full-time for about six years now and his list of clients includes The New York Times, The Independent, Leagas Delaney, and Time Out London, to name jus, a I'ew_ Matt considers himse'if.a social politJi~allllustfator or image-meker,

[ ",it's the mix of the two

Layers: Were you formally tr:ained as an ,artist or are you self-taught? Js there a skill .set or technique you Itlilmed 8ilrly on thiltpr-epared you best for keEping afloat irt the deep end of the pool?

Murphy: Not as an Illustrator. I studied photography at degree level at Berkshire School of Art where I received a first 'II ith ho n ors. I then we nt 0 n to 'Work <IS an assistant to a top London photographer for five ye<irs. It was the(e that I. I earn ec the way the industry works and the way to conduct onese]f within It Skills learned? To be- flexible whilst keeping a control and contin!,litY to your own ~tylei never stop tryIng to Improve; and work on ?ach lob as ifit is your last, because it could be.

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l.lI_yers: Do you start your illustrations on paper and SCM in your skefche.5· or do evefYthing digitally?

Mllrphy: I always carry my Moleskine around w'th me. In fact, I cafry two: Goe lor sketches and one for words-All' my ideas start With words, I normally scribble down a

elements [photos and

drawings) that gives

the work its style, ]

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selection of words that stand out from the brief and from there I start to build an image with sketches. Once I have a rough sketch of the image,

I sea nit, co Ilect to gether the different 81 ements th at I need, a nd start to build the foundations of the image, texture, color, etc

L<iyers: What applications do you work wjth regularly? Do you have a favorite?

Murphy: Adobe Photoshop, Illustrator, and lightroom Photos hop is by far my preferred application; it's just incredibly versatile. I don't use it very well in 0' professional sense; for example, I never label my layers and I don't use masks or anything. I kind of bulldoze it into doing what I want, but it wonks.

[CONTACT) Man AAu rphy www.blackcofFeeproj~c[.com


L<lyers; Who influenced your style early on?

Murphy: When I was a student, I loved Sarah Moon {photographer) and that really influenced my style. Since working as an illustrator, l have mostly been influenced by people like Edward Hopper, Hitchcock-the grea,ts really. Any-one who has an understanding of composition and light. Recently, I have discovered the work of Michel Granger, which I love. Other than that, I tend not to look at other people's work especially illustrators. I find music, films, and the world around me far more inspiring.

Layer>: Your artwork has a surreal, photorealistic look to it. Do you ever start with a photo?

Murphy: No, I always start with the words and then the sketch, but I do use photos a lot. In the later stages of the images, hopefully, it's the mix of the two elements (photos and drawings) that gives the v«: rk its s lyle.

Layers: What was your favorite project? Why?

Murphy: Last year (2007). I worked 011 a book written by Professor Hugh MontgomerY called The Genie in the Bottle. It's a book about climate change for children and parents. As I am sure most people can see., my work is not particularly aimed at children, but he wanted something honest and I think he liked the fact that I wa s already pass io n ate abo ut the su bject

I carne up with toe idea, of a panoramic so that pages. 1-19 flow searnlessly into each other, showing the history of human existence. In total, the image is over four meters and is by far the most complex job I have ever worked on"

But the main reason it is my favorite is the team I worked for. It makes all the difference when everyone is passionate about trying to create something that will hopefully make a difference. The book is currently being tria led in schools in the UK as part of the curriculUm.'.


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Ding business on the Web isn't really all. that different than doing business in the traditional brick-and-mortar sense. Most people want to walk into a store that's well organ ized, dean, reflects a positive and professional image, and gives a feeling of security and trust if given the choice of buying a produ ct fro m a noth er sto re that I acks a ny of the above qua hties (a nd assuming that the price point is the same), a customer is most likely going to buy from the first store. Store #1 has maintained a good leve I of synergy in its bra nd in g, usa b i lity, an d tru stwo rth in e ss (wh ich for the purpose of this example, we can equate to good visibility),

The same thing can be said for the Web. There are some scary websites out there. in fact, there are many websites that a're~ apparently=built only to rank in the search engines, and little more. This is also known as search engine optimization, which is. usually referred to as SEQ. Simply put, SEQ means desi.gning a website so that search engines can easily fin.d webpages and index them, which in turn increases a website's visibility and makes it easier for people to find your client's site. SEQ is very important for a website's visibility, but as mentioned earlier, visibility is only part of the equation.

At the 'end of the day, my job is not only to help my clients grow their businesses, but help them build confidence in their online presence through improved branding initiatives, better usability,and ultlrnately an honest and well-researched approach to being found on the Web,. ergo, SEQ. It's not to stuff their website with a. bunch of text and clutter up the user experience. There has to be a balance.

Think about it: If you own a store located at a high-traJfic intersection but it 'looks terrible, guess what=-no one is going to come in. If you build th e best-looking store in the state, but it's located in the middle of nowhere~no oneis going to come in If you build a store at the right intersection and it looks very nice but you have no cash registers or workers to direct people to completing a trensection=no one is going to come in

So to recap, there are three main components to success:

Branding: The look and feel of the website. Branding should be unique and talk-worthy so that people will want to speak about it all the time.

Usability: The equivalent of making it easy to find items in your store and makin:g sure that completing a transaction is as easy and pleasurable as the shopping experience itsell .

Visibility: Or designing for SEQ, which is something you can work toward by fol'lowing some very useful design tips discussed later in this article.

Now, let's dig deeper into each of theseintertwined components to gain success on the Web ..

r-OBrandinu is more than just a louo

Your cI ient's brand should be representative of everyth i ng their bus i ness stands for. It shou Id encapsulate their attitude, wh ile remainil"lg professional and unique. Something that comes to mind is Seth Godin's book, Purple Ccw=-read it if you haven't. The brand and all of its components should be present in the client's collateral (the look and the copy), Web design, user experience of the website, content within the website, logo, load time of the website, interactive features, and~well.~everything that has to do with the company. So as you can see, brand extends to things that you mlght not normally take into consideration. Here are some things to think about and discuss with your client to really take their brand and their site to the next level.

Use of co.lors: Research the psychological and physiological impact of certain colors and how that could be useful toward your client's brand. Also be aware that your choice of colors should remain accessible to the color blind a nd provide enough contrast.

Use of language: Wh<lt's your cI ient's demoqraphic? Psychographic? Ethnoqraphic? Depending. on their business, these are all factors that will impact how your client reaches their audience through the content in all of their online and oft-line collateral

Website fO"ild time: Imagine making people wait for hours to get into a store just to browse around. Unless you're Apple selling the latest Pbone, you'll probably have a large number of people turnihg away at the door. The same is true of wsbsites. Keep the paqeload to a minimum through the use of dean, semantic HTML and CSS; better image-compression techniques; external files for JavaScript and C5S; and a number of other factors. Consider testing your site on a dial-up connection as well.

Cross-browser compliance: Wouldn't it be strange if 70% of a website's visitors couldn't see the store logo, or all the shelves were upsidedown to them? Business owner s want to reach 100% of their audience, not just a select few. Spending the extra time to make sure the website is cross-platform and cross-browser compatible can save your client (and you) many headaches (although it will cause a few at f rst d u ri ng tes ti ng).


Accessibility/Sedion 508 compliance: Here's a term that seems to be thrown around all too often in our industry. Compliance ranges from being completely neglected to partially fulfilled to so overdone that the site itself becomes unusable (passing the Cynthia test alone doesn't really mean you're compliant, you know). Being compliant for accessibility (that's compl lance for blind, color blind, and disabled) is just, well, the right thing to do .. And, as it happens, a website that's accessible is most likely going to be search-engine friendly.

Amount of quality information; This is the information age and people are no .Ionger happy with just being told about something and leaving it at that. Through the Internet, every 5- to 65-year-old has become a researcher, and common sense dictates that before they spend their hard-earned money on things, they want to know everything about the product-see it, feel it, touch it, and know al!1 of its pros and cons. It's not just about providing pages of information, but rather useful information such as allowing customer feedback, ratings, a voting system, or whichever applies to help your client be as honest as they can to their customers. The more pages of quality information provided, the more opportunities for search engines to find the website, by searching for the words that 'happen to appear on any given page.

Ca5e studies: Service-based businesses, enterprise service, and solutions providers take note: Case studies are one of the best ways to enllee prospects to call, It also provides a measure of "transparency" that companies shou Id maintain not only to show proven effectiveness of their products and services, but also have bragging power without 'the ego.

Press releases: It's one thing for your client to release new products all the time, but it's another to show their customers that they're active in their industry internally and externally through press releases. If you r die n t uses th ese sam e press relea sss th roug h va rio us distribution methods (Business Wire is an example) and uses their keywords in the anchor text of the links, these press releases can also have great SE~ benefit by gaining links on other websites pointing to your client's website.

.--0 Usabilitv is more than iust navigation

"How can I find what I'm looking for," "What's the price on this?" "What shoes would you recommend to go with this outfit?" "What do other people think of this product?" These are the kinds of questions that you might ask during a typical offline shopping excursion. Why is itthen that so many e-commerce website rnanaqers, information architects, and others fail to ask these questions whi Ie they're establishing the plan for what the website will be?

Making your client's websites more usable will also cross the lines of making their website more search-enqine friendly and also assist in presenting the best brand. Here's what I mean ....

Usability takes many forms. If a website doesn't abide by Section 508 compliance, it's not very usable for blind people. If a website has virtually no content, it's not very useful to visitors and it's not search-engine friendly. If a website has no call-toaction, or a clear path of helping visitors complete a desired action (sales, leads, more Information, webinar registration, newsletter sign.up, etc.l, you're not hel'ping your targeted audience or helping your business grow.

I T~n things to avoid

Here's a list of usability no-no's that you want to avoid in your design:

1. Small text sizes: The minimal look of tiny text is long gone. If nobody can read your content, you'll quickly lose site visito rs,

2. Splash pages: The homepage is the most important page of yo u r site for bo th yo u r vi sito rs and search en 9 i nes,

3. Low contrast: Avoid using light-colored text on white baGkgrounds and avoid stark color contrasts as well. A good way to test for this is to proof your design in black, and w~i'te.

4. Hidden navigation: Don't hide navigation or make it undecipherable. If you want people to browse a site and eventually contact you lor services, don't make it hard.

5. Flash: I'm not saying you shouldn't use Flash; just don't use it on elements like navigation or anything tha't someone without Flash wouldn't be able to see.

6. Horizontally scrolling si.tes: While some people Ilke to put their entire sits on one page and then use AJAX to naviqats between the different sections, one of the worst usability experiences is horizontally scrolling. websites.

7. Broken links: Once your site is up, use a link-checking tool to identify any broken links on your site.

8 .. Cramped layouts: Use the rule of thirds or a layout gr.id to properly space all of the sections of your pages and make them easy to see. This will work wonders even in graphics-heavy sites.

9. Superfluous background images: Try to use backgrounds that can be patterned or repeated easily. This will also help decrease load times.

10. Lack of calls to action: A call to action is exactly what it implies: a simple and aasy-to-saealernent on a page that calls on a site visitor to perform an action such as contact you, check out the latest products, etc.



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lab-based usability testing will only catch so much. More often than not, the usability testing firm will get 100 or so folks who are the "target audience" and stick them in an environment where they can surf the site. They'll be asked some questions:

"What do you expect to see on this next page?" "What do you think of the way this content is being provided?" "What do you think of the colors or text?" "Where would you expect to find contact information?"

Usability testinq firms will not be able to tell you if a websi,te has enough textual content to ensure that it ranks in the major search engines. When people use search eng,ines to research products and services, they're usually looking for something to read. So, too, do the search engines. The more relevant content you have surrounding a particular topic, the more of all authority that the search engines believe your site to be, and the more your visitors will appreciate the user experience=you gave them the content and research material that they were looking for: it's a win-win situation,

Wait., .make that "win-win-win" (good for the brand, good lor the user experience, and great for search-engine optimization).

r-OOeSigning lor SED

Designing for SE~ may be one of those items where you, the designer, may ask yourself how that could possibly involve you. ,As mentioned before, websites are very technical in nature and your design has to reflect not only the appearance of that functionality but also its behavior and layout.

HomepagB content: For starters, your design should contain sufficient space for at least 1 SO words of content on the homepaqe and more for interior (secondary) pages.

Blog$: If blogs are to be a part of the Web strategy, try to locate your blog at www.nameoiwebsite.com/blog. Set up Categories for the blog post that correlate to the main business areas and blog about those topics. This "content thems" will be picked up by the search engines and they wil,1 see the website as more of an authority on the topics. Be sure to include a way for visitors to subscribe to an RSS feed in the design.

Headings: A heading 1 and heading 2 tag (a.k.a, Hl and H2) should be accounted for in your design. These are 'like the topic headings of a page and are picked up first by search engines. Be sure that

your design allows for these to either be rendered as HTMl text, or use an inline Flash text replacement technique such as siFR.

Subnav;gation: For interior pages, or subsections of your site, a series of subnaviqationis not only beneficial for usability, but also for SE~, bsscause it allows search engines to further drill down into a site"

Breadcrumbs: Another navigation item of similar nature that can be included is so-called "breadcrumb trails." These are the naviga,tion links often seen at the top of a webpage that show the hierarchy and present location of a visitor's path in the site. For example:

Homsc-Rec Roorrc-Dartsc-Accessortes.

Optimize and name images: As you're getting ready to prepare your design for development, keep in mind that images should be optimized for better performance, Also, use a descriptive nomenclature for your image files~this can save time during development.

URL structure: Now, more than ever, search engines place a great degree of weight to having keywords within the URl string. A good URl would be www.nameofsite.comICategory-Keyword/ Spscific-Keyword/.

Permanent redirect: If you're preparing for a relaunch of a website, here's a, tip that will save your dent a lot of money, time, and heartache" Too many times, websites are relaunched without any thought to redirection. For every page that existed on the legacy (old) website, a redirection should be put into place to account for the "change of address." This takes little time, but cain truly save the day"

Any 301 redirects are for permanently redirecting a page/URl.

When you do this, you're tel.l.ing the search engines to pass along any SE~ value that the old page/URL had to the new paqe/Ukl, Many times, there's a misunderstanding here, and 302 (temporary) redirects are used, which do nothing to help SE~ and may actually hinder any sea rch -B ng i ne opti m iza tio nella rts,

Sitemap: Final.ly, create a sitemap to help direct visitors and search engines to the most important pages of the wabsite.

If you have addressed each of these items, it's all systems go and you're ready to help your client launch a website that should be su ccess lui on a III evel s ,II

[ M. arl< JacksOll is the found. edeEOIPresident of Vizion mreractlve, Inc, (WWW.VjziOn.inter8ctiw.c:om).a D81Ia,,". based inleractive marketing agency that speciaUzes ill search engine] optimization, paY"Per"cUck marl<eting managemen~ social media markeUng, and search·engine frjendly Web desjgnand development, Marl< is a frequent speaker at r~e Search Engine Strategies and Pubcon conference. and a writer 01 the weekly "Au N~tural' column on Se.rc~ Engine W.tth,

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Perhaps the best thing you can do to improve the composition of your photographs is to include less in the frame. It's only natural to try to include too much in a photographic image. After all, you're in a wonderful place having an incredible experience taking in a beautiful sight, and you want to capture a photo that will convey your emotions. This often leads to a photo with so much going on that the viewer feels overwhelmed and doesn't know where to look.

Practice simplifying the composition for every photograph. As you compose a scene, think about how you might be able to zoom in or move closer to the subject to effectively crop out unnecessary elements. Also,

• think about how you might be able to move to view the subject from a different angle to provide a less cluttered background. You'll quickly discover that when it comes to photography, quite often less is more.


The ru Ie of th i rds is one of th e best -known tenets in photography, but being well-known doesn't mean it should always be followed. Quite simply, you should generally not place the main subject of a photograph in the very center of the frame. It may seem that the most important element of a photograph belongs at the

prominent center of the image so nobody will mistake the took the photo, but in most cases you should resist that urge.

The idea of the rule of thirds is that you should place the key subject one-third of the way in from the edge of the photo, rather than at the center. Imagine the photo divided into thirds horizontally and vertically. Align your subject with one of the dividing lines, possibly even at the intersection of two of those lines.

Of course, placing the subject off-center shouldn't be done without giving it some thought. For example, if you're photographing a sunset, you might arbitrarily lower the camera so the horizon falls at the upper third. But if part of the reason you're photographing the sunset is the incredible clouds in the sky, you shou ld favor the sky and instead raise the camera so the horizon is at the bottom th ird, The point is that you want to think about how to follow the rule of thirds (and when to ignore it) so you're producing the best result in the final image.


When you follow the rule of thirds, the key subject is naturally going to be off-center in the frame, I mentioned that ifs important to consider where in the frame you're going to place the subject. and this is particularly important when there's a directional element to the subject. For example, if you're photographing moving SUbjects, such as cars, surfers, or cyclists, leave some room in front of them so they appear to have somewhere to go.

lin the case of a portrait, that means giving the subject somewhere to look. When lollowinq the rule of thirds, this will become obvious to you but it's worth thinking about. Generally speaking, when you break this rule, it will create a certe in sense of tension within the image. That might be a good thinq=-just make sure you're doing it intentionally.


When you present a subject in a unique and interesting way, you'll have a better chance of gaining the viewer's attention. The trick is to find a unique pars pective that actus Ily ma kes a better ph oto, not just a photo with a weird perspective. Think about how you can get higher or lower, or find a unique angle. Lens choice can be key here as well. With a wide-angle lens, for example, you can get very close to the subject but stir! have a strong sense of place with the background inforrnati on that gets i ncl u ded. Or yo u can compress a scene i'n an

interesting way by back-

ing up and using a longer lens, induding only a-·"" _ couple of key elements in the frame.

Don't be afraid to experirnentas that's how you'll lesrn • what works and what doesn't. Look around you and see what you can get on top of, duck under, stand beside, or otherwise put to use to create a new way 01 looking at a subject,


Everywhere you look, it seems there are Lines. Sometimes those lines are the reason you decided to take a photo; other times they seem to get in the way. Regardless, they can always be used to great effect in a photographic composition, Horizontal or vertical lines tend to convey stability. Sometimes that's what you're aiming for, but more often you're looking for a dynamic energy. Diagonal lines are very effective at providing that energ.y, so see if you can put strong lines on the diagonal. Also, thinking about perspective, see if there's a way to get the linss in. your image to lead into the primary subject. Lines can be a powerful part of your photos, so leverage them in your compositions,


While it's best to get the image perfect in. camera, don't forget there's much you can do after the fact to greatly improve many photos Cropping an image in Photoshop after the capture allows you to apply some of the rules of composition presented here, even if you didn't get it quite right in the camera. For example, a cI utte red see n e ca n be cI ea ned up by croppi ng 0 ut unnecessary elements. A subject placed in the center of the frame can be magically moved off center by cropping the image accordingly.

Part of the beauty of dig.ital photography is that you can continue to improve your images with tremendous control, even after the picture has bean token. And doing so will help give you a batter understanding of what you might want to do differently the next time you're out taking pictures .•

[Tim Grey is regarded as one 01 rhe lOp educators in digital pholOgraphy and i.m09. in9, 0. ffe.rin9 .. dear 9. Uidan. ce o.n com. plilX S .. Ub .. iects IhrO".9.h hi, "./riUn9 ... and ,peaking. He has authDred more than a dozen books and hundred, o{ mag~zjn"

~rtkle.s;~ as well as published print and email newsletters. Get mOra information a ~ VIWW. timgrey: com.






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Professional photographers who focus on people photography and portra. its never leave hom e with out a reflector, a handheld diffuser, and a flash diffuser; I'm in that crowd I take these accessories with me to control the light both indoors and outdoors when it's not right, and when I simply want more creative lighting,

ln the studio, pros use reflectors and diffusers in combination with accessory flash units (the kind that lit in the hot-shoe of a camera) and wireless transrn itters for professions I studio lighting effects. Again,. I'm one of 'em.

V m going to cover all that stuff in this column. Let's get started,

Reflecting and diffusing light

A refl'ector does exactly what its name implies: it reflects light. The opening photograph for this article was taken in Papua New Guinea dur:ing one of my 2008 photography workshops. Check out the catch light in the subject's eyes, See how his face is nicely illuminated. And note the contrast and detail in the image.

Now compare the open:ing 'image to this one. It's the same subject, sa me setti n g, but th eon Iy d iffe renee is that in th e II rst ph 010· graph I asked our guide to hold a reflector so that the light from the sky was reflected onto the subject's face, The reflector made all the difference in the world, turning a flat shot into a striking shot with more detail and contrast,

Our guide holdo a rejtector jor one oj the workshop

pa rtic i pants, Bev Sa neh ez, Tn e rejlecto r collapses an d fi t5 nea tl y into the tote that the guide is carrying over his shoulder.

Let's move on to d iffu sers.

A diffuser is made out of a translucent rn atere I that softens harsh light as it passes through. Compare these two pictures of a woman I photographed in Man, golia. I know which one you like better! lrs the softer, more flattering portrait of the woman-the one where you can better see her eyes and in which her skin is softened. For that image, I had my friend, Jack leggett, h old a d iffu ser between the su n and the subject.

Many choices

Diffusers and reflectors are available in all sizes and shapes, and are sold separately and in kits, Ma ny reflectors have a gold side to bounce a warm quality of I ight, and a silver side to boo nce a cooler and stronger quality of light.

Here, I'm demonstrating the effect oj a diffuser to workshop participants.

Some kits come with a zip-on cover with a black side and a white side. Use the black side to cut down on light falling on a subject, and the white side to bounce a very soft light onto the subject.

For photographers who do mostly head and head-and-shoulder shots, small reflectors and diffusers do the Job. The kit you see here, actually the Rick Sammon Light Controller and Tote from Westcott (wwwwestcott.com), includes a handheld diffuser, a reflector, and a diffuser that attaches directly to a flash via supplied Velcro.

I use the diffuser attached to the flash all the time because I don't want my flash pictures to look I ike ha rsh flash pictures, which was one of my goals when I photographed this "warrior" in Mongolia .. Not only does the diffuser soften the light, but it increases the size of the light source, which is beneficial when taking group photographs Compare these photos to see the big benefit of using a flash with a diffuser outdoors.


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For professional jobs, larger reflectors and diffusers are available.

As the size of the reflector increases, the size of the reflected light source increases. Large d iffusers are used Ior full-lenqth portraits and when two or more people are in the photograph. During this photo shoot at Lake Mead, Arizona, our team of photographers useda large reflector to illuminate this model.

Whell you fire a flash into a reflector, you inc-rease the size of the light source tremendously for more even lighting. Fire it through a diffuser, and again you increase the size of the light source-in this case for beautifu I soft lighting.

To fire the flash units off-camera, you'll need a wireless infrared OR) transmitter, which fits into the hot-shoe of your camera. With an IR transm itter, you can fire several remote flashes at once, creating true professional-quality results,

When using a flash with a reflector or diffuser, keep the fl'ash at least 3' away from the reflector or diffuser. At that distance, the size

Reflectors and d iffu sers ca n be used in the professional and home studio as well. I use stands and arms from West· cott to support my reflectors

a I1d diffusers, a nd stan ds an d flash holders from Bogen (www .bogel1imaging.com) to support my flash units.


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of the light source is increased. Any closer and you're not g.etting the full benefit of the reflector or diffuser because you're not fu Ily increasing. the size of the light source. This is an importilnt rip.


Here's a portrait of Emmy Award winner David l.eveeo taken with a three-flash, two-reflector set up triggered by " wireless transmitter.

I positioned one flash and reflector setup to my left to illuminate his face, and placed anotherslightly behind him and to my right to create side lighting. Then I positioned a single Hash unit (with no reflector) directly behind him for what's called "Hollywood lighting."

For this portrait of my friend Kristen, I used my accessory flash units as my light sources, firing them into and through my reflectors and diffusers. I also had her hold a gold reflector on her lap, which bounced light onto her face, filling in shadows that were created by overhead lighting.

seflectors and diffusers can be used together, both indoors and out. And they can be positioned in many different locations around a subject Experiment and have fun! Play with l,ight.1I

[Rick Sammon is an instructor and author. You can le8rn more 800ut lighting and photographing people in his online lessons at WWWJ,elbY!r8ining,com.RiCk'S'latestboOk.Face]' to Face: The, Complete Guide to Photo.graphing People, also oiiers complete information on tl1e top«: and his lighting OVO from Wiley, ,Rick Sammon', Basic Guide· 10 Lightiflg, , covers many refree-tor and diffuser set.up.s. Visi~ with Rick at ~-vww_{i,k5ammofl.c.om.


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from import to output

At its essence, Lightroom is a photographer's dream workflow tool. It allows you to streamline how you import, organize, process, and output your images. Let's look at a typical workflow overview so you can become more familiar with how Lightroom 2 works.


Choose File::>lmport Photos from Disk to import photos from a memory card or folder into the Ughtroom catalog {our photos are in a folder}. Click Choose. In the Import Photos dialoq, set File Ha,ndling to Add photos to Catalog without Moving so they'll remain ii(i that folder. Next, add g'it)bal Keywords that are relevant to ail the images, then set the Initial Previews (we chose 1 ·1 as it gives the best preview). (Note; These previews will take longer to render and increase your catalog database file size.) Check Show Preview to see your images (you can change the th umbnail size with the slider). Finally, dick Import


Now that we've imported the photos, It's time to begin some organizational work. At this juncture, there are a number of different directions that you can go. Because we're exploring workflow, you might want to rename the images, now. In the Library module, dick all oneal the images, then press Command-A (PC~'CtrIA)

to select the remaining images, Choose Library>Rename Photos or press. F2 to open the Rename Photos dialoq. Select anew naming convention, then dick Ok;,



Adding keywords to photos can help you manage your image database, and the keywording improvements in lightroom 2 are amazing To add keywords, open the Keywording panel in the Library module, select one or more images, and then dick in the Click Here to Add Keywords field to add keywords tags in alphabetical order. As you add keywords, you'll notice that lightroom automatically builds a Keyword Set out of the recently added keywords. In addition, when you seled; another image, Li.ghtroom will suggest keywords. CI ick on arly of the Keyword Suggestions Of Keyword Set words to quickly add new keywords to your image.

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Flags, stars, and labels are used to rate or renk your imaqss. To svaloate your images, press the E key to enter Loupe view in the library module. Below the image, you'll notice the Toolbar; press the T key to toggle the visibility on and ,off. Click on the flag, star, or label icons to add the different rati n g possi bi I itiss to th ei mage, or use on e of th e fo 1- lowing shortcuts: Press P for Flagged, U for Unllagged, X for Rejected; press 1-5 to add a star rating; press 6-9 to add a label rating.


Now that you've marked which imag,es are best, take ~~vgl)tage of this information and filter out all of the images that you don't want to work with. In the. Library module's Grid ,view (G), you'll see the Filter Bar sbove the preview area_ (Ncte.: Press the Be,cksla:sh key [\] to hide and show the Filter Bar.) CI ick 0[1 the Attribute filtering option. Next, dick on the various, flag, star, arrd label icons to filter your Im<l_ges b-ased on specific criteria. In this example, we filtered the images based on the 1.star rating,

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Another way to filter your images is by \lsirtg the Metadata filterirt9 option, With thls ftller, you can search based on additive rnetadata (labels, stars, etc., as we did in Step,S) or by I,lsing descriptfve metadata (Lens, ISO Speed, Date, etc.). lnthe Ubrary module's Grid view, dick on the Metadata filter. No;rt, click 0[1 one or more of the filter search C3tegories below. In our example, we filtered the images to just show those captured with the 1 &-3Srnm lens, You can further customize your rnetadata filtering by .clicking on ,arlY 01 the metadata column titles and choosing another option.


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After filtering your images, it's a good idea to create a collection, which is a way to group images. For example, after filtering your images down to your favorites, open the Collections panel. Next, click on the New Collection icon (+) in the Collections panel header and choose Create Collection. In the Create Collection dialog, type in a collection Name and check Include Selected Photos, For even more flexibility, select Make New Virtual Copies

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Select an image that you're interested in working on, then press the D key to go to the Develop module. Press W to select the White Balance Selector tool. Hover the dropper over areas of the image that should be neutral (whites, grays, etc.) and look in the Navigator panel (top left) to see a preview. Next, dick on an area that should be neutral, then drag the Temp and Tint sliders to make other subtle and subjective color changes to the image, if n acessary


After you've wh ite-belanced the images, It'S time to make tonal adjustments. The quickest way to make these adjustment, is by dragging the _sliders located In the Basic panel: The Exposure slider sets the. overall ,image- briglitfless; the Recovery slider allows you to reduce the brightest aspects of the imilge, which can be helpful 10 recover high light d eta i Is; Fi II Light I ig htens th eshadow ereas: B I a cks increases the darkest tones; Brightness mainly adjusts the midtonas: a nd Co n trast ad ju ststh e overs II i mag e con trast, Modify th e slid ers until your image looks good.



While typically, it's best to crop and oompose in camera, the Crop Overlay tool in Lightroom can help improve your overall cornpositic n. Press R to se I ect th e Crop 0 verla.y too I (thi s she rteut works in all of the modules). Next, dlck-and-draq any of tile four corner points and position the crop over your imaqe: the grayed-out area wiH be cropped, For a" even better crop view, press the 0 key to cycle throllgh the various crop ave days. These cverlays can help you determine which crop will work best. To apply the crop, press Retum

(PC: Erlter) or double-dick iris ide the crop area.

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Before you output the image, work on the details. In the Develop module. open the Detail panel. Generally speaking, the Sharpening Amount controls the overall intensity; Radius controls the extent of edge sharpening; Detail affects small details (use a low Detail amount for people and a medium to high amount for other subjects): and Mask;ing limits what's sharpened (use a high amount to limit sharpening to the edges). The Noise Reduction sliders allow you to reduce both Luminance and Color noise. Use the Chromatic Aberration sliders only when you need to fix color fringing that can occur when shooting with wide-angle lenses.


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Now we'll print some photos, so dick Print in the Module Picker. Because we. don't want to priM all of the images, let's make a Print Collection that will serve as a subgroup of images that we'll print. In the Filmstrip, Command-dick (PC: Ctrl-clickl on the images you want to add to the collection, click the New Collection icon in the Collections panel header, and choose Create Print. Name your collection, check Include Selected Photos, then dick Create. (Note: To see larger images for your selection, press G to enter the Library module's Grid view and create your collection thera)


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Open the Layout Engirle panel arid choose the layout that fit, your prlnti:ng needs Select Contact Sheet/Grid for a more rigfd, gridbased layout: cl1005e Picture Package for ~ more free-form layout. We chose Contact Sheet/Grid then moved down to the byOLFt panel and modified the- Margins, Page Grid, Cell Spacing, and Cell Size to create a "collage" print of tFte sel .. cted im~ges. Continue to modify setti ngs ;n th eother pan e Is in th e Pr i nt m odu I e to further cu stern i ze th e prin t I ayo ut to su i t you r needs.

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Sharpening Medii! eype

Rendedng intent

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Before you print the Images, head down to tl1e Print Job panel Select Print to: Printer for desktop printing, or JPEG File if you're sending tile images to a lab to be printed. Ne>;t, enter a' Prim Resolution, then ttJrn 011 Print SharpE!ning and select Standard, as this seems to work, best with most images. Select tfie paper Media Type. Cl100se the appropriate paper Profile for yO_Uf printef (we're !..Ising the profile for the Epson 3800 Enhanced MattE; paper}, tIlen select a 'Rendering Intent Typically, Relative works best so try that first. Finally, dick the Print button below the panels .•

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take control of tonal blending

A blown-out sky is rarely pleasing in a color photograph. Although you may try every exposure trick in the book, it can be hard to avoid. In this tutorial, we'll show you a cool technique for adding color and tonality back into an otherwise washed-out, lifeless sky. And you don't have to make a precise mask. We'.11 finish with a look at how the same technique can be used to create a spilt-toning effect similar to the one in Photoshop lightroom and Adobe Camera Raw.

[fixing a blown-out sk~]


Click the Create New Adjustment Layer icon at the bottom of the Layers panel and choose Curves from the list. In the Curves dialog, olick on the Display Detailed Grid icon to dsplsya 1 Oxl 0 ·grid. Open the Channel pop-up menu and choose Red. Move the point at the top·right corner down along the right.sideabout one and a half grid boxes. this will add cyan, the opposite of red. Most of the change wil,1 affect the lighter areas of the image (the sky). Other tonal regions will be affected, which we"ll fix in a later step .


Now choose Green from the Channel menu. Move the highlight point of the Green channel curve down the right side the same distance as you did with the Red curve. You can also take note of whatthe Output val'ue was for the Red adjustment and simply enter that for the Output value in the Green curve (in this case, it was 216) . Depending on the image, you may also choose to slightly lower the highHghtsection of the main RGB curve to darken the sky area a bit, Click OK to ,apply the Curves adjustment layer.

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The sky looks much better, but the rest of the image is also affected by the blue color cast from the Curves layer. Double-click to the right of the layer name in the layers panel to open the Layer Style dialog. We'll be working with the Blend If sliders in the lower part of this dialog. Click on the shadow slider (on the left) for This Layer and move it to the right until the first number is at about 140. This prevents the curves adjustment from affecting any tonal value of 1'40 or lower.


The transition edge of the new sky tone is much too rough and obvious in the lower-left part of the image, To soften this and create a more natural trensition, hold down the. Option key (PC: All key) and dick on the shadow slider to split it into two halves. Move the right half until the second number above the sliders reads about 170. This creates a feathering effect: No values below 140 are affected, then they're gradually affected more until value 170, when the curve affects the image et full strength. Click OK,


This effect works very well in an image where the sky is lighter than anything else in the shot. On some images, you might need to modify the Curves layer mas k if th ere a re a rea s that are SI; II affected by th e blue tone that was added. If you see any areas like this on the back of the boat, press 0 then .x to set your Foreground color to black and use the Brush tool (B) to pa int on the layer mask to prevent the. blue curves adjustment from affecting those areas.


For this particular image, we painted on the layer mask with a large, soft-edged brush to further nne-tune the horizon line on the left side. Usil1g just the top edge of the brush, we painted with black to slightly fade back the blue effect just above the distant hills. This looks more natura I because the sky is often a bit lighter near the horizon than it ls higher up. We also lowered the Opacity of the Curves 1 layer to 80%.


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Double-dick to the right of the Hue/Saturation layer name in the Layers panel to open the Layer Style dialog. As in Steps 3 and 4 above, move the shadow slider for This Layer to the riqht, then Option-click (PC: Alt-click) to split the slider to create a softer fsatherinq of the toning effect. The values we used for this example are 120 and 160. This creates a split between the original grayscale tonal values (below 160)arld the sapla tone (above 160).

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For a surprisinq number of photographs that suffer from a blownout sky, this effect works remarkably well without having to delve into the intricacies of creating a precise layer mask to control where. the sky toneis visible. Just be aware that if any other tonal regions in t'he image are similar to the blown-out sky, then you'll have to edit the Cu rvesl oyer mask.


In addition to controlled layer blsndinq for fixing blown-out skies, the Blend If sliders can also approximate a toninq effect that's similar to the Split Toning controls in Lightroom and Camera Raw. Begin with all image that's in Grayscale mode or that has had a' grayscale effect applied. If it's in Grayscale mode, choose Image>Mode>RGB Color. Choose Layer> New Adjustment Layer>Hue/Saturation and dick OK. In the Hue/Saturation dialog, turn on the Colorize checkbox, adjust the Hue slider to 38, and the Saturation to 15. This adds a sepia tone to the entire photo. Click OK.


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To add another tone, add another Hue/Saturation adjustment I~yer. Click the Colorize checkbox and move the Hue slider to find a tone yo:u like. (we used a Hue value of 220 and a Saturation of 12 for a cool-blue tone). Click OK and then adjust the Blend if sliders to only apply this tone to the dsrker areas. Do this by movinq the flighlight slider (on the right) for This Layer to the left and then split it as shown in the previous steps. OLJr highlight slider values are 70 and 130 for this image .• "

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warped perspective

The combination of bringing Illustrator artwork into Photoshop and warping it offers some tremendous possibilities-but only if you know the super-secret trick to make it possible to warp a vector smart object. In our example, we'll start with a basic calendar that we created in Illustrator and use Photoshop to change the angle and make it look more photographic.



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We used basic Illustrator commands, particularly Transform Again, to create our calendar. I f you'd like to see a video of how we created the calendar, visit www.layersmaqazina.com and navigate to the Illustrator section. We've also already created the calendar Hie for you, so navigate to the Magazine section and download the Illustrator document if you'd like to follow alonq,

In lllustrator, select all, the objects (Comma rid-A [PC Ctrl-Al) and then choose Edit>Copy, Now, switch to Photoshop and create a new document (File>New), choose the size and rasolution you need, then Editz-Paste. In the dialog that appea,rs, choose Paste As: Smart Object,

!If you'd like to download the' Illustrator file osed in 11\1, tutorial to praClice these techniques. v'sit IWlw.layersmoga.ine.com and navTgate· to the Maga,joe section. Ali files are for personal Use only.]


Holding down the Shift and Option (PC: Alt) keys, drag outward on a corner handle to scale up the graphic to fill the document (because it's a smart object, you won't lose any quality by sea ling up) Press Return (PC Enter) when the calendar (object) r~ the correct size and the new layer will display as a Vector Smart Object ;11 the Layers panet.

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If you go under the Edit menu and choose Transform, you'll notice that Warp is grayed out (along with Distort and Perspective}, because it's not possible to distort a vector smart object. As odd as it sounds, the solution is to change the vector smart object into a smart object. Here's how: Control-cllck (PC: Right·did;) on the Vector Smart Object layer and choose Convert to Smart Object and now we're all set to warp the object in the next step. (Note: The layer thumbnail and name -do not cha nge to "show that you've converted ina a smart object.)

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Use the Zoom controls to zoom out and from the Edit menu, choose Trarlsform>Warp. Pull the corners out to create the effect you want, either curved edges or straight. Note: To create <) straight-edged warp, you'll have to also use the warp handles (circled). Just drag them until they line up With the edges of the warp boundary box.







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Press Command-T (PC: Ctrl·T) for Free Transform and then holding Shift and Option (PC. Alt), drag a corner outward to make the object even la'rger. Press Return (PCiEnter) when you're done sealjrlg and, jf necessary use the Move tool M to position the artwork where you want.


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From the Filter menu choose Blur>Gaussian Blur, apply a slight blur of 2-4 pixels (we. used 2.2 pixels). and dick OK,

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Because the layer is il smart object, the Gaussian Blur was applied asa smart filter that we can edit or mask. For this example, we'll add a Black, White giddient to the smart filter mask. So, click on the Smart FHters mask thumbnail in the Layers panel and select the Gradient tool (G) from the Toolbox' Up in the Options Bar, click on the down-faciriq arrow to the right 01 the gradient thumbnail to open the Gradient Picker, and choose the Black, White gradient. Now drag your mouse from right to left on the calendar to graduall'y show the blurry eff,ect and simulate photoqrephlc depth of field.


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To ,edft a smart object, you double-click on the layer thumbnail, but in th is esse, it's a ltttl e trick; e r, Rem e m be r tha t we conve rted th e vector smart object toa smart. object, which means when you double-dick on the Smart Object thumbnail, a second Photoshop document will open, Which contains the vector smart object. Now double-dick on that layer thu m bn a i I to' ope n th Ii II III strator artwork. I n III u strator, we added a red box around one date and saved the document.



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Now, return to Photoshop and the first document will update. Close and Save that document and the second (warped) document wi'll also update. (It's really not as tricky as it sound.s.ya,.

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quick logos with live trace

Perhaps one of the most underutilized features in Illustrator is Live Trace, which can convert any photograph into vector art in just a few clicks. In this tutorial, we're going to use Live Trace to vectorize a photo for a logo design. Now, of course, all images are different, so depending on the final effect you want to achieve, you'll need to experiment with the settings that we'll be using here.

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What we're creating here is a logo for a surf shop, so we'll start with a photograph. Here we made a composite photo ofa couple of pa 1m trees along with .~ ·surfer against a white background and saved it as a Photoshop file .

In lllustrator; create a new document end go to File>Place. Locate the file you prepared above and dick the Place button. Once the image is placed, keep it selected. Locate the Uve Trace button in the Options Bar, cl iok on th e a [row n ext to it, and ch oose G raysca Ie (th is may ta ke iJ moment), When it's done, dick the Expand button in the Options Bar. When the paths are revealed, go to Object>Ungroup, then select any white areas with the Selection tool (V) and press Delete (PC:

Backspace). Here, we had to delete the white between the surfer's legs as well. The grayscale graphic should be all that remains.

You may need to trim your graphic at this point. In this example, the gro u ndextends a I ittle fa rth er out than we need for the f n a I log 0, so let's trim it up with the Knife tool (it's grouped with the Eraser tool in th e Tool box)" On the left side, start above th e g rou nd and cI kk-a nddra g across the a rt to cut it. Do the same to the other side, a nd then select these areas, l:f more than the cut areas are selected, then you probably need to Llngroup them. Go under the Object menu and choose Ungroup. Reselect only the cut areas and press Delete (PC: Backspace).

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Press Command-A (PC: Ctrl-A) to select the entire graphic and group it all together by pressing Command-G (PC: CI(I-G) Go under the Edit menu and choose Copy and then choose Paste in the same menu. Move the duplicated object out of the way for now. Select the original object. and open the Pathfinder panel under the Wi'ndowmenu. Hold the Option key (PC: AI! key) and dick the Add to Shape Area button in the Pathfinder panel to combine and expand all the shapes in the original object at the sa nne time.

Now open the Swatches panel in the Window menu, 'and using the default set of CMYK swatches, choose the- first swatch on the. second row, This will establish the base color of the entire logo. Select 'both the color shape and the duplicate grayscale shape and aliqn them by clicki.ng the Horizontal .Align Center and Vertical Align Center icons in the Options Bar.

Select just the grayscale shape. then go to the Window menu and select Transparency, Change the Blend Mode pop"up menu at the top of the- panel from Normal to Overlay. This will create an. interesting color effect as it blends with the color shape just below, If needed. target both layers and use the Eraser tool to dean up any rough edge-s. This is now the- heart of our logo design. Let's add the remaininqeternents around it


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We need to create a circular background shape to frame the graphic, so grab the Ellipse tool (it's grouped with the Rectangle tool in the Toolbox), I like to draw circles out from the center because it helps with the initial placement, so click in the approximate center of the graphic, hold down Shift-Option (PC, Shlft-Alt), and drag outward to draw a circle proportionately from the center, Fill this shape with the same orange color used for the main graphic. and go to Object>Arrange>Send to Back.

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foil 0 Open the Appearance panel from the Window menu, Grab the Fill item and drag it to the Duplicate Selected Item icon at the bottom of the panel. This will create a new instance of that fill, With the top Fill item selected in the Appearance panel, go to the Swatches panel and click on the default white-to-black radial gradient. Then open the Transparency panel and change the blend mode to Overlay once again.

This will give a variation of the backqround without using the gradient editor, Plus you can quickly go back to the solid colorby strnply throwing away that instance of the Fill containing the gradient ,in the Appearance panel To change the location of the colors in the gradient, simply drag the Gradient tool (G) anywhere in the circle, Here. we clicked between the surfer's legs and dragged just above his head. To complete the circle, apply a 5-point stroke with a slightly darker orange to give. it a more finished look.

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We need to draw a rounded rectangle for our logo name, Back in the Toolbox. go into the shape tools aga in but th is time grab the Rounded Rectangle tool, The roundness of the corners depends on the size of your graphic. To change it, click once on the artboard to open the Rounded Rect.angle options, Set the desired Width, Height, and Corner Radius (you may need to experiment). In this example, we used a Width of790 pr, a Height of140 pt. and a Corner Radius of 50 pt .



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Once you dick OKin the Rounded Rectangle dialog, your rectangle willi appear on the artboard. Drag the shape to the bottom of the graphic. Color this shape the seme way you did the circle shape: Fill it with the same orange color, give it a darker 5-point stroke, duplicate the Fill in the Appearance panel, apply a whits-to-black gradient (except this time choose the linear gradi.ent swatch rather than the radial gradient and then set the Angle to -9(J in the Gradient panel), and change the blend mode in the Transparency panel to Overlay.

Now just enter some text for the title. Here we set the name in Hunky Dory then scaled it to fit within the box. Set the Fill and Stroke of the text using similar colors 10 the other shapes, Of course, depending on your particular image, you may want to experiment with other type styles and fills,

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ligatures: fusion power

[ It's up to ligatures to

restore peace and harmony. ]


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Good typography comes from paying attention to scads of tiny details, the glorious whole being the noticeable consequence of many seerninqly inconsequential actions, The tiny detail under the lens this issue is the ligature, a sin gle glyph created from the fusion of two or more lettsriorrns. These "weddings" are usually performed to head off the unattractive collision of adjoining characters, It's up to ligatures to restore peace and harmony,

The pesky f hook

Most ligatures involve the lowercase i, with its pesky hook, which has the habit of overlapping ascending characters to its right. The theory behind liqatures is that if these characters are going to overlap anyway, they may as well be designed to overlap aesthetically, by creating the f and its neighbor as a single glyph. The most common two-character ligatures are fi, if, and fl. Common threecharacter ligatures include ffi and !fl.

sniffing fifty flat waffles sniffing fifty flat waffles

Set in Adobe Garamond Pro with no ligatures (topJ-the is look like water drops hanging off the f hooks; (bottom) Standard fi and fI ligatures as well as the Open Type discretionaryffi andfflligatures.

Although sans-serif faces contain at least some of these ligatures (they're part of the standard glyph set for most fonts), by trad ilion they're rarely fused together visually as they are in serif faces. Rare exceptions include Matthew Carter's Verdana. {which has fused Ii and fJ forms} and Erik Gill's Gil.l Sans (only fil,

O] the Adob!:! CS3 applications, InDesign has ths best 'support for fi.gatures, as it can automatically insert iigatlJres from any foot tha.t con.tains them (most have at least Ii a no 11), To do this for PostScript Type 1 ,and IrueType fonts, simply select ligatllres from tl'>e. Character panel Ilyout menu. To gel InDesign to insert ligatures from OpenType fonts, choose Open Type from the Character panel flyou~ menu and se'lect Discretionary Ligatures from the submenu.

Photoshop and I LI ustra tor can only insert ligatures from Open Type. fonts, In Phctosbop, choose Open Type from the Character panel flyout menu, then Standard ligatures from the submenuIn illustrator, turn on liqatureinsertion from the Window> Type>Open Type panel (Sh.ift,Option·Command·T I PC: Shift-Alt-Ctrl-Tll. In general, YOLl wahl 10 have automatic ligature insertion turned on at aJI times,

Smart ligatures

Alt~ough these compound characters are represented by a single glyph, Adobe pTogrEimS cleverly keep in j'mind" that they represent separats letters. So, when the word "waffle" appears near the end

of a line" InDesign ls smart enough to remove the ligature and hyphenate lhe 'word properly; waHle.

The same thing occurs when character spaeinq is altered. 'For instance, if you open up the tracking ofa text passage containing I'igatures, InDesign wi II drop the ligatures' in favor of their constituent characters alTld open their spacing accord ingty. The same thing happens when tracking is tightened, beca!),e otherwise Hie fixed spa<;iqg betweel1 the component elements of tihe ligature wou"ld stand out in contrast to the, spacing of th eir n eig hbors. Ditto for jLJs1lfied type, where spaCIng has to be stretched or squeezed to fit type into fully filled lines. When a certain, rather small, spacing threshold has been crossed, In Design wi.ll revert to handlIng the ligatures' constituent parts as independent characters. 'Hand kerning can also cause ligatures to disappear.

You can't assume that this automation al'ways assures perfect results. Oea rly, if your type program can break I iqaturss to justify type, you won't have conslstent ligature use throughout your te>,,!:. This ISfI't necessarily a bad thing, as aesthetic spadr1g is more lrnporrant than consistent glyph selection,

A key exception is when justification or tight tracking causes adjoin'ing characters to collide (loose spacing isn't a problem). It's, most likely with the Ji combination, as the" ear" at. the end of the 1's hook overlaps the dot of the i, making a noticeable dark knot in the text. A'nd it's one reason why some typographers-especially those who come from a tradition of metal, handset type----frown on squeezing character spacing to Justify type. The fastidious should look (with the help of their trusty proofreaders) for cases in Which ligatures should be restored where the program has removed them. The fix: Select both letters and open the tracking of the letter pa ir until the ligature reappears.

Ugly display

The bigg.er problem is in display type, even in sublinss at sizes down to, say, 14-point. At this size, the inconsistent Use of ligatures (now you see them, now you don't) in a passage of type can become obvious. In these cases, make an effort-by manipulating kerning and/ or tracking--to force the use of ligatures throughout (the preferable a Itern a tive) orel i min ate th e a ppe a ra nee of Ii g stu res a Ito geth er,

Worse, though, are ligature problems in I'arge type, such as titles and headlines, Tight tracking in headline type is the \lorm these days, often carried to extremes, When it comes to ligature situations, you can get ",WflY with tight'spadng when using 'sans-serif faees, primarily because the hook of a sens-serif f tends to be, narrower than In a ser'~f face, so it's- not CiS likejy toovsrlap an ascending character to its right-not so "",ith most serif face s.

Unim,entionalligatures~ol'li:Sions between character~are ugly in display type, Assuming that the troubling saquence of cheracters is unavoidable" the best solution is to ys,e ligatures and adjust the rest of the type's tracking to match ~he lig atu res.' s:pacif1,g as well QS possible, Where house style mandates tight headline spacing, thls may mean that the spacing of the ligature .elements wilt look a

I i ttl e to 0 loose But th is is better tha nh av i n 9 th e ligature brea k LI P and its constituent parts engage ih an unseemly "wrestling march," When tight tracking Is the order of the day. use manual kerninq to open up the spacing ohhe would-be ligature characters until your program restores the lig,ature.

The detless i

If trackir19 is so tighl: that the ligature's internal ,spacing is distrattin.gly 1'00513-, there's one other alternative (editors willing)~ the dotless i ( I 'j, This obscure character is included in nea'rly all fonts, principally as ~ building block for accented characters (1, I, 1,1'), but it can be used in display type w'hen overbearing fs insist on mtlgging the dots of the is that follow them, This. is most commonly done in ad type (where its normal to pia\( fast and loose with the rules of composltion and usage), but even in serious work, it's occssionally just the right tool for t,he Job.

On the Mac, the dctless j can be typed simply by pressing Shift-Option-B. On the PC, it's more cornplicated: Ope("J Character Map, check off Advanced View,and with Character Set set for Unicode, type 0131 (the Urticode ID number for tne dQt:less n tn the Go t6 Unicode ~efd.lhe dotless fowll,1 be highlighted in the, character grid, and you can use the CoPy buttonand your program's Paste command to get it into your text. In a ny Adobe program's Glyphs panel-which has no search tools=-you have, to browse visually for this {and any other} glyph--,something, that really needs fixing,


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The eKilmple above shows an unsightly blot where f and i inelegantly collide.

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Gill S;ms /t3lic f ligawre rides lathe rescue,

Fonts fit great!

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automate your designs with nested styles

We're all used to working with style sheets (or at least we should be). With each new version of InDesign, there seems to be a new way to style your content. We started with paragraph and character styles, then we got nested styles, followed by object styles, and finally table styles in In Design CS3. As you can see., nested styles is not really new but it's something that you should be taking advantage of, so let's get to it.


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While you could use an existing document for th is tutorial, it's probably best to begin with a new document. This way you won't have any extra styles in your Styles panels that are left over from other lih ings you've formatted. Choose File> New>Document and dick OK to accept the Default settings.


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Th 10 best way to create a style sheet in InOesign is to first build an example of how you wa nt your final style to look. Because th is is going to be a nested style that formats text, we'll need a text frame. Select the Type tool [T) and drag out a text frame on your page, then add the text you'll use to create the styles.

tout score an . sev~n years ago our fathers rought forth on this continent, a new nation, CODelved in Liberty. and. dedicated to the proposluon that men are created equal.


Nested styles can format different paragraphs of text that read differently, but the structure of the text has to be consistent. For example, if you want your nested style to format the first five words of a paragraph. you can't have the style format four words sometimes and six words at other times; it has to always be the first five. in this example, we formatted the first five words of the paragraph to be a different font, style, and color than the rest of the text.






Now we need to create a character style based on the fed text. Open the Character Styles panel (Window> Type· & Tables'> Ch erscter Styles). Highlight a ~y of part of the red text, press-and-hold the Option (!PC: Alt) key, and dick the Creata New :style icon at the bottom of the Character Styles panel. In the New Character StYle dialog that appears, name yourMw style "lead-in" and click OK..





Open the P.ar<lgraph Styles panel. Place your cursor anywhere in the paragraph, except the- red text. Hold down the Option (PC:

Alt) key <l!1d click the Create New Style icon at the bottom 01 tlie Paragraph Styles panel. When the New Paragraph Style dialog appears, name the style "Opener." Don't dick OK yet.


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With the New Paragraph Style dialog still open, dick on the Drop Caps and Nested Stylesoption on the left. Click the New Nested Style button, therr choose "lead-rn" from the Nested Stylsssection (dick [Norte] and it turns into a pop-up menu), Click on the 1 next to "Words" and change it to a 5. Crick OK. Your style is now ready to apply to any paragraph where you want the first five words to be formatted using your "lead-in" character style, To apply the styles, just dick in any other paragraph and dick "Opener" in the Paragraph Styles panel to apply it

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You can create a nested style that uses multiple character styles throughout the pa raqraph. Ih this example, there's a plus sign at the, beg,inning of the paragraph and then there's a character style applied after the second word to the next two words. To create this style, choose the Type tool and dra.g out a new frame Then create an example 'like ours with your styles, fonts, and colors.





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With the Type tool, highlight the plus -sign in the example from Step 7. Open the Character Styles, panel, hold down the Option (PC: Alt) key, and dick the Create New SiYle icon, Name your sty:le "Plus Sign" and click OK.


To create your second charecter style, follow the directions from Step 8, but select the two words that follow the forst two words (" DVD Player" in th is example) and name this style" Product." Click OK.

conrjn~ ed On p. 70



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Now it's time to create the paragraph style. With the Type tool still selected, put your cursor anywhere else in the paragraph other than the text you formatted for you r character styles. Open the Paragraph Styles panel, hold down the Option (PC:AIt) key, and dick. the Create New Style icon at the bottom 01 the panel. Name yOLJr new style "Product Description," and then choose Drop Caps and Nested Styles from the list on the left.





Click the New Nested Style button and choose the "Plus Sign" character style from the Nested Styles section. Set Plus Sign through 1 Characters to format your plus sign or other symbol

<It the beginning Df each paragraph (dick the word "Words" and it turns into a pop·up menu where you can choose Characters). Don't dick OK yet.



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Before we add the next character style, we need to ignore the next two words .. Click the New Nested Style button and leave it set to [None] th rOl.l9h 2 Words. Now dick the New NestEtd Style button one more time end set the Product character style through 2 Words. Click OK.

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At this point you're ready to use your new style, You can either choose Product Description in the Paragraph Styles panel to apply it to an existing paragra ph, or select ir and then type a

new paragraph and yoUr styles will apply as you type. As a bonus tip, if you create styles In one document, you can load them into anotber document by choosing Load Paragraph Styles from the Paragraph Styles fIY0'it menu, Then choose the document that contains the styles you want to import.

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customize preflight profiles

The preflight toolset in Acrobat 9is easier to use and more customizable than ever before. Version 9 also comes with many built-in preflight profiles from which to choose. These profiles, however, sometimes have checks you don't need or they don't have the checks that you do need. Let's take an in-depth look at how to create and customize Acrobat 9 preflight profiles.




Open the PDF document that you wish to preflight for cornrnercial prilltirlg. To preserve the Integrity of the orfg ina I PDF, make a copy of the file by going to File>Save As and renaming it "(filenameL Preflight" (we named ours "ArtShop Flyer_Preflight").

Not'''': If you run a pr~flight profile with fixups {see Step 21. Aerobat automatically give? you the option to save the fi:xed fi Ie as a copy, but I still don't like to work with the only copy I have of a fi.le.


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ln Acrobat 9, 90 under the Advanced menu and choose Preflight. In the Preflight dialog, dick on the Profiles tab (top left) to display the list of preflight profiles currently available, YGlu'H see a variety of analyses, fixups, and compliance choices, It may be a bit over· whelming at first, but once you get the hang of thls dialog, it gets easier!

Note: A fixup applies en actual change to your PDF, such as converting spot colors to process colors. You have tlie option to execute these profiles With or without fixups.



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You can choose to create a new profile from scratch or modify an existing one. (If you're new to the pref ight profile game, you might want to start with an existing profile.) Twirl open the Prepress profiles. and dick on Sheetfed Offset (CMYK). We're going to use this as. our starting prof Ie. Now dick on the down-facing arrow beside Options (upper-right corner of the dialog) and choose Duplicate Preflight Profile to activate the Preflight: Edit Profile dialog.

Tip: Don't edit these default profiles directly; always duplicate one and then edit it.

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First assign a name to your preflight profile-ours is "Sheetfed Offset (CMYKLCustom.'" Then type your name and email address in the Author and Email fields and add this profile to tha Group you want: Prepress, in our example. You may also want to add notes in the Purpose field to augment or replace the current copy. As an example, you might include info about a specific output device or a customer, jf this is a customer-specific profile. Lastly, make sure your profile is Unlocked, which it should be if you've chosen to duplicate an e)(istlng profile


Now, dick on Document in the list 01) the left-hand side of the dialog. and the screen at right sh ow, your conflgurable choices:

PDF version, encryption, and damage. Each choice has a dropdown menu where you can set your profile to ignore (Inactive), provide Info only, serve as a Warning, orasan all out Error, (The Damage section is set to Error by default) For this example, we set the pDF Document Uses Features That'Requi:re At Least option to give us a Wa rning. We then selected Acrobat 5.0 {PDF 1.4) to ensure that the PDF version supports transparency or perhaps as a RIP preference,


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Next, dick on Pages in ,he left-hand list. Note that the option Page Size or Page Orieniation is Different from P'~ge tel PaQe Is indicated as a, Wa.rning (circled). If this is a concern, leave it as is or chaRge it to Error. If pag.e size/orientation isn't an issue, check Inactive.

We've chosen Error for Page Size Is Not, entered 8.5 and 1', and chosen I nches as our Measurement Unit at the bottom of the dialog. This, along, with the page orientation option, will check for a consistent page size of 8.5x 1 1 "and a single orientation. You can, of course, choose Ignore Page Orlantatlon if you prefer.


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In the Images profile segment, we activated Resolution of Color and Gray Scale Images to indicate that any .image lower than 200 pp: should be a Warn·ing. This will let you check on any image with linear resolutions of less than 200, but allow you to review and pass muster on marginally lower images. Note: I don't place any Higher Than Resolution limits because of the high effective resolution of many of my screen grabs.

We also applied a Warning for Images Use Lossy Cornpression to indicate the potential of image degrad~tion from too much compression.

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In the Colors profile segment, we activated Warning for images that contain any (More Than 0) Spot Colors. We also activated Warni·ngs for Objects on Page [that] Use RGB or Use Device Independent Colors (Lab, for instance).

Note: We designated these as Warnings because I know from looking at the fixups (see Step 14) that if I nun this profile with fixups, then spot colors and RGB will be autornaticafy converted, By designating these as Warnings, I can run this profile without fixups, find these color challenges, and fi;< them manually, if needed.


Under Fonts, we need to make sure that the font files used to ersate this document were embedded in the PDF. which protects the PDF's typesetting integrity and discourages font substitution, So here, we set the profile to indicate an Error if a Font is Not Embedded,

Note: You can designilte the profile to look for specific font types" such as CID fonts, and even specific font names that you may want to check prior to printing, Also note that other font checks are and can be included in the Custom Checks (see Step 13).

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For RenderIng, we've kept the Warning (included in the original duplicated profile) of finding a Custom Halftone Setting Used. We also ~dded a Warning to find any line. Thickness Less Than 0.5 points ill Width .

The custom halftone s-etting is designated to be removed in the fixups in the original profile, and .s.etting a minimum line width can be added to the fixups (see Step 14). If you're concerned about transparent objects in your PDF, you can a lso activate til e Transparency Used check at the top of the Rendering options,

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This section is to let you specify which, if any, PDF standard cornpliance you may want your PDFto meet. 111 the Sheetfed Offset (CMYK) profile, by default PDFIX-la (2001) is active as an Error check. This compliance is not necessary for my printing needs, however,. so I've made all the PDF standsrd compliance checks Inactive.

Note: Any profile check you deactivate will reduce the complexity ofthe preflight report and file you generate, thereby reducing the time required in its evaluation.

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If, however, you're working in a PDF standard-cornphant workfiow (PDF/X-1 a is a common choice), the Convert to PDF options can be very useful.

It's important if you do convert a PDF to a standard to choose the proper output/destination profile in the Set Output I ntant To drop-down menu. If appropriate, check Use Embedded Output Intent If Present, or if embedding isn't desired, check Omit ICC Profile Unless Embedding is ReqUired.


11"1 tnls sectlcn you can add, duplicate, edit, or delete spec"ific profi'le checks. For mstence, the T ext is Smaller Than 5 PI check can be removed from the Custom Checks in this Profile list. If you want to add a check, locate it in the AI.I Available Custom Checks list and click the arrow icon. below the list. Or you can modify a check by clickin.g the Edit Check leon (circled) to bril19 up the Preflight: Edit Check dialoq.

Tip: As when creating cUstom pre.fligh! profiles, I suggest duplicating and editing an existing Custom Check when creating a new check.

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Till's last setting (before Summary) is ;l list of edits, known as fixups, that cal") be applied to a PDF when you choose to execute a preflight with fixups, A common prepress fixup (shown here} is to Convert Alternate Color Space for Spot Colors (conversion of 11011-CMYK colors to process l CMYKj colors). As with Custom Checks items, each of these fixups can be added, duplicated, edited, or deactivated. One,? you've. completed your preflle, use the drop-down menu at the top to Lock it, dick the Save button at the bottom, click OK, and then ta ke it for a spin by executing it on a PDF mel

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slide shows. the quick and the creative

A friend once told me that being a photographer is 50% taking pictures and 50% keeping track of them. Add to that the need to publish collections of images as slide shows, portfolios, galleries, and client review sites, and it seems the work never ends anymore. Today, there are a gazillion photos on the Web and almost as many ways to publish them online.

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If you're still looking for the best way to publish collections of pictures on the Web, your first challenge is deciding whether you want to create a carefuily designed portfolio or a quick proof shoot for a client In this column, let's sort through some of the Simplest ways you can put your photos online, including tile built-in Web Photo Gallery in Photoshop, which was used to create this slide show in a matter of seconds, as well as more complex solutions such as the Flash slide show extensions you can download and add to Oreamweaver.

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" If you use Photoshop and you want to create a quick Web gallery with a folder full of snapshots, try File>Automate>Web Photo Gallery. Although the custornization options are 'limited, this tool can save you time because it's designed to autornatically resize a collection of images, creating both thumbnail versions and larger images. You can even specify ql)~lity options and choose from designs created as Flash files or HTML and image files. Although the HTML code can make the pages difficult to edit in Drsarnweaver, you can easily link the gallery to any page in your website. (Visit www.layersmaga~ine_com/when"html. goes.bad.html for lipS on editing HTM L in a Web gallery,)

If you have Fireworks, consider using the Web Photo Album cornmand included in Oreamweaver (you must have Fireworks to use it). Th is tool is similar to the one in Photoshop, except that its layout options are mare limited, That makes this tool fine for creating quick galleries, but if you want more control over the design, you may be happier with some of the extensions covered at the end of this column, Even if you create a custom layout, you can still use this feature to automatically resize a folder full of images, creating optimized images, match ing thumbnails, .and a series of pages that link them together (all in a matter of seconds).

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To createan album, open or oreate a pa.ge in Dreamweaver (the Album feature is grayed out If you don't have"<) file- open) Choose Create Web Photo Album under the Commands menu. You can type .a title, which will appear at the top of each Album page., and add up to two other lines of text using the Subheading and Other Info fields. Use the Browso button next to the Source-Images Folder field to select the folder that contains the imag,es you want to include in your album, Then use the Browse button next to the Destination Folder field and choose a folder where the new album files will be stored.

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In the Create WebF'hoto Album dialog, you can also choose 'from several thumbnail sizes, up to 200x200 pixels, The number of columns you enter controls how Iil<,my thumbnails will be displayed across the page,. eachin its own table cell. You can also choose a quality setting and size for the :Iarger version of each image, which will be inserted in its own page and automatically linked to the- thumbnail page and to the ne)(i and previous image pages in sequence.

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When you use the Create Web Photo Album dialog, Dreamweaver saves alii of the files that are automatically created in the folder YOIl selected as the Destination Folder_ When the process is complete, you can open the folder in the Files panel to View or edit the thumbnail irnaqes, larger images, and any of t'he pages that were created and linked. The index.htrnl file in the album folder is the first page of the slide show and displays the thumbnail images, Once you've created an album, you can edit any or all of the pages just as you would edit any other files 11'1 Drearnweaver,


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One of my favorite things about Dreamweaver is that you can add features through a growing list of extensions. Visit the Dreamweaver section ofthe Adobe Exchange site at www.adobe.com/e)(change and you can search through hundreds of extensions created by third-party programmers., complete with customer reviews and rankinqs, A search for "slide show" finds more than 20 matches. Some of the best extensions are also the most expensive (you'lil find two recommendations at the end of th is column), but there are a few thst are free, includill9 the onscoveredin the next few steps.

After downloading an extension from theAdobe Exchange site (or from a third-party developer), simply double-click on the MXP ftle to launch the Dreamweaver Extension Manager, which automatically adds the extension. Installing new extensions is fairly self-explanatory; but you'll want to pay attention to tbe instructions when It comes to finding these new features once they're added . Extensions often add manu items' and buttons, but they're not always obvious if you don't knew where to look. MallY are added to the Commands menu, but they can appear in other parts of the program <'IS well.

The Advanced Random Images sxtenslon by Kaosweaver is one of the more popular extensions on the Ad'obe"ite_ You can use it to display a random image every time a webpage is loaded or to change an image d<.llly. You can even create a random slide show. The extension, which can be added to Dreamweaver MX 2004 and later versions, creates JavaScript, work, on both Mac and PC computers, end it's free (although the programmer does welcome oonationsl. You'U find the Advanced Random Images extension under the- Commands menu after it's installed.


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To use the Advanced Random Images extension, click to place your cursor where you want the random image added to your page. Click the Commands menu and select Kaosweaver.com and then Advanced Random Images. In the dialog, select an Action, such as Random Image or Daily Image, and then use the plus icon to add

a collection of images from which the random image will be drawn. With an image selected, you can specify the Dimensions, Title &. Alt text, Border, and Link. Click OK. (Note that you won't see the first random image displayed in Dreamweaver unless View>Visual Aids>lnvisible Elements is checked.)


To view your slide show, you'll need to preview the page in a Web browser. To do so, dick the Preview button at the top of the workspace or choose Fne>Preview in Browser and then select allY browser you have associated with Dreamweaver, Because the Random Images behavior is designed to display a new Image each time the page is loaded,you'li need to reload the page in the browser to get tf-te full effect and see the images change randomly. Here you see the top of a banner image, with two different images displayed to show the effect.

If you want even more options, consider the XML Flash Shdsshow v3 extension from www.dwuser .. com.For$29.this extenslonedos " variety of layouts, color customizetion, and many other settings. You can also add a title, caption, link, and other details to each image individually. Arid you can even add watermarks as you crests galleries, Like. the Web Photo Album in Dreamweaver, the extension can be used to re.siz.e image, and thumbnails (as long as you have Fireworks on your computer), For deta i led instructions for h ow to use this extension, look for "Using the Dreamweaver XML Flash Slideshow Extension" at www.layersmagazine.com.

If you're looking for a more distinctive leek for your photo galler" ies, you may want to choose an extension such as the 3D Photo War~ from www.dmx.zone.torn.Pricedatmorether]$100.this is one of the most expensive extensions feca.tured on the Adobe' Exchanqs site, but it does have a high coolness factor. Using this program, you can automatically generate a wall of photos that can be zoomed a nd panned to add interactivity and fla·jr to your galleries. For detailed instructions on how to use this extension, look for "Using !he Dreamweaver 3D Photo Wall Extension" at www.layersmaqaztna.ccm .' ,.

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create some noise

To become proficient at Flash you need to learn how to utilize the arnazinq community we have for inspiration and code samples. This tutorial will show you how to bring a still photo to life using the mysterious displacement map filter and some Perlin noise. Complete.ly understanding this filter isn't necessary in order to achieve some stunning effects with it. What is important, however, is the ability to take some example code and experiment with it until. you achieve the effect that you're looking for.


For this tutorial we'll work with this photo of a canal in Amsterdam and we'll make the water come to life. Open the water.psd file from the tutorial folder (available at www.layersrnaqazine.corn) in Photoshop CS3 so we can take a look at the layer structure. This file contains two layers with the photo on each layer. The original layer contains the untouched photo. The other layer contains the same photo except the canal has been masked out. Once we get into Hash we'll apply the filter effect to the bottom layer; only the water of that layer will be visible under the masked layer.

[If you'd :like to download the files used in this tutonal to practice these techniques, visit IYww.1Ia,yersmaga,ine:com and oavigate 10 the Magazine section. All fries are for personal use only.)

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Now open the water.fla file from the tutorial folder In Flash C53. This fi Ie was setup by creating a new Action Script 3.0 docu merit, setting the frame rate to 30, resizin,9 the stage to the photo's size, and renaming the first layer to actions and locking it. lts important 10 note that all the techniques we'U show you here are also available in ActionScript 2.0 but there will be considerable performance Increases if you use the latest version of the language,


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cl ick the I nser't Layet icon to treate anew layer above th e actions layer_ Double-clid<: or the i;'lyer'snameand rename it "photo." In the libraI}' panel (Window:>Library),_ go into the waterpsd Assets folder by dcubie-dickioq it, and drag out a copy 01 the original movie dip onto the Stage. In the Property ihspector (Wfndow>Properties>Properties), set both its X and Y values to zero and give it an Instance Name of "photo." Create another new layer and name it "masked," Drag out a copy ot the masl<.edimage from the Library panel ooto the Stage and position it to )(:Q, Y:O in the Proper1;y inspector, You can now' lock all of the layers On the Timeline.



In Flash, select File> Import> Import to Library to open the Import dialog. Select the water.psd file and click the Import to Library button to open the PSD Importer, Here you can ,adjwst the settings that affect how the Photos-hop file is imported. Click the masked layer and under Publish Settings chaflge the Qual ity to Custom: 90. Now select the origina I layer and dick the Create Movie Clip for Th is layer checkbox. Also set the Quality of this layer to Custom; 90. Click OK to complete the import.


Now that we've taken care of the entire visual layout, it's time to start Writing the AetionScript code that will turn the photo of the coma! into a beaf,ltif~1 moving animation. Select the first keyframe in the actions layer and then open the Actions panel by selecting Wihdow>Adions. Ons he I pfu I tip for work ing with the Actions panel ls to pin your script so that your code will always be visi'ble no matter what you're dickin,g all, Click on the Pin Active Script (pushpin) icon to pin the main 'script into the Actions' panel,


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Copy the code you see above into your Actions panel. On line 1, we create an instance of the BitmapData class that will allow the filter to manipulate our image on a pixel-level basis and we set its width and height to the same as our photo. On line 2 we. create an instance of the DisplacementMapFilter and pass to it the BitmapData object we created onl ine 1. You can look in the help files to see what the rest of the parameters do. As always. experimentation is key here.


We'll use something called Perlin noise to create the water effect (You can read more about Per.lin noise at the end of this tutorial) In order to use this we need to create a few variables that the Perlin noise function requires. Copy the code you see above into the Actions panel. On Hnes 4 and 5 we create a couple of Point objects. These are objects that contain an X and Y position. On line 6, we create a new Nray that will hold the two Point objects. An Array is simply an object that holds other objects.

., val' pl:Poi.nL .. new Point(0, 0); val' p.2: POl nt '=' new IPOI nt(0, 0); vOl' per1inQffset :A""Oy = [1'1, pZJ;


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In order for us to make the water move we'll need to apply the displacement Biter continuously in a loop, alte(ing some of its properties as we go. To crest?, a loop we naed to set up the ENTE R_FRAME event. This event calls a function every time the player hits a new frame. Since we. SBt our movie to 30 lps, the function will be called 30 times a second. Copy the code you see .,bove into the Actions panel, lt.creates a rtew ENTER_FRAME event and tells it to call the 100 p fun cticn every time it fires.




In the last step we told the ENTER_FRAME event to call the loop functio n each ti me. it fires. In th is step wet II ..3!:lually ereate th is fu nction, Copy the code YJ:lU .see above into the Actions panel. This. code creates a ~ew function named loop. lnside of this we'll adjust properties of the. displacement filter and then .apply this filter to our photo movie clip. Again, if some of this is confusing don't worry. The. beauty of Flash is that you dO!1'! need to understand all 01 the. code in order to use it!

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Enter the code you see above into the Actions panel. On lines 12 and 13 we made increments for the Point objects we created ear" lier; Changing these two values can Create a wide array of dlffereflt effects. (The values I chose here were based all experimenting until a rea Ii sri c wa ter effad was rea ch ed.) li n e 1 2 controls the effect on th e X axis and line 13 the Yaxis. These values will change 30 times-a second and are what CCJUS8!i the displacement filter to do its magic.



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The last step needed to make this effect work is to simply apply the displacement filter to the photo movie dip. Copy the code shown above into the Actions panel. Here we're setting the filter to the mov,ie dip'S filters property. We use square brackets since the filters property is actually an Array de5igned to hold multiple filters. Test your movie and you should now see the canal come to life. I'm still amazed how raalistic this effectlooks, If you added some ambient sound people would swear it was video footage,

Copy this .Iine of code shown above into the Actions panel, which calls "the pedinNorse function on the bitmap data object we ;:reated in Step 6. This function takes a slew of parameters and it's not important that you understand what each of them does, The main thing, to take notice of is that we pass in the perlinOffset object that we manipulated in the previous step. il definitely recommend, that you look up perlinNoise in the help files, teleam more about what each of the parameters does.)



[Lee Brlmelow 'S 8 PI. (farm fYllnge.U" wim Adobe and on "".r.rd.W. inning. In te.l'iicnve de"gn.er. Le."m, ~ns rree ttl wrl~1 .ire • t www.gQto.ndleam.ca ... and", Fl. ,'Herau,d blog .! ] www.thEII~.hblog.com.H~;.;al.oll\ e "utho.cf" .. ver.ltltl es fo.lylld a. corn d~.ling with Flash" nd Alter Effecl$.


As mentioned in the tutorial, generatin8 Perlin norse is the ke~ to ma:kil1g thiS tectll'liq(Je work, It's also vital [n the Gre~tion of hundreds of other ,effects li~e fire, smoke. and douds. Perlin noise is named after its ereator, Ken Perlin, wlio'€reated the. ai,gorithm while,do(ng the sfJ"!c;ial e'ffectsfurthe rntwjB Tron. He won the .Acaaemy /l.,ward for Technical Achtevement in 1997. The. adua'i math behind this technique can get quite complex but if you want to leam more about it you carl poilit your browser at http://en.wikipedia.org/wiki/Perlin_noise. I have tried a number ·of tim es to get a fi I'm gra sp on all of the deta ils of til is alg,orilh m but gave up in the end. The beauty of Flash is that you .don't need tounderstand how everything works in order to use it to create some stunning effects.! mean do Photoshop Users actoally understand how the liquil)r filter achieves its effects?


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[ EVE?ryone should jump on the online video bandwagon as soon as possible. ]

get yourvideo online

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Everyone should Jump on the online video band" wagon as soon as possible. I know that's a bold statement, but to say that on line video today is expl.oding in both business and consumer spaces would be the understatement of the year. Photographers are making musical slide shows of their photos and posting them online to both inspire others and get themselves more work. Videographers are filming behind-the-scenes and making-of featurettes and posting them online to both educate young filmmakers and draw new audiences to their work. Businesspeople are using video to introduce their companies and show off their products, while both parents and kids use video to stay connected with extended family and friends,

Powerful promotion

Does that mean that you should abandon your still camera for a video camera and never look back? Absolutely not! What it does mean, however, is that even if you've never shot a single second of video, YOLl should at least package your best images into a compelling slide show, add a little music, save it out as a video file, and then distribute it on the Web. Every deoent program that can create a slide show also has the capability to save out that slide show in Apple Quicklime, Windows Medi-a, or Adobe Flash format. And t,h.is is all you need to upload your work to a potential, audience of millions. At worst, your video slide show is an inspiration to someone else aspiring to do the same thing. At best, you've Just doubled your marketing and picked up a wealth of new clients for your business (whatever it moy be).

II you've ever seen a sl ide show presentation set to music at Photoshop World by a world-class photographer such as Moose Peterson, Vincent Vers~ce, Jim DiVitale, Johrr Paul Caponigro, Eddie Tapp, Laurie Ex.cell, Joe Glyd.,., Ben Willmore, or any 01 the many, many others, you know just how powerful it can be far both inspiration and for sales, Just ask any one of them how many more books, IDVDs, 0, seminar tickets they sell after a showil1g.

So the next step would be to upload your vide-o to one of the many video, sha ring sites- that have exploded onto the Web in the last couple of years, but which one1 Everyone', heard of YouTube, but is it the best choic-e for you? Well, for the last year I've been researdhingandanswerlng those exact same questions for my dients who hire me <15 a consultant and as a distributor of their online content, In that time I'Ve compiled a list of the top 12 sites I like for distributing video online It's e lengthy report I uWally only share with clients, but I'm. goirlg to sl~are some of the key poirlts with you today.

Rod's top 12 video distribution sites

This list includes a little' bit about each site's Web traffic and audience demographics (compiled from Gooqle.searches and TuoeMogul analytics) so that you can decide if the video distribution site is a good fit for you.

YOIJTube (www.youtube.mm): The Mac Daddy of a',11 Video dlstributien sites.

TraffiC averages: Nearly 70 ·million rnontbly unique 'yisi,tb;s; 74 pages viewed per person; 0:55:52 minutes spent on site.

Demographics: Evenly female/male audience; largest age cluster In 20~0 year-old range..

MySpace (www.myspace.com): Primorily a social networkinq site. The video component is not promoted, but is Widely 1.wed,

Traffic aver-ages: 12.5 rni II ion mOllthly unique visitors; 12 pages viewed per person; 0:07 :03 minutes spent on site. Demographies: Surpl'isi'ngly, the audience only slants slightly younger; roughly even ma le/Iernale: relatively less educated.

Rewer (http://rewer,cQm); This site employs an ad sharing revenue system similar to (foagle's AdWor-ds, but for video,

Traffic averages More thsn 8 mill.ion monthly unique visitors. 16 pages viewed per person; 0:08:07 minutes spent on site, Demographics: Slightly more male viewers; age slants relativel)' alder.

Yeah (www.veah.com): Focused on full-screen video programming. tor anyone with a broadband connection.

Traffic averages: 3.6 million monthly unique visitors; 30 pages viewed per person; 0:41 :29 minutes spent on site.

Demogrnp~ks: Slightly more male viewers; even distribution across "ge categories_

MeJacafe (www.metacafe.com): Popular worldwide video dsstination, Prides itself on quality over quanti1;y.

Traffic averages: 3.5 million monthly un ique visitors: 15 pages viewed per person; 0:07:10 minutes.spent on site. Demogr"phks: Almost 3:1 m~le·to-ferTjaJe ratio; relatively e"en education and income.

Yahoo! Video (http://video.yahoo.com): A sleek, snrertammentoriented video site. Not yet fu'lly inteqratad with all of Yahool's community destinations.

Traffic averages: 12 million monthly unique visitors; 4 pages viewed per person; 0:02:76 minutes spent on site.

Demographics: Slightly more male viewers; slants older in age.

blip.tv (http://blip.tv):Publishel'.friendly video sharing and distribution site.

Traffic averages: 1.3 mill ion monthly unique visitors; 3 pages viewed per person; 0:02A3 minutes spent on site.

Demogrilphics: Slightly more male; educated and higher income.

D.ailymotion (www.dajJymotion.com): Popu lar video sharing site out of Europe,

Traffic averages: Almost 5.5 million monthly unique visitors:

10 pages viewed per person, 0:04:49 minutes spenron site, Demographics Interflatlonal audieilce; high age- and income level; slants white male.

Vimeo (www,vimeo.con1j:Hlp,. user-generated content.

Traffic averages: 1.3 million monthly unique visitors; 5 pages viewed per person.

Demographit5~ 2~1 rnale-to-Iernele ratio; high income and col. lege educated.

Ooogla Video' (http//vide0'.google.com)iOne of the first video sharing sites to offer ad revenue sharing with publishers.

Traffic averages-!" 436,000 monthly unlque visitors; 3 pages viewed per parson; 0.:02:34 minutes spent-GO site.

Viddler' (www.viddlet;oom)rNewerslte with 'cool feetures like comments tied'to a particular time in rhe video and automatic webc-am sync, Demographics: Slig~tly more male; college educated.

Facebook (www.faceboQk.com); Another- major social networking site with more than 100 mi Ilion users, I t's also ths fourth rnosr trafficked website ir1 the world, Need I say more?

So wltatcan online video do for you?

Online video C13f\ expose your art, pers,;:ma:11ty, business; and product to a who1e new audience that might otherwise not see it. It can in-spire others as it inspires you. It can enoourage collaboration with !fleople from other disciplines And it can increase your business and sa les so t'hat you can continue to do -whatever it is that you love most. Now doesn't that sound like a geod reason to get into online video disrribution?1I

One or my You Tub". clips has more than 127,000. views,

[Rod Harlan Js a video irldu,tJy veteran and founder of tI>" Digita! Video p",le«iOrl.l. Assocetlon, Through hj,comp.ny DliveDV Inc., Rod worl<s on !iP"dal projeclS fOf I'ortu"a sao ] Cir..nt5 _stich as Adobe and priV3le institut,ons ",d, as the NAP~His popular indus t.y brag is packed ""thrips. tu tOfja!s, and Industry jn'ight and can be found at Dileo" ~dentia!.""m, :'


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keep your eye on the ball

Animating your After Effects design in 3D space is fun and, for the most part, easy to achieve; however, the camera and objects can have their own agendas in some instances, but a few tricks can change a seemingly uncontrollable camera animation into pure, cool cinematography ...

Start out ln a blank After Effects (S3 project. and press Cornmand-N (PC Ctrl·N) to create a New Composition. In the Composition Settings dialog, choose HDV/HDTV 720 29.97 from the Preset menu, enter 6 seconds for Duration, and click OK. Then create, or double-dick in the Project panel to impo.rt, an item you wish to move the camera around in 3D ·space. (For this flyby title animation, I'm importing a clip named SBE173Hfrom Artbeats.corn-van HD clip of a 30·animated soccer ball.) A circular element like this will add even more 3D depth to the scene. When imported, drag the dip into the Timeline.


In the Timeline, double-dick the ball clip to open it in a Layer window, then go to the Toolbar and choose the Ell ipse tool (nested u nd er th e Rectangle tool [QD. Pas ition the cu rsor in the center of the bait start dragging, and then hold down Shift and Command (PC:

Ctfl) to proportionately constrain and center the circle. Double-click a point on the mask to position and scale it to fit the edge. of the ball, then dose the Loyer window and select the main Selection tool M. If you click the. Toggle. Transparency Grid icon in the Camp window, you can see that the ball is now separated from the background.

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We want to make the ball spin faster, so click the {) icon at the very bottom left to expa nd the Stretch pa n e in th e Ti mel i ne, th en click on the balls Stretch value and change it to 25%. Close the time Stretch pane by clicking the {) icon again. With the ball still selected, press the S key to reveal lts Scale property, and shrink it to the appropriate size (60% in this example), Now, go to layer>New>Solid, make the Width and Height 1500)(1500 pixels, click the color swatch, choose a bright color for visibility, and click OK". Click OK again, and then click-and-drag the solid below the ball in the Tirneline .

In the. Sw~ches column, dick the boxes below the 3D tayer icon next to both the balll and the solld~nothing will change, but now we can add perspective. In the Camp window, ensure that your 3D View Popup is set to Active Camera. Select the solid in the Timeli ne and press P, Shift-R, then S'hitt-S to reveal the Positlcn, Stale, Orientat ion, and Rotation properties. Change its X Rotation value to 90" and: its Y Position value (the second field on the Position I.ine) to 900 to place the solid below the ball, acting as a floor. Fina[l:y, change the Scale to-around 2,000%.

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Animating in 3D space is much easier when you have reference objects or lines to work with-but a ball and a flat color solid don't look much different from any angle! So go to .Effect>Generate>Grid, and a square grid appears Of) Ihe solid. Set the BI.ending Mode Qn the Effect Controls panel) to Norma I to see the original color of the solid, then change the glid settings to suit your needs. You can always switch Active Camera t-o Custom View 1 in the Camp window and: then use the Orbit Camera tool (C) to view the scene from a different angle--showing ~he ball as a lIat 2D object.




Switch back to Active Camera view, then go to Layer>New> Camera. Choose 35mm from the Preset menu, ensure the Enable Depth of Field checkbox is turned off, and click OK. As you saw in Step 5,looking at the ball from a different angle. reveals a problem-the 3D layers are flat. But here's a super little trick:

Select the ball layer in the Timeline, go to Layer> Transforrro-AutoOrient, choose Orient Towards Camera, and then click OK, Now the ba II will a uto- rotate to sta y fa ce -on to the ca m era!

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... the ball is always dead-center of the screen, and thrs looks fake. So lets do a small trick to fix that. At 0 seconds, go to Layer>New>Null Object" and then dick the 3D box for the new Nul11 layer in the Time!ine. Press P to bring up the Position property, change its X, Y, and Z position values to -600, 360, and 0, respectively, and then dick the Stopwatch icon to add a keyframe at ° seconds. Scrub along to 5 seconds and change the Null's X, Y, and Z position to 500, 400, and 400. This is basically animating the ~ull to move in close proximity to the bail's position, but with a different speed and end result.


Let's test this by animating our camera now, At ° seconds in the Tirneline, select the Camera 1 layer, hit P to open the Position property, and set the X, Y, and Z values to 2700, 500, and -1000, respectively Click the Time-Vary Stopwatch icon to add a Position keyframe, then scrub along the Tirneline to 5 seconds and chang:e the values to -800, -600, and -300, Now scrub back and forth along the Timeline (or hit 0 on the keypad to RAM Preview), and you'll see the camera and grid show movement, and the ball always looks totally 3D. Very cool but ..

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SO !"lOW we can tell the camera to look at the Null-and not the center of the ball.,....-during its position animation, and this. will offset the motion beautifully. Select the Camera !ayer and hit A tQ reveal its Point of Interest propert),,(POI). This, by default, is always pointed at the center of the 3D scene, but it helps greatly if this is told to follow an object instead. Hold down Option {PC: Alt) and click on the POI Stopwatch icon, dick-and-hold the Expression Pickwhip (swirD icon, and drag it to the Null 1 layer's Position value



Now when you RAM Preview, you can see a much more cinema-like feel to the. camera movement-the. ball goes off-camera slightly to one side, and the final resting position :is more controliabie, which allows for insert-on of text, titles, and other elements. Go back to the Camera POSITion keyframes (select the Camera layer and press P), scrub to 5 seconds, select the second keyframe, and adjust its values to -800, -1000, and -800. Now Shift-dick the final Position keyframe for the Nul11 layer 50 that it's selected as well. Go under the An,imation menu and choose Keyframe Assistants-Easy Ease In to ease the motion in slowly.



To give the boll some "lift" from the solid ground, let's add 0 shadow, Using a light wouldn't work very well, as the ball casting the shadow would be----remember-rotating to follow the camera, 50 the shadow would adjust its shape in a strange way. Instead, at 0 seconds go to Layer>New>Solid, set the size to 7SOx7S0, change the color swatch to black, and click OK, As we did in Step 2, use the Ellipse tool to create a circu lar mask from the center to about half way to the four sides of ~he black solid.

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Tum the masked solid layer into a 3D layer. Hit R to reveal its Rotation val u eS,a n d set its X Rgtati on to 90". Hit P to reveal its "osition va1u as, then set its Y Pos.ition to 898 until the solid is just abov!,\ the floor. HH:.F to reveal the Mask Feather property and adjust to your desired softness, Finally, hit T to reveal its Opacity value, and lower it s1ightly to show the Iloormrough the shadow Cool, eh? Now, in the Switches pane, turn on Motion Blur for the ball, shadow, and floor solid, and then click on the Enables Motion Blur 'icon (circled) in the Tirnehns. A RAM Previewsure looks great nowl

Now you're free to chal1ge out the fleer for other elements and graphic" adjust the position keyframes and timing, and get more daring with the moves and find k<~yframe combinations. that reall.y suit the project you're working on. The main th ing 15,. you now have lud,1 control of your camera and can accurately animate smooth Cinematographic moves without the guesswork, Enjoy!U';cI

[Sieve H",imes il ,~e cre.~'tive director at Energi Design in '0 u<iI!l1", Ca!lfom,", crelIling award-winning modon 9Iap~;cs and Web design for dient\< wo!ltiWide, 1-/" ai,,, speaks at ] various des'9n oon ietence: on the subie.:ts of II ~e' EffecfS, me tion graphics, iwd typo B"'phy, and ca n be ","ched "' sre ve@ciiokenet9i,com ..


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right on cue

Not only is it possible to add music to a Flash movie but it's also possible to trigger events at certain points in the song. We'll start in Adobe Soundbooth, add cue points there, and then import everything into Flash. The trick is to export the music in Quick Time format from Soundbooth and then allow Flash to covert it to an FLV file. Most people associate FLVs with video, but they can hold audio and cue points, too.


With your audio file open in Soundbooth, dick in the waveform to place the Current-Time Indicator where you want to add a cue point. From the menu, choose Edite-Markec-Set Flash Cue Point. You can also add a cue point by pressing Shift-B (or the Asterisk 1*1 key) on the numeric keypad.


To add additional cue paints, repeat Step One. To give cue points descriptive name" dick on the Markers tab on the left to reveal' the Markers panel Click on one of the marker symbols in the Timeline, then type a name in the Marker Details section of the panel We named our cue points "show star" and "hide star" You'll see why once we get to Flash, Note: If you don't see the Markers panel, choose Window>Markers from Soundbcoths main menu.

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Now choose File> Save As and in the Save As dialog, pick Quicklime (MO\l) as the file format. (FLV, Flash's native video format, might seem like a better option, but choosing Ou ick Time will make it easier to import our cue points into Flash.) Note: Soundbooth saved two files to your hard drive, the Ouick Time file and an XML file that contains data about th e. cu e po i n ts.


In Hash, import (File>lmport>lmport to Stage) an object that you would like to appear and then disappear based on the markers that you added in Sound booth. In our example, we're going to use a group of stars on their own layer above a colored background. Select yOl)r object, and choose Modifyc-Convert to Symbol. In the Convert to-Symbol dialog, name your symbol "star;" choose MOVie Clip for Type, and click OK. In the Property inspector, give the name "star" to the Instance of the symbol on theStaqe.


Go to File'> I mport>lmport Video and in the Import Video wizard, click the Choose button and select the Quick Time fi'll'! you exported from Soundbooth. Click on the Continue button.




In the. wizard's next dialog, choose Progressive Download from a Web Server (the most standard deployment method). What this means is that for the Flash movie '0 play back the audio, we'll have to upload Iwo files to th e Web the Flash movie (SWF file) and the FLV fi Ie that the wizo rd will create from our Quick Tillie movie. The wlzard will place that FlV in the same folder as its source. Again, click on the Continue button.


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On the wizard's next screen, dick on the Cue Points tab, then dick the folder icon (circled) and import the cue point XML file. Click the Continue button to yes, continue with the wizard.



Choose None as the Skin type in the wizards next screen. Skins add playback controls to media, such as play and pause buttons. Because we just want our audio to play automatically, we have no need for skins. Click Continue, and then click Finish.

After the wizard is done, give the imported media an Instance name of "music" in the Property inspector and move it off the Stage. Because it's Just audio, there's no need for it to be seen .

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Our goal Is to make the stars invisible by ·defau.lt and then we want them to appear when the music reaches, the first 'CUe point ("'show star") and van ish when it reaches the second cue point ("hide star"). In the Tirneline, click the Insert Layer icon and rename the new layer" actions." Select the first frame and choose WindQw>Actions to reveal the ActionScript editor. Here's the code. that we typed above. (Note: For more information on working with cue points via ActionScript, see the online Help lor the FLVPlayback component.)


- --

Sure enough, when we tested our movie, the stars were invisible at first Then, perfectly timed to the music, they appeared and disappeared-right on cue .•

[ M "reus Geduld i.' tna Senior Fla<~ O""eloper for Nabbuom and an Adobe Cerljlied Expert who has written several books on Adobe proiJuClS, t-Ie 5pea~s te9u/arN at con fere~ce5 ] such as NAB, Macworld, and 1/1" Edito" Retre"L He 1;"", ,n' New York City ."d i~ iIle Arti,tic Dire~!o' 0/ folding Chair Class]caJ Thea!re, '

Loyers: The Complete Ouideto Photoshop's Most Powerful Feature by Matt Kloskowski

)When Matt. Kloskowski was asked why he wrote this book, he replied, "l wanted. to

/ )wri~e t.he Phot~shop book th~t I WiSh. had ~ been around when I was learning Photo~shop." layer.s are rhe key to understand-

Y ing .. PhOto. Sh.OP'. and.· this T.esO. u. ree. shows you how. Perfect for CS2 or (53 users!

KT PRICE ~ $31.99 NAPP PRICiE ~ $·23.99

Adobe Photoshop Lightroom 2 Book for Digital Photogrophers by Scott Kelby

SCOtt Kelby. If 1 best-selling computer and technology author, updates his previous Lig'htroom book and rewrites the whole thing in the process to include all the new tips and tricks he's discovered along [he way since his first Lighlroom book A must have for all UghO'OOm 2. users!

KT PRICE - $35.99 NAPP PRICE -529.519

Scott Kelby's 7~Point System for Adobe PhotoshopCS3

by Scott Kelby

lmagine being able co open any ima.ge in Photcshcp CS3, and know exactly what to do first. and how to take it all the way from "flat to fabulous'tjust like a pro. Scott Kelby's 7·Poine System teaches you the same tricks the pros use. It will change your photography workflow forever!

KT PRI.CE· $39.99 'NAPP p,lUn - 530.99


To order, call 800.201.7323 or uisit mmm.kelbytraining.com


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THe s rr a r qa r scoop on all THe t.ar e sr qr aput t s qear

Axiotron Modbook


With Apple's blessing, Axiotron Corp, made modificatlons to a standard Apple MacBQok laptop to produce a tablet with a se;reen that's sensitive to a Wacom stylus-similar to a Wacom Cintiq, Called the Modbook" it's the only Mac-based slate on the market and it's de,signed 'for a rtists and photographers.

The Modbook doesn't have a keyboard so if you buy

it with the idea of using it as a standard laptop computer, you might be disappointed. The tablet we tested carne with Mac as x lQ,5 Leopard, a 22-GHz_lntel Core 2 Duo processor, and 4 GB of RAM Its input/output panel is identical to an Apple MacBoo'k-ijSB, FireWire, Ethernet, Bluetooth, and Airport connectivity-and it also includes iSight and a Global Positroniing System ,.

The Modho_ok design is unique: besides having no keyboard, there's no cover. Its 13" LCD .screen, With a native resol utlon of 1280x,800, IS always exposed It IS protected by.a scratch-reststent plate of nonreflective matte glass that A xiotron calls ForceG lass, which is sensitive to th e stylus. Th e screen is frame d by scratch- resi sta n t mag n esi u m, Th e sty I us, hcu se din a p ockst b ui It i nto the right co rn er of fhe frame, has two. programmable buttons and a digital eraser at the top, and the Modbook ships with an extra stylus and tlps, The tablet is slightly thicker than its M-acBook counterpart and, all 5-.5 tbs, weighs 0,5 lbs more, Axiotron deserves high marks for the Modbook"s so ltd teel and rugged constructton, for some, however, the weight might be an issue. With continuous use, the Modboak's re~hargeable lithiwm battery i5good for an average of 2.'5 hours.

The Modbook elevates the experience of WalKing in g,raph;ics programs such as Photoshop by bringing users physicilily closer to their work, allowing a more intirnata ralatiorrshi p with their images. It'ssimllarto drawing 011 paper and it's seductive. The stylus has 512 levels of sensitivity (by comparison, the Wacom lntuos has 1024) and the screen reacts accurately and instantaneously, Draw with light or heavy pressure and the screen quickly complies with the fight shade of opacity. Create accurate th in, thick, ·straight, or curvy I illes and the Modbook keeps up with you. I dld notice that over time the pen and cursor don't correspond accurately, especially at the screen's edges; .however, there's a utility that will reset the stylus to correct this behavior_

The tablet might be disappointing to sorne, however, Its screen size of 13" probably isn't big enough for qraphic artists used to a large~ workspace, and although the screen is sharp and dear, it has a narrow angle of v.iew, with brightness and colors dropping off as you tilt your head. The corners vignette if you don't hold the Modbook in exactly the ri ght positi on arid the screen wa shes out i n b~jght, outdoor .Iighl. Then there's the lack of OJ bullt-in keyboard. You tan connect a USB or B luatccth keyboard, but that's an awkward -setup. For typihg, Axiotron includes Qu1'ckdicks, a virtual on screen Aoafing !<.?yb oa rd forta p ping ou t com m an ds with the sly lu s. 0 u ie kcl ic ks is programmed lor easy accessibIlity by pressing on the stylus taggle swit.;:h, It hesseveral setup options 811d, between scrolling menus and pecking on fhe Qwick.click's keyboard, it's workable- __ but certain1y 1101 if you're goir'lg to do a lot of writing. Using Ink, Mat 05 X's handwriljl19 recognltit1t1 program, adds little to help the situation.

I repeat Don', buy the Modbook for general computer use; Ws designed for graphic artists.e-Steve Baczewski

(DITlpanY' Axiotron Corp .

Price: Starts at $2,290

Web: www.axlotroncorn

. ,

Canon X



Canon's reputation fl;ir outstaodinq ima.ge quality carries Qver through. out tileir product lines, and in this high·definitkm iNGrid that allows U~ to create everything from Blu~ray to YouTube videlD5, getting serious about camcmder-s is' beceming more ll1~instre<lm. The XH Al high-dafini bon camcorder hasso much going for it thst all oHhe othermanotacturers will have-to sit up and ta'ke notice, again.

I" this class of Video equipment, the XH Al is relatively lightweight at justover4lbs., but there ere so many features for this sill!;!. You can shoot with aim est ~9ro effort in fully automatic- mod 9 or explore th 9 'h u g.9 ra n 9 e of functi 0 1"\5 ,ir1cluding HD SOl, time code, and 6.o'/50i modes, as well as both min'iDV and 1 M:; HD aspect ~ios. Lens and averall image quality are very high,. especially M this price, and Canon has included two built"in n eutra 1- de n sity Ii lters (1/6 .and 1132) for nearly any sh 00 tin 9 enviro 11 menlo

FDr all of its impressive vi deb" the only blimp r n tha road was in the audio levels. Tile XLR input was always a bit-hot, even with the-basic attenuationonboard, but the buil t-in rrncrcphcnes distorted beyond around 10.2 dB, With poor frequency response between 180. and 320. Hz (depending on proximity to the audio source),

As i m press ve as its featu res are, th e 'XH A 1 is su rpri si ng Iy easy to etperare. This is a great choice for broadcas.ting applications for users ranglng from profess i on els 10 fil m stud ents. Over all, this IS an i ncred ible va lue for a video camcorder that produces impressive results and outperforms some other brands charging more than twice the price -Dan iel M. East

Company: Canon U.S.A., Inc.

PriCe! $3,999

Web: www.usa.canon.com

Epson Stylus Photo R 880


Epson':!; new 13' Stylus Piloto R2880 printer (replacing the Epson 2400) incorporates print technologies that include a new printhead using elll ink-(~pell~l1t ceating 10 improve ink dot placement. Its new UI!rilChrome 1<.3 lnkset end Radianoe technology optimizes ink use, reproduces colors with more accuracy', and minimizes metamerism. A built-in "mlst-eoilecrion system" SUCKS up iilk'overspray and !teaps the pri"ter's head clean. Trre lnkcartrtdqes' small.capacity makes the R2.880 suitable for line .art photographers and desiqners who demand professional quality but don't do high -volume production. Wilat's d\sappoillti ng. is that the user stlll has to sWap photo and malta black ink. cartridges when <changing paper t)lpes.

The R288Q, with two USB ports and PictBridg.e connectivity,

IS more solidly built than the E'pson 240.0. It handles both sheet and (011 paper and has a Iront-loadinq tray for printi ng Or1 CDsfDVDs-a welcome new feature. There are. four peper-fead paths, with most papers being fed through the j'eliable lOO-sileet capacity top feeder. A front paper feed J;arl handle art board up tc 1.3mm thick. The

resr sTngJe-sheel feeder handles thicker, fine. art papers but requires patierlce to master the paper-feed tschnique.

Epson added vivid and vivid light magenta to the nine- cartridge.

K3 inkset-in effect, a bigger box of creyons=that Widens the color gamut, especially affecting reds, rnaqentas, and blues. Wheo I cornpared prints of the same. fil.e made on the. 2400 and the 2880., there's a noticeable, but not dazzling, difference; howeve r, it's enough 10 want to reprint liles to gain that extra color and dirrrensicnallty. Gradients appear smoother with more subtle transition and there's more visible shadow and highlight detail. Two features are outstanding: the supplied canned pap'er profiles and the Advanced Black,al1d.Whi,te_ Photo Mode.-Ste\le Baczewski

Company; Epson America, Inc.

Prke.: $799.99

Web: www.epson.com

Rating: •••


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Universal Type Server


After years of waiting, Exteosis has finally brought forth their new font-server product, the !)nlven;a! Type Server, which comes ill two versions: lite and Professional. The lite version is for small groups (up to 10 users), while. the Pro version is for unllrnltad users (at a per-user cost).

For this review, I tested the Ute version and installation on the server went easily, without a hitch. Afte.r the server install, you switch to a Flash.enabled Web browser to configure Ihe permissions. The nice part of this is that the configuration can be done from any computer on the network, not just the lont server client (although it's easier t1J access from the,di·ent's). The configurations break down into three main areas:

Workgroups, Roles, and Users. Generally, I'd recommend defining roles first/which sets limits for each type of uset Two default users are set up:

Font Administrator and Regul,u Ussr, but others can be defined. The~ permissions boil down to only a handful of settings that define what each user can do, such as the ability to collect fonts for output or add and remove fonts. After that, It would make sense to set up the Work~ groups, which ere the main categories of ' users (for example, by com" p a ny dspa rtrn ents). (.1 mp ortan f: Even if yo u plan on h avl ng everyon e in the same workgroup,. you have to create one; you can't add fonts to the default All Users workgroup.) And, finally, the users have to be defined.

After the .server aspect of the. install Is set up, you have to install ths client software on each machine-Macintosh or Windows, regardless of the server's platform. From this software. you can then install fonts to a workgroup. (This brings liP an issue, of mine: I'd prefer 10 b(' able to add fonts when s etti ng up th e server rather than I ogg i ng ,0 n 'a s a cI i e nt la te r.) As menj,ioned. fonts can be added to the workgroup and synchronized with the server when connected (in case they're added when offline). If the serveri sn't avai lab I·e-eith er because the cI ient isn't on the network or the server gbe~ down--'the client switches to offline mode and I ets the user work with cached fonts. (dependinq on the server permissions). Fonts can also be added to a, personal workgroup, which aren't ~yn~hronized With the server.

The client software can run in the background, so the Universal Type client application doesn't have to be running to activate fonts (unlike E)ltensis Sujtcase). I did notice that when (lin n i ~g, the U ni v,;rsil I Type clienl periodically took up a lot of my CPU usage and caused the fans on my MabBook Pro to kick i rI.

One 01 the more interesting aspect, of the server is that font license information can be (manu.allY) entered, limiting the number of users of a given font to the actual lmmdty license. In addition, there are other interesting features of the Universal Type Server that space.doesn'1 permit me to cover, such as Font Sense, which helps distinguish. between, different versions of the sarns font. At its website, Extensis has many useful PDFs detailing the marly features of Universal Type Server. If you're i rI the market for a bet ter way to or'9afilj~e and ha n die YOlJrfoflts ina workgroup, you owe it to yoursslf to checkout Inissof!ware.~David Creamer

{.nmnan)r Extensls

Prlrr.: S 1 ,395 (Lite)

Wl'b' www.extensls.corn

'Toast 9 Titanium


You rnay ask, "Why is third-party seftware neces?Or)1 to simply burn CDs and OVOs?" For Roxio, there always seems to be more features that gobeyond ihe, burn, Toa<lt 9 Titanium adds functionality that makes it slightly ahead 01 it." time, such as the latest mobility, digital video recorder (DVRl,. and compression tools. Version 9 is one of the 'best eve r Updill es fa r this s oftwa re,

Although the coolOuartz-ellsct progress bar is .gone, the [ock and feel of Toast is essentially the same. Just pick your item, drag itro your SGurce., and burn to ycur heart's content, With the optional HOI SD plug,in (see bel0w/. Rox.io has added Blu.ray burning to. store up to 50 G B of data, HD OVD support for up to 30 GB, and video capture. lrorn your AVCHD camcorder and DVR hardware and software (sLich as TiVo or EyeTV).

In addition, there's live audio capture to record from any source-« Including live Web r~dio-~nd you call stream content from your home Mac to any Wi-'Fi -connected i Phone oriPod touch, or Int€me'tconnected Mac or Pc. Toast 9 Titanium also adds long-awaited integration with Apple Aperture ~nd i Life '08 softw,we, making it a great solution for consumersand professionals,

To use all of the Blu-ray and HD DVD-authorlng features, you'll need to add the HD/BD plug-in for around $19,99. This is a great value that incl udes 15 high -dsfiniticn menu styles for your discs. Once again, Roxro has delivered .50 much more than just another disc-burning utility-Daniel M. East

Company: Ro)(iQ

!ltke: $99.99

Web. www.roxio.com

Rrlllng .•

Nikon COOlPIXP8,o


The 10, 1·megqpiliel NikOIl COOLPIX P80 camera features an lrnpress~ve f/2.8-45, 27-A!86rnm focalleng·th (35mm equivalent], 18x optical zoom lens, that maintains sharpness with few aberrations throuqhout its focallengtn, N ikon bolsters the lens with Vibration Reduclion technology, which compensates. for operator movement and is especially useful for telephoto and macro shooting.

thls.diglta~ camera is well deslgne(:l and lightweight and will fit in a

I a rg e CG a t pocket (too big for a sh i rt). It has a com fo rta bl e ru bb eri zed handgrip and easy access of the camera's controls and menus. For Viewing, you c<ln toggle. between the electronic viewt:inder.IEVF) and the 2.7" U:D; both display identical pertinenlshQoting data. The EVF is small but necessary for composing in bTlightlight because the LC D washes out. Ths PEO has' an ISO ranqe of 64~64QO; however, noise becomes an issue above ISO 200. Metering options. il1ciurJe matrix, centerweighted, and spot. The exposure modes include Manu;)I, Aperture, and Shutler prlerity for advanced users and an Auto mode for beginners, plus a colleclion of 14 prssets coverin.g typical situations, such as landscapes, n i9 htscapes, p ortralts, etc. The Sport mode allows continuous shooting up to 30 frames at K! fps at ~.reduced resolutlon·Qf 3 rnsqapixels. The D-Ughting feature is an impressive bit of in-camera, postprocessing technolo,gy used when you vIew your files .0(1 the LCD, It Ii 9 hten5a n d restores color to mi dtones and shadows in h i9 h-con trast and backlit liles, without affecting the highlight> or destroying the oriqinal.

The maximum resolution of"3648x2736, combined with the sharp lens at ISO 200 (or lowerl, produced quali ty ·files that made. beautiful 13x19" prints. It's too bad Nlkon decided to use. only JPEG format and no! include a RAW option.-Steve Baczewski

COr>1pany: Nikon USA

Pl'lce $399.95

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