November 2004 Vol. 1 No.

1

2

Inside front cover (*Hi)

[+] FEEDBACK

MAI N

Welcome to Proxy What are we doing here? Quite simply, Proxy’s purpose is to serve your interests—to help you in your work, be it through an inspirational nudge or with a software tip to get you over that technical hurdle. This is a magazine by designers for designers, and anyone else in the business of communicating ideas. For this initial issue, Beverly Hills design firm AdamsMorioka reveals its process and pays special attention to the singular moment or idea—the “spark,” as Noreen Morioka calls it—that marks a critical turning point in any creative project. We hope you enjoy issue No. 1. Walk through the front door into AdamsMorioka’s studio and tag along as they redefine USC’s admissions kit. Bone up on creating presentations with Adobe® InDesign® CS and Acrobat® 6.0 Professional software. Find out why OpenType® is the next great advance in digital type technology. And, most of all, let us know what you think. Ultimately, as the name implies, Proxy will be more about you than us. The Creative Team at Adobe

Mouth off: Have your say. Tell us what you love, what you despise, what inspires you, what puts you to sleep. We’re listening. Really. Rate Proxy by clicking on the [+] symbol on the following pages. Carry on a conversation in the Proxy forum.

Printing: To print this issue, click this button and select “Fit to paper” in the Print dialog.

3

Main (*Go from here to other places)
�������������� ����������������������������������������

[+] FEEDBACK

����������

��

Contents

���������������

��

���������������������
��

�������������

������������

�����������������

��

�����

��

���������

��

�����������������

������������

��

��������������

���������

��

�������������

4

Happenin’s (*Goings-on in the world around us)

[+] FEEDBACK

MAI N

Featured Event

Macworld Conference & Expo January 10–14, 2005 Moscone Center, San Francisco

AIGA 50 Books/50 Covers of 2003 Exhibition September 23–November 24, 2004 AIGA National Design Center, New York City Since 1923, the AIGA 50 Books/50 Covers competition has recognized excellence in book design and production. For this year’s competition, a jury of distinguished designers selected outstanding examples of book and book cover design from more than 820 entries. The winning entries are mounted as a public exhibition in the AIGA National Design Center.

Adobe events and seminars See demos of new products at a location near you.

Events

Migrating from QuarkXPress to InDesign CS November 1–17, 2004 Touring event Geek Cruises Photoshop® Fling II February 5–12, 2005 Southwestern Caribbean

Digital Video Expo West December 8–10, 2004 Los Angeles Convention Center, Los Angeles

5

Download it now (*It’s all free)

[+] FEEDBACK

MAI N

Photoshop AC T I O N B&B Set of effects by Panos Efstathiadis
Give your digital photographs the look of old-time snapshots. This set of effects lets you manipulate your images to simulate the curled edges and depth (concave and convex) seen in traditional printed snapshots.

Photoshop AC T I O N Velvia effects by Paul Bleicher
This simple action reproduces the selective color, contrast, and saturation boost of Fujichrome Velvia film. The effect is fully adjustable from minimum to maximum gain. All steps are done on a copy of the original photo.

Behind the action The author of some of the most downloaded files in Adobe Studio Exchange hails from Greece. Panos Efstathiadis has uploaded 8 action sets (including the ever-popular “B&B Filmstrip”), 2 tutorials, and a set of brushes. They’ve been roundly praised by other users. “A good action is more than a recorded sequence of steps,” he says. “It is a filing of Photoshop knowledge.”

InDesign S C R I P T InDesignPhotoshopActions by Richard Ronnback
This script lets you call Photoshop actions from within InDesign. Actions can either be run on a selected image or on all PSD files placed in an InDesign document.

Photoshop P LU G - I N Harry’s filters 3 by Harald Heim
Choose from 69 filters for applying artistic effects, gradients or patterns, warping, special noise effects, and encrypting and decrypting images with 64-bit keys. The filters also include zoom, mirror, and paint effects and can simulate natural phenomena like tornados, lightning, and flames.

Adobe Studio® Exchange is a resource within Adobe Studio for sharing add-ons for Adobe software. Download one of the thousands of plug-ins, actions, filters, brushes, and scripts hosted on the site, or upload one of your own for others to enjoy. It’s all free!

6

Feature story (*Spark by AdamsMorioka)

[+] FEEDBACK

MAI N

Creative spark
All design firms provide visual solutions for their clients’ particular needs. The alchemy that occurs in these relationships is often a mystery to the people participating. Take a business problem, add a client team to analyze the situation and define some specific goals and/or methods that would solve the problem, throw in a design team to actualize the client’s strategy and make effective communications tools to put into use—and somewhere in this process a spark ignites. What motivates designers to be creative is clear—a real client project. What causes their creativity is something else. It is said that creativity is 10% inspiration and 90% perspiration; all designers understand this. How and what inspires designers is as varied and different as the designers themselves. Factors that influence a designer to make a particular set of graphic choices could include context, culture, target audience preferences, budget, client suggestions and the designer’s own interests. One thing that is consistent from design firm to design firm is that sparks always fly when a group of talented people come together, pushing and pulling against each other to develop great work.

This issue of Adobe Studio Magazine takes a look at this creative spark process with Beverly Hills-based design firm AdamsMorioka and their client, the University of Southern California.

7

Feature story (*Spark by AdamsMorioka)

[+] FEEDBACK

MAI N

��������������������������� ������������������������ ���������������������������� ������������������������� ������������������������������ ������������������������������ ������������������������������ ���� ������������������������������� ������������������������������ �������������������������������� �������������������� ����������������������������� �������������������������� ���� ������������������������� �������������������������������� �����������������������������
���

�����������������
������������������� ��������������� ����������� ��������������������� ����������������� �������������������������������������������� ����������������������������������������
���������������������������� �������������� ����������

����

����� ����������
����������������������������� ������������� ������������������������������������������������������������ �������������������������������� ������������������ ����������������������������������������������������� ���������������������������������������
�������������������������������

����

����

���

��������������

��������������

����������

����

���������� ����������

���

������ ���������������������
��������������������������� ����������������� ����������� ����������������������������������� ����������������� ������������������������������������������������ ���������������������������
�������������

����

����

�����
����

������ ������������
�������
�������������� ����������

��������������

����

������

������

��������������������� ��������������� �������������������������������� ���������������������� ������������������ ������������������������������������������������� �����������������������������
������������������������ ���

������� ���������������

����

������������������������ ������������� �������������������������������������� ���������������������������� ������������������ ������������������������������������������������������� ���������������������
���������

����

�������������������������������������������������������������������

���

���

8

Feature story (*Spark by AdamsMorioka)

[+] FEEDBACK

MAI N

Case study

University of Southern California undergraduate admission materials
AdamsMorioka was asked by the University of Southern California (USC) Office of Admission to develop a marketing plan and create the admission materials for the undergraduate program. USC, which is located in the heart of Los Angeles, had a successful program of materials, but wanted to refine its messaging by refreshing the visuals, directing the audience to www.ucs.edu, and effectively competing with other universities for outstanding students.

J.Michael Thompson
Vice Provost, Dean of Admission USC

Provide integrated print/online branding • Communicate the unique benefits of a USC education • Beat the competition for the best students • Spotlight LA • Make it easy to get the facts and follow admission procedures
“Viva Technology!”

“ Sense of place”
TERRY

“ Authentic voices”
SEAN

“ Academic quality”
NOREEN

“ Present public perception of USC is ‘school of the rich,’ located in negative LA”
CLIENT

“Clarity”
CYNTHIA

“ Cohesive visual system”
VOLKER

Since none of us attended USC, we took a chance and passed out 100 disposable cameras to students and faculty to show us the REAL USC experience. The images were not only used in the collateral, but served as the inspiration for creating an authentic voice of USC.

9

Feature story (*Spark by AdamsMorioka)

[+] FEEDBACK

MAI N

Broadside Search letter

Once USC has heard back from a prospective student, the Office of Admission sends this piece, which gives a real sense of both Los Angeles and USC. The broadside provides some quick facts about the university along with lots of photos. Inside is a reply card for the student to request a viewbook.

This letter goes to USC’s prime candidates—honors students all over the United States. If they’re interested in USC, the student goes online or sends back an enclosed reply card to get more information. Receiving more mailings from USC requires a prospective student to interact with the Office of Admission. Marketing is now a targeted and focused activity.
Broadside structure

10

Feature story (*Spark by AdamsMorioka)

[+] FEEDBACK

MAI N

The viewbook functions as a travel guide to USC, complete with maps of LA and at-a-glance charts about the student population, entrance requirements, academics, financial aid, and other information. It provides specifics about faculty, undergrad majors, and courses of study in text, student testimonials and photos.

College fair brochure

Viewbook

When USC admission representatives meet prospective students and parents in person, this piece is used to highlight key facts. It’s a pocket guide to the university, and another vehicle that prompts students to go online and explore the USC website for additional information.

Open
11

What’s your type? (*Type in depth)

[+] FEEDBACK

MAI N

OpenType

The new face of type

A

A

Where do the hours go? Every day, mundane production chores rob you of your creative time, the time you need to experiment, to perfect— to design. Every day your passion for perfect type is ground down by the effort it takes to get simple typographic tasks done.
But getting your time—and your focus—back can be as simple as choosing the right kind of font, an OpenType font. Because OpenType fonts not only make creating great type faster and easier, in many cases they can make it automatic. On deadline? An OpenType font’s bigger character set means far fewer time-wasting trips to the Font menu to scour companion fonts for the “special” characters you need. There’s no more need for “expert sets” or alternate fonts. Pursuing perfection? OpenType fonts can automatically give you a wide variety of ligatures, swash characters, and decorated initial capitals, all of which can be built into a single OpenType font. You no longer have to memorize obscure key combinations to get the characters you want. Add to this one single all-inclusive file per font that works on all major computer platforms, plus support for multiple languages, and you have a format that just might make your life a little easier.

All the characters money couldn’t buy—until now
OpenType is a type format jointly developed by Adobe and Microsoft. Since 1999, all new typefaces from Adobe have been released only in OpenType format, and Adobe recently completed the conversion of the entire Adobe Type Library into OpenType. A single OpenType font can contain thousands of characters —compare that to the 220-odd characters that have been the norm in fonts up until now. When Gutenberg created his famous Bibles, his fonts had hundreds

12

What’s your type? (*Type in depth)
of ligatures alone; before OpenType, the average PostScript or TrueType font gave you two. OpenType takes the compromise out of fine typography, giving you the choice to use just the characters you need. In an OpenType font, a single character— a 2 or an E, for example—can be represented by several glyphs, or representations of that character. When simple lining numerals aren’t enough, you can have proportional numerals, or old-style numerals, or proportional old-style numerals. There’s no need to suffer computer-generated small capitals when you can have the real thing, crafted by a type designer’s hand. Ordinals such as nd and th can be built right into the font, as can typeface-specific math and scientific symbols. You can even have access to multiple character designs that reflect the needs of type set at different sizes. OpenType makes it easy for font vendors to expand the character sets available in their fonts, even for typefaces that may currently lack a wide variety of alternate characters, all of those typographic niceties—and necessities—that were squeezed out in older technologies. International characters such as the euro (€), estimated (℮), and liter (l) symbols are now standard parts of OpenType fonts from Adobe.

[+] FEEDBACK

MAI N

Smart fonts
OpenType fonts don’t just see these characters as little bits of artwork that are placed one after another to create text. These fonts see type as language. For an OpenType font, an ffi ligature isn’t merely a logotype with three letters jammed into it; it is a representation of an f, f, and i. OpenType savvy applications can see it as such—not as an abstract symbol—and understand its meaning during spell checks and searches. Likewise, ligatures are no longer an obstacle to proper hyphenation, because applications can see that they represent a string of characters, and they can replace them with those individual characters when and where needed. Smart fonts make type easier to compose well, because proper hyphenation yields better, more consistent spacing. OpenType fonts can also enable applications to automatically build perfect fractions. An OpenType font can contain a full set of properly proportioned and positioned numerals for numerators and denominators, so when you type 99/100, your program can automatically convert it to the proper fraction as seen in the example below.

Leaping the language barrier
Naturally, the characters that can be in an OpenType font don’t all have to be in the same language, and indeed they shouldn’t be. You don’t have to change fonts to change language anymore. The trend among Western font vendors is to build into OpenType fonts the full set of characters and accents needed to set all of the languages that use the Latin alphabet. Many also include Greek and Cyrillic. A single font can serve the entire European and Western community, making international collaborations much easier. OpenType fonts can also contain sophisticated justification information to ensure that lines of multilingual type—say, a Hebrew phrase amid English text—will compose well. The key to this progress is Unicode, an international, platform-independent standard that assigns characters to specific, universally recognized numbers. This system lies at the heart of OpenType fonts, as well as most operating systems.

“ Never, ever stretch type!”
Cynthia

® “Gill Sans, blecchh!”

Noreen

“Typefaces are a bit like clothing; Hobo: Bell bottoms Trade Gothic™: Jeans and white t-shirt Garamond: Black dress Sauna™: Mini Skirt and boots Cochin™: Plaid Trixie®: Flannel shirts”

Sean

“ Univers™ is great; it’s so clean!”
Terry

Better type through Unicode
Unicode also has some very practical benefits for everyday typesetting. First, it can help ensure that the type you create on your Mac appears as you intended when it’s viewed on a Windows® or UNIX® computer, and vice versa. No more disappearing quotation marks or em dashes.

“ For that ‘smart’ look, use typographer’s quotes!”
Volker

99⁄100
Computer-generated fraction

OpenType fraction

13

What’s your type? (*Type in depth)
And although substituting alternate glyphs for particular characters may change their typographic qualities, Unicode continues to regard them essentially as numerals or letters, so if your document ends up on a computer that doesn’t have the same fonts, the text will still be recognizable and correct. On non-Unicode systems, such substitutions generally create an illegible mess. individual programs to tap into OpenType “layout features,” such as automatic glyph substitution. Adobe InDesign® CS and Illustrator® CS software lead the way in this respect. Other major graphic arts and publishing application vendors are following suit. Both Windows and Mac OS X utility programs such as Notepad and TextEdit do so today. And the Windows 2000, Windows NT, and Windows XP Character Map and the Windows 2000, Windows NT, and Windows XP Character palette allow you to sift through an OpenType font’s extensive character sets to find the letters, numbers, symbols, and ornaments you need, so you can copy them into almost any program.

[+] FEEDBACK

MAI N

“ But, Gill Sans® in all caps is quite beautiful.”
Volker

“ A widow has a past but no future; an orphan has a future but no past.”
Cynthia

One for all, and all in one
OpenType fonts are far easier to manage. They combine the best of the TrueType and PostScript® standards into a single font file with a logical, comprehensible name. Goodbye PBO____.pfb, hello Palatino. OpenType fonts “feel” just like the fonts you’re used to, and they work with your existing programs. You can even use them alongside Type 1 fonts in the same document. This one-font-fits-all approach is a blessing for workgroups using different kinds of computers, because the same font file works on Mac and Windows. Both systems treat OpenType fonts just as they do TrueType or PostScript fonts, whether for installation, screen display, sharing of documents, or printing. You’ll never have to buy a separate Mac and PC version of a font again.

“ Rivers are nice— just not within a paragraph!”
Noreen

Future, meet the past
OpenType fonts are compatible with current printers and imagesetters, and they can be embedded easily into PDF files. They work side-by-side with the fonts in your existing library. And character for character, they’re less expensive than the old-technology fonts they’re replacing. OpenType fonts raise type to a new level by wedding the typographical traditions of the past to the technologies of tomorrow. It’s a beautiful marriage. Learn more about OpenType Visit the Adobe Type Library

“ You can’t go wrong with Caslon.”
Sean

“ Does Hobo have an expert set?”
Terry

Who’s savvy now?
All major current operating systems can now handle OpenType fonts, making them available to applications just as they do with PostScript and TrueType fonts. But it’s up to

14

Scoop (*What are the propeller heads at Adobe up to these days?)

[+] FEEDBACK

MAI N

What are the propeller heads at Adobe up to these days, you wonder? Say hello to DNG. The latest innovation from the company that gave you Photoshop may just usher in a new era in digital photography.

On September 27, 2004, Adobe announced the Digital Negative, a publicly documented format for the raw files generated by digital cameras. The new format, with the file extension DNG, was developed to address the lack of an open standard for the proprietary and unique raw files created by each digital camera.

“Professional photographers and other creative professionals love working with raw camera files because of the outstanding creative control they get over digital images,” says Bryan Lamkin, who heads Adobe’s Digital Imaging and Digital Video business unit. “However, clients and publishers have difficulty working with disparate raw file formats and nobody can be sure that today’s raw formats will be supported ten years from now. Adobe customers asked us to work on a unified, open format for raw files and that’s what we’re delivering with the new Digital Negative specification and the DNG file format.”

“DNG is something that really needs to happen for the long term good of the photographic community,” adds Thomas Knoll, the computer scientist behind Photoshop 1.0.

Image-rich publications are also likely to benefit. “Now that raw is emerging as the quality standard for digital photography, we are creating systems that can allow us to integrate raw images into our editorial and production workflow,” says Dennis Dimick, a senior editor at National Geographic Magazine. “We applaud Adobe for proposing an open universal raw file format, and hope that digital camera manufacturers will adopt this format standard as an option into their cameras, just as they have already adopted the Adobe (‘98) standard for color space camera presets.”

In conjunction with the publication of the Digital Negative specification, Adobe also released the Adobe DNG Converter, a free utility that converts files from more than 65 cameras to DNG. Adobe also released Photoshop CS Camera Raw Update 2.3, which supports DNG. The Digital Negative specification is freely available on Adobe.com.

15

Schoolin’ (*You have been putting this off for too long already)

[+] FEEDBACK

MAI N

Presenting with style

How you convey your ideas is important. All it takes is Adobe InDesign, Adobe Acrobat, and a few simple rules to create a slide presentation that’s painless, persuasive, and engaging. How your slide presentation looks will leave an impression on your audience, regardless of how you verbally communicate your message. A few rules of good design and legibility, which apply across different cultures and continents, will help you create effective, memorable presentations. With slides, especially, it’s crucial that you follow these simple guidelines: • • • • • • Reduce excessive content to a short bulleted list of key messages. Tables shouldn’t have more than seven rows and columns. Leave ample margins between graphic and text elements. Use the same typefaces throughout, and position titles and logos consistently. Consistency makes information easier to absorb. Use animation and slide transition effects sparingly. They quickly become boring, and they detract from your message. Make your opening and closing strong.

Adobe Studio is a special Web site designed to meet the needs of creative professionals. We’ve loaded it up with step-by-step and video tutorials covering the latest features in all your favorite Adobe programs. Adobe Studio also includes Adobe Studio Exchange, a shareware bazaar where you can download thousands of free actions, plug-ins, and helper files, or upload files you’ve created yourself. There are also listings of new books, training options, and events. Check it out

These rules, and a few key effects, are all you need to make your presentation successful.

16

Schoolin’

[+] FEEDBACK

MAI N

Using InDesign for your presentation
When I present my design work to a client or an audience, it’s vitally important that my slides be convincing in both look and content. A well-designed presentation demonstrates the pride I take in my work. That’s one of the reasons I use InDesign. It’s a mystery to me why other presentation applications don’t yet support good typography. The most obvious shortcoming is the lack of kerning. In letter combinations like Ta, Va, and Wa, the second glyph needs to be placed closer to the first glyph to look truly professional. Font designers spend a lot of time putting what are called kerning tables into their font files to improve the fonts’ readability, yet some programs continue to ignore kerning.

Setting up your document
You will start by creating a master page for your slides.

1 Create a new document in InDesign by choosing File > New > Document. 2 In the New Document dialog box set the page size to 1,024 points for Width
and 768 points for Height. To start, set up 20 pages for the presentation.

The letters in the second line are kerned, which increases the consistency of spacing within a word. Here the letter combinations Wo and Ty look much better because they have been kerned.

I really like tutorials!

InDesign not only kerns text properly, it also gives you access to all the advanced typographic features in OpenType fonts. When working with graphics, you can rely on InDesign software’s seamless integration with Photoshop and Illustrator. If you know the resolution in which you’ll present your slide show, you can create a document with that exact width and height in pixels. That way, no text or images will get scaled and possibly distorted. When presenting to only one or two people, for example, I prefer to present directly on my PowerBook screen, with its wide, elegant horizontal format. In that case my presentation will be 1,152 x 768 pixels. If it’s necessary to use a projector, this resolution won’t normally be supported, so I’d set up the document for 1,024 x 768 pixels.
Setting up a custom page size to match the screen size.

In the master page you can design and place elements that you want to appear on every slide of your presentation, such as color bars or a logo. The master page is also where you’ll define text frames for the headline and the main text area.

17

Schoolin’

[+] FEEDBACK

MAI N

3 To select the master page for editing, double-click the A-Master page icon in
the Pages palette.

The Angle value in the Gradient palette determines the direction in which the color changes. Note that the midpoint of the gradient has been adjusted from its default.

Now it’s time to place a logo in the blue gradient image.

7 Using the Rectangle frame tool, draw a square slightly smaller than 150 pixels
wide on top of the blue area of the image’s lower left corner.

8 Choose File > Place and select the graphic file you want to use as a logo on
every slide.

I learned how to swim that way...

Items added to the master page will be visible on every page this master is applied to.

9 Choose Object > Fitting > Fit Content Proportionally to scale the image to the
required size.

A blank white sheet just looks too, well...blank and white. So let’s dress up the master page a little. On the left side, you’ll draw a rectangle with a color gradient from blue to white. The company logo will be placed in the lower left corner.

4 Using the Rectangle tool, draw a rectangle the height of the page and 150
points wide.

5 With the frame still selected, open the Gradient palette either by choosing Window > Gradient or by clicking the Gradient tab, which by default is nicely tucked away on the right side of your screen.

6 Click the color ramp, and then select the starting color stop box on the left side
underneath the gradient bar. Choose a light blue color from the Color palette. You want the rectangle to start with white at the top, and gradually shift to blue on the bottom. To achieve this effect, go back to the Gradient palette, change the black box to white, and set the Angle for the gradient to 90 degrees.

Our company logo placed and reduced in size.

18

Schoolin’

[+] FEEDBACK

MAI N

Setting up type styles
Now that the graphic appearance is set for the presentation, you can move on to the text. Now you want to make this font your official Title style.

3 With the word Title (in the correct typeface and size) selected, choose New
Style from the Paragraph Styles palette menu. In the New Paragraph Style dialog box give the new style a descriptive name like Title Style and click OK.

1 First, create the slide headers and slide main text. You’ll need two text frames—
one for the headers and one for the main text. With the Type tool draw one frame in the top third of the slide, leaving some space between it and the blue gradient image. The second text frame sits just below and slightly separated from the headline text frame. With the control palette, which is content sensitive, the position and size of the frames can easily be adjusted.

Creating new paragraph styles based on the currently selected text.

Setting up levels
Go to Adobe Studio for a pool of great tutorials.
Master page with two text frames.

Creating the type styles was easy. Setting up the different levels in the main text frame is a bit trickier, but once it’s done it’s a snap to use.

1 With the Type tool selected, click the main text frame and type a bullet point
(Alt+0149 in Windows or Option+8 in Mac OS) followed by a tab. Then type Level 1. This is just placeholder text, which you’ll overwrite in each slide you create.

The last thing you need to do on the master page is to set up paragraph styles for the headline text and for the default style of a bullet point list.

2 Select the text you just typed, choose a smaller point size in the same font as
that of the title, and choose New Style from the Paragraph Styles palatte. Call this Bullet Level 1, but don’t click OK yet. There are more paragraph styles you can set to achieve sophisticated results.

2 With the Type tool selected, click the text frame for the headline. Type Title,
which will serve as dummy copy; select the entire word; and chose a typeface and point size. A good choice is a bold sans serif typeface like Adobe Myriad® Bold or Semibold, which come bundled with Adobe Creative Suite in a size of 50 points. For slides it is general practice to use a flush-left paragraph style.

19

Schoolin’

[+] FEEDBACK

MAI N

3 It is preferable to have text that’s longer than one line align with the beginning
of the first word (in this case Level) rather than with the bullet point itself. To make this happen, set up tab stops and format the paragraph to left align on the first tab stop, with the first line—that’s the line with the bullet point-hanging out to the left.

Setting tab stops.

Tip: Serif typefaces are preferable for readability in lengthy texts, but for bullet lists— which are usually short, one-line sentences-a sans serif face is often more effective.

5 Now select the Indents and Spacing panel, set the left indent to 36 point and
First line of each paragraph (the bullet-pointed item) hanging out to the left.

the first-line indent to -36 point. To add extra space at the end of each paragraph, type 10 point in the Space After field. Click OK.

Tip: The Align palette offers various options to align frames with on another; in this case you would want to align the two text frames on the left side.

4 Select the Tabs panel and click above the ruler to set the first tab stop at 36
point. Click Repeat to set more tab stops with the same spacing.

Nothing beats a good slideshow.

Playing with the Indents and Spacing settings.

20

Schoolin’

[+] FEEDBACK

MAI N

One more paragraph style, just to make sure you get the idea. In this case, you’ll create a second level of bullets, for a list within a list.

6 Make a copy of the o Level 1 text and copy it into a new line. Change the text
to o Level 2.

7 Select the whole line and choose New Style from the Paragraph Styles palette.
Name this new style Bullet Level 2. While still in the General pane of the dialog box, make sure that the Based On pop-up menu is set to Bullet Level 1.

8 For the level 2 text you want a regular (not bold) weight typeface and a smaller
size. You can make these adjustments in the New Style dialog box in the Basic Character Formats panel.
Excerpted from “Adobe Creative Suite Idea Kit,” copyright © 2004 by Katrin Straub, published by Adobe Press. Used with the permission of Adobe Press and Peachpit Press. To buy this book, visit www.peachpit.com.

Changing text from Bullet Level 1 to Bullet Level 2 style.

Completing your presentation
Now you can go to page 1 of your presentation and overwrite the placeholder text with your own presentation material.

1 Ctrl-Shift-click (Windows) or Command-Shift-click (Mac OS) the text frame.
Every page based on the master page will have the same format and display the same dummy text. To change the dummy text on each page, Ctrl-Shift-click/Command-Shift-click each text frame to break the connection to the master page. Select the Type tool, delete the dummy text, and type .

2 When you’re finished, export your pages as a PDF document into your workSetting Basic Paragraph Formats in the New Paragraph Style dialog.

ing directory. In the Advanced pane of the Export PDF dialog box choose the RGB color mode from the color menu.

9 Go to the Indents and Spacing panel and set the left indent to 72 point (2 times
36 points), and set the first-line indent to -36 point. Since this setting is based on Bullet Level 1, reduce the Space After slightly. Click OK.

3 Open the exported PDF file in Acrobat and press Ctrl+L (Windows) or
Command+L (Mac OS) to see your slides full screen. You can move back and forth between the pages with the arrow keys (or move forward with each mouse click). Press Ctrl+L/Command+L again or press Esc to get out of full-screen mode. In the normal mode you have all the usual navigation tools available to quickly find the page you’re looking for.

10 With the cursor positioned anywhere in the level 2 text, click the newly defined
Bullet Level 2 style in the Paragraph Styles palette, and you’ll see how the formatting is applied to the bullet item text. The text is indented, and the typeface size is reduced. These paragraph styles let you easily change the hierarchy of information.

Oh, my skin is all wrinkled.

21

Ask A. Pixel (*He’s nice but a little square)
A It always seems to happen: just as you complete a document, you receive a last-minute change or you discover a small mistake that slipped through. If you don’t want to go back to the original application, make changes, and then create an entirely new PDF document, you can handle small corrections using the TouchUp Text tool in Adobe Acrobat Professional or Acrobat Standard.

[+] FEEDBACK

MAI N

To edit text using the TouchUp Text tool: 1. Choose Tools > Advanced Editing > TouchUp Text Tool, or click the TouchUp Text tool on the Advanced Editing toolbar. 2. Click in the text you want to edit. A bounding box outlines the selectable text. 3. Select text: • Choose Edit > Select All to select all the text in the bounding box. • Drag to select characters, spaces, words, or a line. 4. Edit, copy, delete, or add text to a text selection: • Enter new text to replace the selected text. • Press Delete or Choose Edit > Cut to remove the text. • Choose Edit > Copy to copy the selected text. • Click anywhere outside the selection to remove the highlighting and start over. Just like that, you’re done and you’re everyone’s hero. Just don’t let them know how easy it was to do!

The TouchUp Text tool is perfect for fixing a spelling error or an errant word, or for minor adjustments to the font, font size, or word spacing. If you have major revisions to make, you’re better off working in the original application. (You wouldn’t repaint your entire house with a touchup brush, would you?)

M EET A. PI X EL,

the friendly, knowledgeable, anthropomorphic Adobe support specialist. In each issue, A. Pixel answers questions and provides troubleshooting advice on Adobe software. A. Pixel loves e-mail. Send your questions to apixel@adobe.com.

How do I edit text in an Adobe PDF document?

Adobe Expert Support This information appears courtesy of Adobe Expert Support. To purchase or learn more about Adobe Expert Support, visit www.adobe.com/expertsupport or call 866-MYADOBE (866-692-3623)

22

Ask A. Pixel
A Sometimes great photos are ruined by an unwanted wash of color, called a color cast. Your once normal images can become a bizarro world of green skies and yellow clouds. Such color casts can occur at any phase in creating the photo, from shooting, developing, enlarging, or scanning the image. Regardless of the source of the color cast, you can quickly correct the color imbalance by using the Auto Color command, or by adjusting the color cast yourself. To remove a color cast from an image by using the Auto Color command: 1 Open the image in Photoshop. 2 In the Layers palette, select the layer containing the image you want to change. 3 Choose Image > Adjustments > Auto Color. Photoshop adjusts the contrast and color of the image.

[+] FEEDBACK

MAI N

How can I remove a color cast from an image in Adobe Photoshop?

Color management tip! For consistent color management, Adobe recommends that you calibrate your monitor. Once the monitor is calibrated, a profile is created that describes the color behavior of the monitor—what colors can or can’t be displayed on the monitor and how color values must be converted so that colors are displayed accurately. To calibrate and profile a monitor, use visual calibrators like Adobe Gamma (Windows) or Monitor Calibrator (Mac OS), or use third-party software and measuring devices.

Featured plug-ins
Feeling like you need more power under the hood?
A number of third-party software companies develop plug-ins that add features to Adobe programs. Here are two popular plug-ins for Adobe Photoshop and Adobe Acrobat. Image Doctor 1.0 Image Doctor 1.0 by Alien Skin Software is a set of powerful image-correction filters for Photoshop. Remove blemishes and defects, repair over-compressed JPEGs, and eliminate unwanted details and objects quickly and easily. US$129.99 Quite Imposing Take the mystery out of imposition with Quite Imposing 1.6 by Quite Software. Quite Imposing offers the first WYSIWYG imposition tools for Adobe Acrobat software, allowing you to split or merge even and odd pages, combine pages for booklet building and more. US$299. Visit the new Adobe Store Plug-in Finder!

If Auto Color doesn’t produce the desired results, adjust the color cast yourself: 1 Choose Image > Adjustments > Levels. 2 Select the Set Grey Point eyedropper and click an area that represents the midtone of the dominant color (the color cast). 3 If you’re still dissatisfied, try adjusting the lightness and darkness of the image using the input level sliders in the Levels dialog box.

23

Spotlight (*Check it out)

[+] FEEDBACK

MAI N

20%

off any training product in the Adobe Store!
Save 20% on any training product available in the training and support center in the Adobe Store. Get videobased training from Total Training, or choose Element K online training. It’s a great time to hone your software skills!
To take advantage of your 20% savings in the Adobe Store, just include coupon code a5f840d at checkout. See Coupon
Redemption Instructions and Terms and Conditions on next page.

Spotlight: Training. Keeping up with new technologies and programs is important. But what’s the best way to get up to speed? Total Training offers video-based training for virtually all Adobe professional software. From in-depth series covering Adobe’s motion graphics software, to InDesign CS for QuarkXPress users, to a three-CD series on Adobe Creative Suite, expert presenters take you from the basics through advanced techniques. Get a taste of Total Training in the sneak peek training movie embedded below. If you like what you see, take a look in your Adobe software box—many Adobe programs ship with a free Total Training Video Workshop CD—or order training through the Adobe Store.

Total Training sneak peek
Directions: Click on the image above for a lesson on importing native Photoshop files in InDesign CS. Click once to start the movie. Double-click to pause and play again once the movie has started.

24

Bye now (*Come by anytime)

[+] FEEDBACK
Adobe Legal Information

MAI N

Colophon Adobe Magazine was produced in Adobe PDF with Adobe software, including Adobe Acrobat 6.0 Professional, Adobe InDesign CS, Adobe Illustrator CS, and Adobe Photoshop CS. The text is set in Myriad® Pro, Minion® Pro, Trajan® Pro, Adobe Garamond® FF Unit, and ITC , Officina® Serif. The Spotlight page features an embedded QuickTime movie. All work was done on an Apple Dual 2GHz PowerPC G5 computer, running Mac OSX 10.3.5, and a 23-inch Apple Cinema HD Display. Design by AdamsMorioka, Beverly Hills.

Coupon Redemption Instructions and Terms and Conditions: Receive a one-time savings of 20% on your Adobe Store order. Please add all products that you wish to purchase to your Adobe Store shopping cart. In order to redeem the 20% savings, you must enter coupon code a5f840d in the shopping cart prior to checking out when prompted to do so. The 20% savings will be taken off of subtotaled amounts prior to calculation of tax and shipping fees. Orders must be placed between November 1, 2004, and November 30, 2004. This offer is valid on the Web to customers in the U.S. and Canada who

are buying direct via the Adobe Store using the coupon code provided. Savings are limited to one discount per customer and are not valid with any other special offers. If a customer attempts to reuse coupon codes, discounts may be reflected in the shopping cart, but the customer will not be able to check out. This offer is subject to change without notice. Price offer is not valid for licensing, Collections, OEM bundle, Education, and NFR copies. Prices are listed in US dollars. Allow 2 to 4 weeks for software delivery. Applicable local sales taxes and shipping charges may apply. Prices are subject to change without notice.

Adobe, the Adobe logo, Acrobat, Adobe Garamond, Illustrator, InDesign, Minion, Myriad, Photoshop, PostScript, and Trajan are either registered trademarks or trademarks of Adobe Systems Incorporated, in the United States and/or other countries. Mac and Mac OS are trademarks of Apple Computer, Inc., registered in the United States and other countries. OpenType and Windows are either registered trademarks or trademarks of Microsoft Corporation in the United States and/or other countries. UNIX is a registered trademark of The Open Group. Gill Sans is a trademark of The Monotype Corporation registered in the U.S. Patent and Trademark Office and may be registered in certain other jurisdictions. Cochin, Trade Gothic, and Univers are trademarks

of Heidelberger Druckmaschinen AG exclusively licensed through Linotype Library GmbH, and may be registered in certain jurisdictions. FF Trixie and FF Unit are trademarks of FSI Fonts und Software GmbH. Sauna is a trademark of Underware. ITC Officina Serif is a trademark of International Typeface Corporatation. All other trademarks are the property of their respective owners. The names referred to in the sample artwork are fictional and not intended to refer to any actual event or organization. ©2004 Adobe Systems Incorporated. All rights reserved. Your privacy is important to Adobe. You may review Adobe’s online privacy policy by clicking here.
95004134

Mouth off (*Vol. 1, No. 1)
Thank you for your time in providing Adobe your feedback about the new Proxy magazine. Please rate each magazine section on the following scale: ++ to –– Very useful or relevant to me Not useful or relevant to me Happenin’s Feature Story (Spark by AdamsMorioka) Download it Now What’s your Type Scoop Schoolin’ Ask A. Pixel Spotlight ++ ++ ++ ++ ++ ++ ++ ++ + + + + + + + + +– +– +– +– +– +– +– +– – – – – – – – –

MAI N

–– –– –– –– –– –– –– ––

Please provide some comments/ suggestions in the space below:

Please rate Proxy magazine’s overall design and navigation on the following scale: ++ to –– Very engaging and/or easy to use Not engaging and/or difficult to use Overall Magazine Design Magazine Navigation

++ ++

+ +

+– +–

– –

–– ––
Submit

Sign up to vote on this title
UsefulNot useful