From flat art to complete concept
Create 3D packaging mock-ups fast

February 2007 Volume 4 Number 2

Add some drama to your next masterpiece
Paint rich textured backgrounds with Faux Finish Brushes

Don’t forget the bells and whistles!
Batch process InDesign files to PDF using a forgotten installation plug-in



> A




Want stunning 3D package presentation? We’ll show you how to make it easy
by Michelle Dick


Finding a way to present packaging comps to clients has been an ongoing challenge for designers. Knowing how to accurately portray every angle of a product design is difficult to say the least. We’ll show you how to ease the process by using Illustrator’s tools to create an accurate 3D rendition of the finished product in a few simple steps. To help you design a presentation-quality 3D package design in Illustrator, we’ll:

Application: Operating Systems: Download:
Adobe Illustrator CS/CS2 Macintosh, Microsoft Windows designer/200702/

• Show you how you can convert flat art into a package by mapping it onto
a 3D surface.

• Use the front panel’s outline to generate a 3D shape for the symbols to
map onto.

• Show you how to copy and rotate your package views to complete a
package design presentation.



C r e a t i ve D e s i g n e r

To S u b s c r i b e , C a l l 1- 8 0 0 -2 2 3 - 8720

Serving Size Servings


4 oz 2

Calories Calories from fat

150 80

Contains less than 1% of the recommended daily allowance of vitamins and minerals.

Package art, whether it’s a CD cover or a cereal box, begins its design life as one-dimensional flat art. However, clients often want to see what the finished package will look like, complete with the art and text. Rather than use a complicated modeling program to produce a three-dimensional box, we can use Illustrator’s mapping and 3D tools to create and present packaging comps to clients. Illustrator’s 3D features let you create packages you can then rotate to see from different views, as shown in FIGURE A.

Eliminate the extra work —use our ready made art
To begin this project, you first need to create the artwork for each side of the package. We’ll make a package with six panels which include: front, back, top, bottom, right side, and left side. When creating the panels, it’s best to make them at actual size. That B way, you can use the same file for your package presentation as well as for the final product printing. The process of laying

out and designing the panels takes a while, so we’ve provided the file SARDINES. ZIP, which you can download from the URL given at the beginning of this article if you want to follow along with us. Launch Illustrator and open the file SARDINES.AI, as shown in FIGURE B. Let’s take a closer look at the document’s content.

Watch out! Check your layers before you begin
As you can see in the Layers palette (Window > Layers) our project is composed of three layers: Graphics, Border Outline, and Guides, as shown in FIGURE C. The Graphics layer contains all of the artwork that we’ll use to create our 3D package by converting it to symbols. The Border Outline layer is the outline of the Front panel’s shape that we’ll use to generate the 3D package shape from. The Guides layer was created to help you identify each panel. The guides also helped us to make the panel sizes correctly and consistently before we drew the artwork. We locked the guides to prevent them from being selected or moved. With everything in place, we’re ready to create a 3D package.

on the package. It may involve a little trial and error. For instance, we vertically reflected our Back panel using Illustrator’s Transform options, and we rotated the Top panel 180 degrees. When it comes time to map, there are also rotational and scaling options in the Map Art dialog box you can adjust to display the panel art properly. Since the panels are adjusted, we’ll continue by creating the symbols from the panels. To create symbols from the panel art: 1. Turn off the Border Outline layer’s visibility by clicking on its Eye icon on the Layers palette. This will prevent you from selecting the panel outlines when creating your symbols. 2. Select the Graphics layer in the Layers palette. 3. Choose the Selection tool and marquee-select the entire front panel. 4. Drag the entire front panel onto the Symbols palette (Window > Symbols), as shown in FIGURE D. TIP: Choose Small List View or Large List
View from the Symbols palette’s pop-up menu to display the symbol icons as well as their names. This will help eliminate confusion while creating the panel symbols.

5. Double-click on the New Symbol to display the Symbol Options dialog box. 6. Name the New Symbol Front Panel and click OK. 7. Repeat steps 3-6 until you’ve created a symbol for each of the 6 panels. Your Symbol palette should look like FIGURE E when you’ve created and named all of the panel symbols. 8. Turn off the Graphics layer’s visibility by clicking the layer’s Eye Icon.

Enter the third dimension
Here’s where the Border Outline layer in the Layers palette comes into use. The white box we created will make it easier to position and map the art onto the 3D surface because it was created at the same size as the front panel. To create the mapping surface: 1. Turn on the Border Outline layer’s visibility. Your Layers palette should look like FIGURE F. 2. Select the Front panel’s white box using the Selection tool, as shown in FIGURE G. This is the surface we’ll use to create the 3D package shape. 3. Choose Effect > 3D Extrude & Bevel and select the Preview check box

Convert your art to symbols
Before creating your symbols to map the art onto your 3D package, you’ll need to reflect certain panels to display correctly



Fe b r u a r y 20 07

w w w. e l i j o u r n a l s . co m


in the 3D Extrude & Bevel Options dialog box. 4. Leave the view set to the default Off-Axis Front option on the Position pop-up menu. 5. Type .75 in in the Extrude Depth text box. Although the text box is set at point size, Illustrator automatically converts the value to inches when you type “in” after the number. We typed .75 in because that’s the value of the height of the Top, Bottom, Right, and Left panels (¾ inch).

Map the art symbols
With the 3D package shape created, we’ll map the panel art to the sides of the package. We’ll begin by mapping the Front Panel symbol to the front surface. To map the art panels onto the package: 1. Click the Map Art button and select the Preview check box in the Map Art dialog box. TIP: To help you see which panel you’re
generating and how they display on your package, position the Map Art dialog box so you can see the artboard.

2. Select the front surface using the Next Surface arrow button . You’ll know you have the correct surface if the red highlighted area in the artboard is in the front position, as shown in FIGURE H. 3. Select the Front Panel symbol from the Symbol pop-up menu, as shown in FIGURE I. Since we created the Front Panel artwork and the front panel of the 3D package at the same size, you won’t need to scale the mapped symbol.






C r e a t i ve D e s i g n e r

To S u b s c r i b e , C a l l 1- 8 0 0 -2 2 3 - 8720

4. Repeat steps 2 and 3 to map the rest of the artwork panels with the sides of the 3D package. VERY I MPORTANT ! When you map the
Right Left, Top, and Bottom panels you may need to rotate them to display correctly on the package. You can rotate them by repositioning them in the preview window and then scrolling over the corner handles. When the double arrows rotational symbol appears, use them to rotate the right panel artwork, as shown in FIGURE J.

2. Press and hold down the [option] ([Alt] in Windows) key. Then, clickand-drag the 3D package to another location on your artboard to make a duplicate of it. 3. Double-click on the Edit Effect button on the Appearance palette (Window > Appearance), as shown in FIGURE K. 4. Use the cube preview or the Position pop-up menu in the 3D Extrude & Bevel dialog box to change the package rotation and check the Preview option. Click OK when you have the view you want. By duplicating the package on the artboard and then adjusting and rotating the package in the 3D Extrude & Bevel dialog box, you can make as many copies of different 3D package views as necessary in your package design, as shown in FIGURE A.

Adjust raster effects resolution before printing
When creating packages for print, you’ll want to adjust your Document Raster Effects Settings. Because artwork that’s mapped onto a 3D surface is rasterized at the default 72 ppi—even if you’ve mapped a highresolution image—you’ll need to change the settings before you save the package design.

To change raster effects:
1. Choose Effect > Document Raster Effects Settings. 2. Change the resolution in the Document Raster Effects Settings dialog box and click OK.

5. Click the OK button twice to exit the two dialog boxes when you’re satisfied with the mapped artwork. To create multiple views of your package design: 1. Turn off the visibility of the Guides layer by clicking on its Eye icon in the Layers palette.


> > TI P S



Rescue missing raw previews with this simple step (CS/CS2)
by Amy Palermo
If you work with raw files and Adobe Bridge in CS2 (or the File Browser in CS) you may encounter a situation where you can still open raw files, however, you can’t see the thumbnail previews in Bridge (or the File Browser). It might simply be because you need to purge the cache for the folder that contains the raw images. Before you do this, make sure the Bridge application is launched (or File Browser is open).

To purge a folder’s cache with Adobe Bridge:
1. Select a folder from the Folders palette or from the main Bridge window. 2. Choose Tools > Cache > Purge Cache For This Folder. 3. Click OK in the resulting dialog box—explaining that all previously generated thumbnails, metadata, and rankings may be deleted—to continue. 4. Select Tools > Cache >Purge Central Cache. 5. Repeat step 3.

To purge a folder’s cache with the File Browser:
1. Select the folder in the Folder palette of the File Browser. 2. Choose File > Purge cache. 3. Click OK in the resulting dialog box—explaining that all previously generated thumbnails, metadata, and rankings may be deleted—to continue.

Fe b r u a r y 20 07

w w w. e l i j o u r n a l s . co m




> A




Craft rich textures with Faux Finish Brushes
by Amy Palermo


We look to stock art to fulfill many of our image editing needs. However, not everything you might want in your final piece is accessible from a single photograph. With a little imagination and some help from Photoshop’s Faux Finish Brushes, you can create dramatic textures and backgrounds that will add depth and excitement to your next masterpiece. To enhance your work with Faux Finish Brushes, we’ll:

Application: Operating Systems:
Adobe Photoshop CS/CS2 Macintosh, Microsoft Windows

• Show you how to access the Faux Finish Brushes presets so you can
start exploring.

• Describe how you can use Faux Finish Brushes to create the decorated
look of faux finish painted walls for creative backgrounds.

• Explain how to use Faux Finish Brushes in conjunction with a Quick
Mask to create great frames for your photos.

• Offer suggestions and provide examples of other techniques where you
can use Faux Finish Brushes.

If your challenge is to enhance a photo or create an illustration, don’t overlook the series of Faux Finish Brushes presets that come with Photoshop. They offer the potential to achieve rich textures and add dimension to your next piece, as illustrated in FIGURE A. Whether you paint with a mouse or stylus, you can achieve great results with these brushes. In fact, the faux finish brushes lend themselves to looser strokes, and therefore, are very forgiving for mouse painters. So put on your creative hat and let’s get painting!

Faux Finish Brushes
The Faux Finish Brushes presets are accessible through the Brushes palette and the Brush tool options bar. We’ll load them through the Brushes palette, but it works the same either way. You may or may not have them loaded, so we’ll load them and then take a closer look at them.

ALERT: In the following steps we’re going
to replace our existing brushes with just the Faux Finish Brushes, to minimize confusion in our palette. If you don’t want to replace your set, click Append instead of OK in the following step 4. Or, if you prefer, save your current set before you begin, and then reload it in later.


C r e a t i ve D e s i g n e r

To S u b s c r i b e , C a l l 1- 8 0 0 -2 2 3 - 8720

To load the Faux Finish brush presets: 1. Choose the Brush tool toolbox. from the

Now we can add some additional layers and brushstrokes, which will complete the faux sponge painted look. To complete the faux sponged finish: 1. Create a new layer and name it Rolled Rag Terry. 2. Set the foreground color to a lighter shade of your background color. We chose a light brown with RGB coordinates of 140/94/55, respectively. 3. Select the Brush tool and choose Rolled Rag Terry 120 Pixels from the Brush preset picker in the Brush tool options bar. Feel free to increase the Master Diameter to save time painting. 4. Paint on your new layer with singleclick brushstrokes until you can see only a small amount of the background showing through. 5. Create a new layer and name it Stencil Sponge. 6. Set the foreground back to the dark shade you used for the background layer.

Faux Finish techniques
The preset Faux Finish brushes are simulated from the materials used in creating designer finishes for wall painting. Some faux finishing painting techniques include, but are not limited to:

2. Select Window > Brushes to display the Brushes palette. 3. Choose Faux Finish Brushes from the Brushes palette’s pop-up menu. 4. Click OK in the resulting Adobe Photoshop dialog box, asking if you want to “Replace current brushes with the brushes from Faux Finish Brushes.abr?” This way we have only the Faux Finish brushes in our palette, as shown in FIGURE B. If you want to display the name of your brushes rather than a thumbnail, simply choose Text Only from the Brushes palette’s pop-up menu. Alternatively, you can select Large List to show a large icon of the brushstroke, alongside the name of the brush.

• SPONGING. Paint is layered from dark
to light, with the second and sometimes third layer applied with a textured sponge, and often a glaze mixture instead of full strength paint.

• MARBLING. A dark layer of paint is often
layered with a dark layer of glaze, and then the marbleized veins are painted in loosely with variable strokes to achieve the desired look.

• VERDIGRIS. Paint is layered from dark to
light, and blended with a sponge. Then, bronzing powder is applied in multiple stages to achieve the look of aged copper.

7. Select the Stencil Sponge – Twirl brush from the Brush preset picker in the Brush tool options bar, and change the Master Diameter to 200 px. 8. Paint on the new layer in the same fashion as with the Rolled Rag Terry brush. 9. Set the Stencil Sponge layer Opacity to 50% and choose Multiply from the Blending Mode pop-up menu to achieve results similar to FIGURE D.

NOTE: You can change a faux finish brush’s
master diameter, but not the hardness.

Traditional faux finish
You create a painted faux finish in Photoshop in much the same way you do with real paint on walls. The difference, obviously, is you’re selecting colors from a palette, and instead of a glaze, we’ll use layer opacity to achieve the background “wall” in FIGURE C. To set the background layer for our faux sponged painting: 1. Create a new 4” wide by 6” high, 300 ppi RGB document with a white background. 2. Set the foreground color to a dark color of your choice. We used a dark brown with RGB coordinates of 75/51/20, respectively. 3. Choose Edit > Fill. 4. Select Foreground color from the Use pop-up menu, Normal from the Mode pop-up menu, enter 100 in the Opacity text box, and click OK.


Fe b r u a r y 20 07

w w w. e l i j o u r n a l s . co m


To finish off our example, we added a cupid with a drop shadow for finishing touches, as shown in FIGURE C. You can use your new faux sponge painting as a backdrop to enhance just about anything.

To paint and define the frame edges in Quick Mask mode: 1. Press D to set the Foreground and Background colors to their defaults of black and white, respectively. 2. Click the Edit In Quick Mask Mode button on the toolbox. 3. Select the Brush tool from the toolbox and select a brush, such as Plastic Wrap – Light 90 Pixels, from the brush preset picker, and set the brush Opacity to 50%. 4. Paint around the edge of your image, making a jagged edge around your photo. 5. Select a second brush, such as Plastic Wrap – Dark 90 Pixels, and set the Opacity of the brush to 100%. 6. Paint around the edge of your image again, in random single clicks following the jagged line you previously drew as we did in FIGURE F.

To apply the mask: 1. Open the Channels Palette and then c-click ([Ctrl]-Click in Windows) on the Quick Mask channel (CS2 users need to click on the Quick Mask channel thumbnail) to load the selection. 2. Select the RGB composite channel. 3. Choose Select > Inverse. 4. Press [delete] ([Backspace] in Windows) to remove the selected pixels from your image. 5. Select the Edit In Standard Mode button on the toolbox to exit out of Quick Mask mode. 6. Press cD ([Ctrl]D in Windows) to deselect everything and view your cool painterly framed photo, as shown in FIGURE E.

Add a custom frame
It’s easy to create a custom frame with Faux Finish brushes, such as the one shown in FIGURE E. To get started you’ll simply need to open a photo to work with. First we’ll increase the canvas size so there’s adequate space around the image, then we’ll paint around the edges in quick mask mode to define the frame, and finally we’ll apply the mask to create the frame. To increase the canvas size of our image: 1. Choose Image > Canvas Size to open the Canvas Size dialog box. 2. Increase the numbers in the width and height text boxes so you have sufficient space around your image, and select the center square in the Anchor box. We increased both the width and height of our image one inch. 3. Click OK.

A texture for any occasion
There are countless textures you can create with the combination of Faux Finish Brushes, Layer Styles, and



C r e a t i ve D e s i g n e r

To S u b s c r i b e , C a l l 1- 8 0 0 -2 2 3 - 8720

Layer Blending Modes, as you can see illustrated in FIGURE G. For each sample we started with a solid color background, and then added a combination of one or more of the following: multiple layers with different colored brush strokes, brush controls, Layer Blending Modes, and Layer Styles. Once you’ve mastered

the art of painting with the Faux Finish brushes, there are a variety of ways you can incorporate the techniques into your artwork: • BACKGROUND. Use the brushes to create backgrounds to spruce up a flat piece or as a photo backdrop for a portrait.

• WRAPPING PAPER. Use the brushes to create a textured finish to create wrapping paper. • ILLUSTRATIONS. Use the Faux Finish brushes to add textures to your illustrations as we did in FIGURE A. • FABRIC. Use the Faux Finish brushes to create textures in fabrics, or add curtains to an image of a bare window.










Save your PDF comments for Adobe Reader users
by Michelle Dick If I create a PDF file using Acrobat Professional, is there a way to let a person add comments to my PDF using the free Reader? If so, how do I enable this feature? Because you’re using Acrobat Professional, you can set up an emailbased review for Adobe Reader that will include and allow comments. However, if you have the Standard version of Acrobat, this feature is not available. To enable commenting for Adobe Reader users in Acrobat Professional: 1. Open the PDF document. 2. Choose Comments > Enable For Commenting And Analysis In Adobe Reader. 3. Click OK if a warning appears. 4. Save the PDF document.
Fe b r u a r y 20 07 w w w. e l i j o u r n a l s . co m 9

Application: Operating Systems:
Adobe Acrobat 7 Professional Macintosh, Microsoft Windows

Users with Reader 5.1 or newer can now add and save comments to the file. Note: This feature doesn’t enable Reader users to save filled-in forms. Also, functions normally available to Acrobat users, such as filling in form fields, editing documents, signing, page inserting or deleting, are restricted.



> A




Automate Acrobat to batch process InDesign files to PDF
by Renée Dustman


There was a time when you had to export your InDesign files to PDF one by one, but no more. Now you can automate Acrobat to batch process multiple InDesign files to PDF. The default Acrobat installation doesn’t include this capability, but we’ll show you how to get it up and running. To enhance Acrobat’s export capabilities, we’ll show you how to:

Applications: Operating Systems:
Adobe InDesign CS2, Adobe Acrobat Standard/ Professional 7 Macintosh, Microsoft Windows

• Install the necessary plug-ins to automate PDF creation of
InDesign files.

• Convert one or more InDesign files to PDF at once. • Create a single PDF file from one or more InDesign files with ease. Exporting InDesign documents to PDF is probably something you do quite often—and when you’re only exporting one file to PDF, the Export command in InDesign works just fine. But, what about when you need to export several InDesign files to PDF? Or, when you need to compile several InDesign files into a single PDF? If you have Acrobat 7 and InDesign CS2, the answer is at your fingertips. To install the PDF Automation plug-ins: 1. Quit Acrobat if it’s running. 2. Locate the Adobe Acrobat Professional or Standard 7 application folder. 3. [control]-click (right-click in Windows) on the Adobe Acrobat Professional or Standard 7 icon and choose Show Package Contents from the resulting context menu. (On the Mac, the default location for Acrobat’s Plug-ins folder is Applications/Adobe Acrobat 7.0 Professional or Standard/Contents/ Plug-ins. In Windows, navigate to C:\ Program Files\Adobe\Acrobat\Plugins). 4. Insert the InDesign CS2 install disk or the Creative Suite 2 Resources & Extras disk 1. 5. Open the Technical Information folder. 6. Open the InDesign CS2 folder. 7. Drag the InDesign PDF Automation For Acrobat 7 folder, which contains the BridgeTalkClient and InDesignPI plug-ins, into Acrobat’s Plug-ins folder on your hard disk.

Export multiple InDesign documents to PDF without Acrobat
Don’t have Acrobat Professional or Standard 7? You still have the ability to simultaneously export multiple InDesign documents to a single PDF. All you have to do is book your documents. Then, you can export them to PDF.

To export booked InDesign documents to PDF:
1. Choose File > New > Book in InDesign. 2. Name the book, specify where you want to save it, and then click Save in the New Book dialog box. 3. Click the Add Documents button or choose Add Document from the Book palette pop-up menu. 4. Select all the documents you want to export to PDF—it helps to have them all in one folder. Then, click Open (Add in Windows). 5. Select all the documents in the Book palette and then choose Export Book To PDF from the Book palette pop-up menu. 6. Specify a filename and location in which to save the PDF file in the Export dialog box, and then click Save. 7. Set the options in the Export PDF dialog box as usual, and then click Export.

Plug-in to better performance
When you installed Acrobat, you might’ve thought you’d put that task to bed. Not so. You installed the necessary components of the software, but not all the bells and whistles—or, should we say, plug-ins. Plug-ins are software enhancements that add to the functionality of an application. Required plug-ins install with the application, but there are additional plug-ins on your Resources & Extras disk that are considered optional. Unfortunately, if you don’t take the time to check all the tidbits of information on this disk, you’re missing out on a lot. Case in point: the ability to batch process InDesign files in Acrobat.


C r e a t i ve D e s i g n e r

To S u b s c r i b e , C a l l 1- 8 0 0 -2 2 3 - 8720

That’s all it takes to add to Acrobat’s functionality. Now, you’re ready to put it to the test.

Settings pop-up menu, as shown in FIGURE A. Then, click OK. 5. Select one or more INDD files in the Open dialog box and then click Open. 6. Save the resulting PDF file(s). The time it takes Acrobat to process the files may be dreadfully slow, but it gives you time to take a break and honestly say it was a “working” lunch! To convert multiple INDD files to a single PDF: 1. Choose File > Create PDF > From Multiple Files in Acrobat.

2. Click Choose (Browse in Windows) in the Create PDF From Multiple Documents dialog box. 3. Locate and select one or more INDD files in the Open dialog box, and then click Add. 4. Use the buttons in the Arrange Files pane shown in FIGURE B to change the order of your files if necessary. 5. Click OK. 6. Save the resulting PDF file. Also shown in FIGURE B, you’ll notice that the Preview PDF Files button isn’t enabled. Unfortunately, you can’t preview PDF files in Acrobat that stem from InDesign files when using this feature.

Automate the way you process InDesign files
Once the BridgeTalkClient and InDesignPI plug-ins are installed, you can immediately begin to process InDesign files to PDF as needed. You have two choices: convert single InDesign files to multiple PDF files or convert multiple InDesign files to a single PDF. To convert InDesign files to multiple PDF files: 1. Launch Acrobat. 2. Choose File > Create PDF > From File. 3. Select InDesign from the Show (Files Of Type in Windows) pop-up menu to display only INDD files. 4. Click the Settings button and choose a PDF preset from the Adobe PDF

Creative Designer (ISSN 1550-4352) is published monthly by Eli Journals, Inc., a subsidiary of Eli Research, 2222 Sedwick Road, Durham, NC 27713.

Customer Relations & Subscription Services New Hill Services Dept. 1380 Denver, CO 80291-1380 Email: U.S. toll-free ..........................................................................................................(800) 223-8720 Outside U.S. ........................................................................................................... (239) 280-2383 Fax .......................................................................................................................... (800) 508-2592 Editorial Senior Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Michelle Dick Email: Toll-free: (866) 614-8702 Contributing Editors .............................................................................................Renée Dustman Amy Palermo Graphic Designer ....................................................................................................... Alicia Natale Managing Editor .......................................................................................................Stephen Dow Editorial Director ......................................................................................... Erin Lang Bonin, PhD Publishing & Sales Publisher . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Craig Scott (919) 281-0474, ext. 324 Bulk Sales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Pam Snyder (877) 853-9938 Customer Service Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Holly Smith

Postmaster Postmaster: Send address changes to Creative Designer PO Box 413006 Naples, FL 34101-3006 Price Domestic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $117/yr. Outside the U.S. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $127/yr.
GST #: 889037958. PM #: 40031405.

Creative Designer is a trademark of Eli Journals. All product names or services identified throughout this journal are trademarks or registered trademarks of their respective companies. Have information on copyright violations? Call us! We’ll share with you 25% of the net proceeds of all awards related to copyright infringement that you bring to our attention. Direct your confidential inquiry to Direct your con-fidential inquiry to Mark Lydard at (800) 508-1316. Printed in the U.S.A. Are you moving? If you’ve moved recently or you’re planning to move, you can guarantee uninterrupted service on your subscription by calling us at (800) 874-9180 and giving us your new address. Or you can fax us your label with the appropriate changes at (585) 789-3560. Our Customer Relations department is also available at To see a list of our products, visit our websites at and

Back Issues To order a back issue, call Customer Service at (800) 874-9180. You can pay with MasterCard, VISA, Discover, or American Express. Copyright © 2007 Eli Journals. This work is an independently produced publication of Eli Research, the Content of which is the property of Eli Research or its affiliates or third-party licensors and which is protected by copyright law in the United States and elsewhere. The right to copy and publish the Content is reserved, even for Content made available for free such as sample articles, tips, and graphics, none of which may be copied in whole or in part or further distributed in any form or medium without the express written permission of Eli Research. Requests for permission to copy or republish any Content may be directed to Mark Lydard at (800) 508-1316, or via email at

Fe b r u a r y 20 07

w w w. e l i j o u r n a l s . co m


>> coming up
In March’s Creative Designer, I’ll create a vintage look for your artwork by imitating antique labels using Photoshop. And, in InDesign, I’ll bring out the best in your images with a transparent effect. To top it off, I’ll show you how to add a pop-up visual effect to a PDF using buttons in Acrobat.
Please include account number from label with any correspondence.


> > T





Simplify the snow making process using Illustrator (CS/CS)
by Renée Dustman
In December 2006’s issue we featured the article “Want snow? Create an instant winter wonderland with Illustrator.” (View it online at WWW.ELIJOURNALS.COM/PREMIER/SHOWARTICLE. ASP?AID =23600.) In that article, we showed you how to create unique snowflakes using a circle, the Scale and Rotate tools, and the Pucker & Bloat filter. Although a great technique for creating intricate snowflakes, we have another easy way to produce simple snowflakes, as shown in FIGURE A, using only the Star tool and Zig Zag filter.

To easily make your own snow:
1. Select the Star tool from the Ellipse tool pop-up menu. 2. Click the Star tool on the page to open the Star dialog box. 3. Enter 0.75 in in the Radius 1 text box, 2 in in the Radius 2 text box and 6 in the Points text box, as shown in FIGURE B, to create a six-pointed star. Then, click OK. 4. With the Star selected, choose Filter > Distort > Zig Zag (Use the first Distort option in the Filter menu) to display the Zig Zag dialog box. 5. Enter 0.15 in and select the Absolute option button. Then, enter 7 in the Ridges Per Segment text box, as shown in FIGURE C. 6. Select the Corner option button in the Points area. 7. Click OK and your snowflake will look like FIGURE D. 8. Apply 40% Cyan to the stroke and fill of your snowflake. To create other snowflakes, which you can then color and combine to create even more snowflakes, draw more 6 pointed stars and play around with the Zig Zag settings. Have fun! It isn’t often you can tell people you spent the day making snow!





C r e a t i ve D e s i g n e r

To S u b s c r i b e , C a l l 1- 8 0 0 -2 2 3 - 8720

Sign up to vote on this title
UsefulNot useful