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Our goal at onOne Software is to build tools that easily solve time consuming tasks in Photoshop so you can get back to shooting. The onOne Plug-In Suite 4
includes six essential tools for Photoshop users of all skill levels. New additions to the Plug-In Suite 4 include three exciting titles, PhotoTools 1, PhotoTune 2

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Genuine Fractals 5 PhotoFrame 3 Mask Pro 4 NEW PhotoTune 2 NEW PhotoTools 1 NEW Focal Point 1
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for enlargement. Enlarge touch with border and edge background while retaining color correction for all professional look with over focus and vignettes just
images over 1000% with no effects created by the pros every detail, including images, including challenging 250 photo effects created by like using a real lens
artifacts or loss of quality transparent objects like hair adjustments to skin color Jack Davis and Kevin Kubota
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qpxfsgvm-!fggfdujwf-!fzf.dbudijoh!xfctjuft
“I can‘t live without the onOne
For more information, free 30-day demo and video tutorials... Plug-In Suite. It immediately saved
www.onOnesoftware.com me hours in Photoshop.” N
! BLJOH!UIF!TXJUDI MJHIUSPPN!3!CFUB
– Robert W., New York
usbejujpobm!jmmvtusbupst!fyqmbjo!ipx! ofx!uppmt!boe!jnqspwfe!gfbuvsft!nblf!
boe!xiz!uifz!uppl!uif!ejhjubm!mfbq Mjhiusppn!cfuufs!boe!gbtufs!uibo!fwfs Produced by
© 2008 onOne Software, Inc. All rights reserved. onOne Software is a registered trademark of onOne Software, Inc. The onOne Software logo, Genuine Fractals, Mask Pro, PhotoFrame Pro, PhotoTools Pro and
PhotoTune are trademarks of onOne Software. Adobe and Photoshop are trademarks of Adobe Systems Incorporated. All other trademarks are the property of their respective owners.
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'.S Design Makeover:
Designs That Stick—Jake Widman

((S Artistic Expressions:

Q J K J E H ? 7 B I S Seeing Is Input—Corey Barker

*(S The Digital Camera:

*,S Adobe Photoshop Lightroom: More Than Just a Shooter
Getting Up to Speed with Lightroom 2 Beta
—Rick Sammon
—Chris Orwig
,*S The Art of Type:
+(S Adobe Photoshop CS3
Setting Squint-Free Small Type
for Photographers:
—James Felici
Exposure Blending—Seán Duggan

+,S Adobe Photoshop CS3 /&S Digital Video Solutions:

Motion Design in Photoshop CS3
for Designers: FW][(*
Automated Layout—Dave Cross Extended—Rod Harlan

,&S Adobe Illustrator CS3:

Revolving in the Third Dimension
—Bert Monroy
,,S Adobe InDesign CS3:
Smart Contact Sheets—Terry White
-(S Adobe Acrobat 8 Professional:
PDF Central—Taz Tally
.'S Adobe Dreamweaver CS3:
Using Code View to Insert Google Ads
and More—Janine Warner
.,S Adobe Flash CS3 Professional:
Closed-Captioned Video—Lee Brimelow
Q : ; F 7 HJ C ; D J I S Q E D J > ; 9 E L ; H S
.S Letter from the Editor Fred Rix’s illustrations have appeared
in The Washington Post, The New York
'(S Layers News Times, and Fortune magazine. And now
Layers magazine can be added to that
(*S The Digital Canvas
list, too. Check out our interview with
(,S Designer Spotlight Fred on page 26 and look for his incred-
ible artwork throughout the magazine.
''&S Tips & Tricks
\Gsfe!Sjy^
''*S Creative Suite Q&A

/(S Adobe After Effects CS3:

Thank Heavens for Little Swirls
—Steve Holmes
Q H ; L ? ; M I S
/,S Adobe CS3 Production Premium:

(,
Automation Modes: Live Audio Mixing in
'&(S Datacolor Spyder3Studio—Steve Baczewski
Premiere Pro—Marcus Geduld
FRED RIX

'&)S ToonIt!—Rod Harlan

'&)S GLUON ColorBreaker ID—David Creamer

'&*S SpaceNavigator for Notebooks—Bruce Bicknell

Q 9 E L ; H  I J E H O S
'&*S 3D Assistants—Rod Harlan
),S Fireworks CS4 Beta for Web Design
Have you ever used Fireworks? No, not the kind that can blow your '&,S Freeway 5 Pro—Daniel East
thumbs off. We’re talking about the application from Adobe. If you
haven’t tried it, we think you’ll soon wonder how you ever lived with- '&-S Adesso CyberTablet 12000—Marcus Geduld
out it. Plus, get up to speed on the CS4 public beta that Adobe
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just released.—Rafael “RC” Concepcion '&-S Swift 3D v5—Bruce Bicknell

'&.S Phantasm CS Studio—David Creamer

'&(
Q < ; 7 J K H ; S '&.S Canon VIXIA HV30—Rafael “RC” Concepcion
(.S Digital Illustration: Conversations in Art
The digital revolution has changed the way artists and illustrators
work. Corey Barker talks to three aristic gurus about their digital
conversion and how it has set their creativity free.—Corey Barker Whenever you see this symbol at the end of an article, it means there’s either additional material or a download
FW][), for that story at www.layersmagazine.com. So be sure to visit the website and check it out.
&*
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We’re always adding new tutorials to the Layers website,
so be sure to visit often. And don’t forget to sign up for our
graphics tip of the day and to read RC’s daily blog, Living
in Layers. Here’s a small sampling of some of the tutorials
that you can find at the site now:

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www.layersmagazine.com/category/photoshop
Masking Hair in Photoshop CS3 (Video): Masking hair is one
of the hardest challenges when moving a subject from one
background to another. Here are two techniques to help you
get the job done.—Chris Alvanas

Understanding Channels in Photoshop CS3 (Video): Chan-

nels are a powerful tool for masking and making selective
RIVOLCYCA
enhancements. Understanding how they work is key to
taking advantage of their potential.—Chris Alvanas

Offset Dashes in Photoshop CS3 (Video): Learn how to

create an offset-dashed stroke around your subject by
defi ning a pattern, making a quick selection, and using
the Minimum filter.—Dave Cross
Why am I passionate about my pen?
This may sound crazy, but the pen allows me to achieve perfection.
What can I say? I’m a perfectionist. I like things to be exact.

(,
Q?BBKIJH7JEHS
I’m Alex. I’m a Photo Retoucher. I’m all about the details. It’s my
www.layersmagazine.com/category/illustrator
FRED RIX

Crazy 3D Shapes in Illustrator (Video): Use 3D Revolve to duty. People come to me and ask: “Can you just Photoshop this?”
turn your type characters into an entire series of crazy 3D And I know they don’t have a clue what that means. Their eyes
objects.—Dave Cross don’t see the details the way mine do. Do they even know what
dodging, burning, cloning and healing mean? And then there’s
Q B 7 O ; H I  J L S Wedding Album: Illustrator and Photoshop Warping (Video): compositing…
Hosted by Corey Barker and Rafael “RC” Concepcion Use Illustrator to create a path and warp an image to fit
www.layersmagazine.com/tv
inside it, and then export the file to Photoshop to add some Small details are huge things. With my pen, I can work at the pixel
Episode 36: Learn a practical use for the Vanishing Point filter, and join
highlighting and shadow detail.—Matt Kloskowski
level, creating masks and selections with speed and control. Making
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special guest Christy Winter as she breaks down how she created our
popular “100 Blazing Hot Tips” magazine cover. everything just right.

Episode 35: Corey teaches you how to create a cool shape pattern
to use for your backgrounds, and RC interviews Eddie Tapp about his
90% method of color correction.
Episode 34: RC shows how to create type straight out of Hollywood’s
hottest summer blockbuster, and Corey takes us on a tour of Photo-
shop Express.
&,
Q<B7I>S
www.layersmagazine.com/category/flash
Handlin’ Photoshop and Illustrator Content in Flash: One
of the greatest aspects of CS3 is the integration between
all the applications. Learn how to harness this power when
working with Photoshop and Illustrator files in Flash.
—Geoff Blake
At the Pen Collective, I’ve found people who understand my obsession.
Listen. Share. Learn.
Come to Grips with Your Pen Love.
www.PenCollective.com
© 2008 Wacom Technology Corporation. Wacom is a trademark of Wacom Company, Ltd.
All other references to third-party software are recognized as trademarked property of their respective owners and used with their permission.
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When Adobe and Macromedia became “one,” there was inevitably going to be some overlap of
products, such as Dreamweaver and GoLive, and FreeHand and Illustrator. A year later, some would
survive (the most popular ones) and others would quietly go away. Some Macromedia products
were so nichey that users were afraid they might go away altogether. But there’s one product that’s
not only pretty unique in its main mission (creating and optimizing Web images, along with proto-
typing websites), but also has its own cult following of users—Fireworks. (Of course, it’s now called Adobe Fireworks,
and is part of both of Adobe’s Creative Suite 3 Web Editions. And as of Creative Suite 3.3 that Adobe just recently
announced, Fireworks will be a part of the Design Editions, as well.)
Well, Adobe just recently made available a public beta version of Fireworks CS4 (in addition to public betas of
Dreamweaver and Soundbooth), so it’s not surprising that our in-house Web graphics freak (and I mean that in the
most complimentary way you can call someone a freak), RC Concepcion, has a first look at the Fireworks CS4 public beta.
He explores what the new version brings to pro Web designers, and he creates a project that

Q°j^[h[¼ied[fheZkYj demonstrates the power of Fireworks. It starts on page 36. RC has also created a companion
video at Layersmagazine.com that takes you even deeper into the application.
Also, since our last issue, Adobe has released Acrobat 9 Professional, and we’ve launched

j^Wj¼idejedbofh[jjo a special online Acrobat learning center at the Layers website, complete with tutorials on how to
get up to speed fast on all the new features. While you’re at the site, there are two things I want to
point out: The first is RC’s blog. Each day RC blogs about the latest industry news, design and

kd_gk[_d_jicW_d photography news, new products, and whatever’s on his mind. The blog is getting a lot of buzz,
so make sure you check it out. While you’re there, be sure to watch Layers TV, the weekly video
show “on everything Adobe,” hosted by RC and Corey Barker.
c_ii_ed°XkjWbie^Wi The other thing I wanted to point out about the website is that it’s fast becoming one of the
hottest sources out there for online tutorials, articles, and product reviews, with new content
being posted literally five days a week.
Create. Collaborate. Execute.
_jiemdYkbj\ebbem_d] Back here in the magazine, Corey Barker has a really fascinating and insightful feature story
on three traditional artists/illustrators (Bert Monroy, Felix Nelson, and Fay Sirkis) and their transi-
We’re there with technology every step of the way.
e\ki[hi¸<_h[mehai$S
tion to an all-digital workflow, and what it’s brought to them creatively. Plus, in each issue we now
feature the work of an artist, designer, or photographer, and this issue we’re proud to showcase
We know that when it comes to creating, you don’t want anything to stand in your way. Especially technology.
the work of illustrator Fred Rix, whose work has appeared in The New York Times, Fortune magazine,
PC Magazine, The Washington Post, U.S. News & World Report, and InformationWeek, among others. Besides what At CDW, our personal account managers can put technology to work for you. We carry a wide variety of product
you see here in the magazine, make sure you check out his site at www.fredrix.com.
categories to assist you with creating, collaborating and storing your work. And our account managers can answer
Lastly, Photoshop World “Dream Team” instructor Chris Orwig gives us a peek at all the new features of Lightroom 2
Beta, and shares a number of tips for getting the most out of this powerful new version. questions and help you through every step of the process. So when it comes to creativity, we’re there with whatever
Until next issue, make sure you check out all the latest Adobe news, product reviews, Layers TV, and RC’s blog at you need, whenever you need it.
Layersmagazine.com—our online home for the How-To Magazine for Everything Adobe.
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All my best,

Scott Kelby CDW.com/creativepro 800.399.4CDW

Editor and Publisher

©2008 CDW Corporation

&.
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EDITOR-IN-CHIEF Scott Kelby

MANAGING EDITOR Chris Main

ASSOCIATE EDITOR Mike Mackenzie
ASSOCIATE EDITOR Barbara Thompson
ASSISTANT EDITOR Issac Stolzenbach
TRAFFIC DIRECTOR Kim Gabriel
DYNAMIC MEDIA EDITOR Rod Harlan
GRAPHICS/NEWS EDITOR Aaron Westgate

CONTRIBUTING WRITERS 3TEVE"ACZEWSKIs#OREY"ARKER

0ETER"AUERs"RUCE"ICKNELL
,EE"RIMELOWs#YNDY#ASHMAN
Rafael “RC” Concepcion
$AVID#REAMERs$AVE#ROSS
3EÕN$UGGANs$ANIEL%AST
*AMES&ELICIs-ARCUS'EDULD
2ICHARD(ARRINGTONs3TEVE(OLMES
"ERT-ONROYs#HRIS/RWIG
'-3)-'77777777777777777777777777777777777777777777-*17)1%.3-2'&74'067$6
2ICK3AMMONs4AZ4ALLY
+$(- +4 +$ *ANINE7ARNERs4ERRY7HITE
/1.-7"26+317 0.7#+20$(0.,'77-*1 
Jake Widman
/1.-7"26+317 0.77777#+20$(0.,'7-*1  CREATIVE DIRECTOR Felix Nelson
/1.-7"26+317 0.77#+20$(0.,'77-*1  PRODUCTION MANAGER Dave Damstra
/1.-7"26+317 (.2.7! 7#+20$(0.,'7-*1 '$%(77
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 ASSOCIATE DESIGNER Christy Winter
/1.-7"26+317 (.2.7!7#+20$(0.,'7) +.117 7-*1 
PRODUCTION DESIGNER Dave Korman
/1.-7"26+317 (.2.7!77!7#+20$(0.,'7) +.117-*1 '$%(77
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7.+.07 
 ADVERTISING COORDINATOR Jeanne Jilleba 877-622-8632 ext. 115
ADVERTISING DESIGNER Margie Rosenstein
'-3)-'777777777777777777777777 $/'017)1%.3-2'&74'067$6
DIRECTOR OF CIRCULATION 2ONNI/.EIL

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57575 7 57"(''21  PUBLISHER Scott Kelby

4-(+4+))!$("4* +
EXECUTIVE PUBLISHER David Moser
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BUSINESS MANAGER Jean Kendra
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$ 3)4+)4- +4 ,$,-(-4-- 4 (/,44    
PUBLISHED BIMONTHLY BY Kelby Media Group
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- +)&)+4* +4 www.layersmagazine.com
" 7577   

+ '$.'4.,- +4#)-)4 COVER DESIGN Cover image courtesy of Fred Rix
" 
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COLOPHON 0RODUCEDUSING!DOBE)N$ESIGN#3
" 
7577   !DOBE0HOTOSHOP#3AND!DOBE
" 7577 
 Illustrator CS3. Body copy is set in
"  757 7  
 Avenir. Headlines are set in Solex.
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Full Line of Supplies (Call for Catalog) All contents © COPYRIGHT 2008 Kelby Media Group, Inc. All rights reserved. Any
use of the contents of this publication without the express written permission of the

FREE shipping on all orders over $75 publisher is strictly prohibited. Layers magazine is an independent journal not affili-
ated with Adobe Systems, Inc. Adobe, the Adobe logo, Acrobat, Adobe Premiere,
After Effects, Dreamweaver, Flash, Illustrator, InDesign, Lightroom, and Photoshop are

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

4 0*)+-4+4.$- 4 4)&&$("4 )0,4 

the United States and/or other countries. All other trademarks are the property of
their respective owners. Some of the views expressed by contributors may not be the
representative views of the Publisher. ISSN 1554-415X
 \mbzfst!ofxt^
]hWf^_YiZ[i_]dd[mišd[mfheZkYjišZ_]_jWbl_Z[ed[mišej^[hijk\\
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boe!QEG!Qsjou!Fohjof!3
Adobe Systems Inc. has just rolled out the next version of Acrobat, the
company’s PDF authoring tool. Acrobat 9 sports new portfolio options
that allow users to customize how they share and show their files.
Users can also upload documents to Adobe’s servers at www.acrobat
.com and organize simultaneous online review of PDF files with up to
three users. The new version also provides ways to add layers to a PDF
file directly in Acrobat.
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qvcmjd!cfubt!gps!Dsfbujwf!Tvjuf!5
Public betas of Adobe Dreamweaver, Adobe Fireworks, and Adobe
Soundbooth are now available as free downloads. Once downloaded
and launched, the betas will be active for 48 hours, after which only
Creative Suite 3 customers will have the ability to use the betas until
the next release of the Creative Suite.
Some highlights from the new versions include: a new Related
Files Toolbar and Code Navigator feature in the Dreamweaver beta;
a new user interface in Fireworks, as well as compatibility with Adobe
AIR, HTML, Adobe Flash, and Adobe Flex Builder; and new multiple
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Adobe announced a new version of Acrobat Connect Pro, the com-
pany’s Web conferencing and eLearning application. This version of
Connect Pro includes enhanced features for Web conferencing, such
as options for archiving and editing recorded online meetings and
the capability to connect with popular instant messaging clients.
Bepcf!boe!joevtusz!mfbefst
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! ftubcmjti!Pqfo!Tdsffo!Qspkfdu!
Adobe has announced the Open Screen Project, which is dedicated to
driving rich Internet experiences across televisions, personal computers,
mobile devices, and consumer electronics. The project is supported by
a group of industry leaders and leading content providers who want to
deliver rich Web and video experiences reliably across a variety of devices.
'(
To bring you up to speed on the latest version of Acrobat, Layers
has put together an online learning center to show our readers how
to use many of these new features. Visit www.layersmagazine.com/
acrobat-learning-center.html to check it out.
Adobe has also introduced PDF Print Engine 2, printing soft-
ware that enables end-to-end workflows for publishing based on the
PDF format. According to Adobe, the new PDF Print Engine will not
only streamline print production by using a single workflow, but it will
also enable original equipment manufacturers (OEMs) and print pro-
viders to fulfill the promise of variable data printing (VDP) and help
their customers to develop personalized campaigns for different
target audiences. For more information on Adobe PDF Print Engine
2, visit www.adobe.com/products/pdfprintengine.
track support
and the ability
for users to
match volume
levels across
audio files in
Soundbooth. Underground 300 by Claudia Salguero
For a first
look at Fire-
works CS4, turn
to page 36 and then visit the Layers website (www.layersmagazine
.com). To download the betas and try them yourself, visit Adobe
Labs at http://labs.adobe.com. Created with Painter. Made by hand.
A genuine work of art is the unique expression of the artist’s
eLearning enhancements include: breakout rooms for students
in virtual classes; authoring of video-based content; integration with
imagination and hand. Each stroke is distinctive, and each piece
Learning Management Systems from Blackboard and SumTotal; and
tools that track and organize online classes.
is one of a kind.
Corel Painter X is the ideal tool for turning your photographs into
Acrobat Connect Pro is deployed using the Adobe Flash Player.
Using a simple Web address, virtually anyone can connect to an online The world’s most stunning paintings. Featuring the new RealBristle™ system that
POWERFUL
meeting or classroom instantly without the need to download addi- models classical brushes right down to the individual bristles, and
tional software and regardless of operating system or browser version.
an array of art materials and textures that mirror the look and feel
For more information, visit www.adobe.com/acrobatconnectpro.
of their traditional counterparts, Painter offers unlimited creative
Natural-Media
®
freedom. The result? An original work of art, every time.
The Open Screen Project is working to take advantage of the
Adobe Flash Player and Adobe AIR to create a consistent runtime
painting and illustration software Visit www.corel.com/layers to experience Painter X and download
your free 30-day trial today.
environment that will remove barriers for developers and designers as
they publish content and applications across desktops and devices,
including phones, mobile Internet devices, and set-top boxes.
For more information about the Open Screen Project, visit www
.adobe.com/go/openscreenproject.
®

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How-tos, tips, and resources for
Adobe InCopy
xxx/bdspcbuvtfst/dpn
Acrobat user community with every-
thing from news to video tutorials
iuuq;00jmpwfuzqphsbqiz/dpn
A blog dedicated to making people aware
of the typography around them
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Bert Monroy teaches you how to whip
your images into shape with Photoshop
and Illustrator
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bvupnbufe!boe!fssps.gsff!pvuqvu
Badia Software has released Badia Printools 5 for Adobe InDesign CS3. Designed to help pre-
press and printing professionals produce automated and error-free output, Printools combines
PHOTO BOOKS
two powerful features: batch printing and preflighting. It allows InDesign CS3 users to batch Tell your story with a Photo Book from Mpix. Our new Custom Hard Covers give
print up to 5000 documents with the same print settings, and quickly checks for common
errors, such as broken links or missing fonts, that could lead to time and material waste.
you complete freedom to add vibrant, colorful images to the front and back of
Printools can rename the output stream without altering the document or filename, as well your book. Now your story starts before you even reach page 1.
as print to file as PostScript or PDF.
In addition, Printools for InDesign CS3 comes with a new Print Log window that shows in
real time which files are being printed and allows for a complete analysis of the output and
preflight processes. Printools is available for $119.99 per license. Visit www.badiasoftware.com
for more information.
Btubl!boopvodft!Nfoups!
! F.Cppl!Sfbefst!
Users of electronic book readers
have a few more products to
choose from now that Astak has
introduced the Mentor line of
E-Book Readers. These reading
devices are available in three
sizes: the base 5" model, 6",
and 9.7". All three models are
available with 128-MB RAM
(expandable to 4 GB with an SD card), a stylus touchscreen,
Bluetooth, Wi-Fi, an MP3 player, and a Linux or Windows
Image courtesy of Rob DeCamp, Kihei, HI.
CE-based OS. The touchscreen, Wi-Fi, and Bluetooth are options
on the smaller Mentors and standard on the 9.7" ProMentor.
The Mentor line supports English, Spanish, French, German, the Chinese “Big 5,”
and Japanese. The new E-Book Readers are expected to roll out gradually between June
and October. For the latest information on pricing, features, and availability, visit www.astak
.com/e-book.html.
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obwjhbujpo!nfovt!jo!Esfbnxfbwfs
CSS Menu Writer is a Dreamweaver Extension from WebAssist to help Web professionals
create cross-browser, CSS-based navigation menus that are fully customizable and compliant
with Web standards.
The CSS Menu Writer includes a number of vertical and horizontal preset menus in four differ-
ent styles and 12 different color schemes. All of the menus are fully customizable, with features
that include different typefaces and sizes; finely tuned margins and paddings; and color and
background images. Customization can be applied differently for each level, so submenus can
differ from the main level or sub-submenus. Custom menus can also be stored as presets to be
quickly re-used and modified.
WebAssist is promoting the use of CSS Menu Writer in conjunction with Eric Meyer’s CSS
Sculptor, which was released last summer for creating standards-compliant CSS-based layouts.
CSS Menu Writer is available for $99.99. For more information, visit www.webassist.com.
Visit www.mpix.com to see our full line of photographic and press products.
 \ ! o f xt ! ^

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Teacup Software has released an upgrade for their DataLinker plug-in for InDesign CS3.
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DataLinker, a database publishing solution, now allows users to link and update data from data
Toronto, ON, Canada (June 16, 2008)
sources directly into their InDesign CS3 documents.
Miami, FL (July 10, 2008)
New features in the CS3 version include the ability to format data using GREP Find/Change
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expressions and support for scripting data using XML Rules technology in InDesign. As with the
CS2 version, DataLinker for CS3 supports text-based data sources and it also will link to ODBC-
compliant data sources with an additional plug-in.
DataLinker takes advantage of XML Rule functionality and allows users to write simple scripts
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to modify their layout depending on the data coming from the database. XML Rules scripts make
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it easy for users with a beginning knowledge of scripting to get up and running with scripts
Boston, MA (June 30, 2008)
for DataLinker-created documents.
Chicago, IL (July 7, 2008)
DataLinker retails for $399 and the DataLinker ODBC Add-on retails for $299. Both can be
Los Angeles, CA (July 11, 2008)
downloaded from Teacup’s website at www.teacupsoftware.com.
www.kelbytraining.com

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?9ED+
July 2–5, 2008 611.HC!esjwf!gspn!PXD
Roosevelt Hotel Other World Computing (OWC) has just released
New York, NY its new Mercury On-The-Go 5400-rpm portable
www.theillustrationconference.org hard disk drive, which offers 500 GB of storage
capacity and comes with FireWire 400/800 as
well as USB connectivity.
The drive is compatible with virtually all Mac and
PC computers with an available FireWire or USB port. It also works with all FireWire and USB
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digital cameras, camcorders, and other gadgets, for an instant on-the-go, portable, storage solu-
August 11–15, 2008
tion. For easy backup, the portable drive also includes the full retail software versions of the latest
Los Angeles Convention Center
award-winning Prosoft’s Data Backup 3 for OS X and NovaStor’s NovaBACKUP for Windows.
Los Angeles, CA
The Mercury On-The-Go is “Time-Machine” ready, meaning that it keeps an up-to-date
www.siggraph.org/s2008 copy of all of your files and documents under OS X Leopard.
OWC offers a full line of On-The-Go models with USB 2, USB 2+eSATA, FireWire 400+USB 2,
as well as additional FireWire 800/400+USB2 models. For more information, visit http://eshop
.macsales.com/shop/firewire/on-the-go.
<bWi^\ehmWhZ(&&.
August 20–22, 2008
Nob Hill Masonic Center
San Francisco, CA Hp!Qsp!xjui!4E!dibsbdufs!
www.flashforwardconference.com eftjho!boe!bojnbujpo!
Poser Pro, created by Smith Micro Software, follows in the footsteps of the successful Poser 7,
used by digital artists and hobbyists to create 3D images and animations. The new application
offers advanced features that include scene-hosting plug-ins for popular 3D environments, a
F^ejei^efMehbZ9ed\[h[dY[ 64-bit render engine, COLLADA support, and advanced network rendering.
;nfe Poser Pro lets artists fine-tune light, shadow, color, and detail on figures, and it ships with dis-
September 4–6, 2008 tributable 3D characters that are designed to provide a starting point for scene development.
Mandalay Bay Resort and Casino Poser Pro includes PoserFusion plug-ins, which enables hosting of both animated and static
Las Vegas, NV Poser scenes in Autodesk’s 3ds Max, Autodesk Maya, and Maxon’s CINEMA 4D. Poser Pro sup-
www.photoshopworld.com ports COLLADA data interchange, which permits the import of 3D data and the export of Poser
scenes with character rigging and blend zones, morph targets, texture information, lighting,
cameras, and other scene details.
The application is available for $499 at the Smith Micro Software Inc.’s Web store at
www.smithmicro.com/poserpro.

 '/

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J he Israel Philatelist is the membership journal of the Society

of Israel Philatelists, an organization of stamp collectors who
have a particular interest in the Holy Land. Founded in 1949, the society,
based in the U.S., has no connection with the State of Israel, though
its logo is based on the logo of the Israel postal service. It’s open to
anyone—the only requirement is an interest in the subject matter.
The society’s 1,500 worldwide members receive The Israel Philat-
elist by mail. The journal is printed on high-quality white paper in full
color; a typical issue is 40 saddle-stitched pages long. According to
the editor, Don Chafetz, the journal has three purposes: to educate
members, to retain existing members, and to recruit new members.
But Chafetz thinks the journal could do a better job, especially at
that last task, if it were redesigned. When he became editor in 2003,
he also became de facto designer, and while he thinks the magazine
looks a lot better than it did then (when it was black and white, and
the cover just featured the name, issue number, and logo), he says,
“I’m frustrated that I can’t make the covers pop more.” He usually
uses several images on the cover relating to the stories inside and
the background is always the same blue. He says the membership is
happy with the current look, but he’s not.
“I’d like it to look lively and attractive,” he says. “I want it to make
people say, ‘Boy, I want to read that.’” He particularly wants potential
members between the ages of 40 and 60 to read it because that’s
the ideal time to catch someone who’s thinking of starting a hobby.
Chafetz also wants to make sure the journal doesn’t make stamp col-
lecting look like an old man’s activity.
With that in mind, we gave three designers the cover and an inte-
rior page from The Israel Philatelist and asked them to make it look ?dYWbb_d]ekjj^[cW_dijeh_[i

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like it would be fun to be a member of the society.
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J he existing cover shows the effort to produce a professional

look, and the interior pages are clean and easy to follow. The
editor has also done well in laying down the foundation of branding by
being consistent with both the Old English font logo and the use of what
I call “Hebrew blue” in the cover design. What the magazine needed
was a face-lift to bring the look up to date.
The first thing I addressed was the logo, which felt dated and had no
real tie to Israel or stamps. I chose Herculaneum, a font that feels more
“Middle Eastern” while avoiding the cliché of mimicking Hebrew. I also
brought the tag lines up from the bottom and incorporated them into
the logo. The second tag line introduces the font used throughout the
publication—Helvetica Neue. The clean sans serif helps to modernize the
look of the publication.
In calling out the main stories on the cover, I tried to maintain a clean,
professional feeling. The “wet-floor reflection” effect used on the envelope
and Star of David, together with the gradient background, adds depth and
softness. The sombrero/yarmulke adds a bit of light-heartedness, and the
daffodil was turned so that the petals suggest a Star of David.
For the interior article page, I wanted to take the design to the next
level. Each page wouldn’t have to be this heavily graphic, but you must
give the reader a visual reason to stop and taste the article. The value of
the content takes over from there.

Q 7 8 E K J  J > ;  : ; I ? = D ; H S
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Ari Miller is a graphic designer and photographer operating Perception Arts in Lincolnton, North Carolina. He
has been a graphic/Web designer for eight years and in business for himself for just under three. He has also
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We’re looking for product packaging or labels, print advertisements, and magazine covers that are currently in the marketplace for future
“Design Makeovers.” So if you or someone you know has a design that you’d like us to consider making over, or if you’re a designer and
you’d like to be considered for a future “Design Makeover,” drop us a line at letters@layersmagazine.com.
been teaching digital photography classes for the past couple of years and has had more than 100 students so
far. His photography has placed in numerous local and national competitions. He has 48 pieces on permanent
display in the local main branch of First Charter Bank, as well as the local cultural center.
Ari says, “One of the greatest things about my job, other than having the opportunity to express myself creatively, is the
freedom I have to be very closely, if not continuously, involved with raising my young girls, Karyna and Dylyn.”

Q
Jake Widman is a writer and editor who lives in San Francisco. He’s been covering the intersection of computers and graphic design for about 20 years now—since back
when it was all called “desktop publishing.”
S 7FFB?97J?EDIKI;:0 Adobe Photoshop CS3 and Adobe InDesign CS3
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logo. I turned the logo

white, put it against the dark
gradient background, and
added a reflection to give
it that pop that Chafetz was
striving for. The other cover
font is the clean, modern
Trebuchet MS, also used for
the folios inside.
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magazine’s subscribers and WdZcWa[[l[hoj^_d][bi[i[YedZWho$
decided that like most avid

: on Chafetz, the editor and designer, stated,

“I’m frustrated that I can’t make the covers
pop more.” For that reason, my main objective was to
create a look with rich color and design. For the magazine cover
I used graphics with a tasteful, modern edge in hopes of generating
excitement and attracting people to the magazine who might not
typically be drawn to the hobby.
The magazine has been around for many years, so the redesign
needed to incorporate some of the old elements to allow users to
easily form a connection between the old and new designs. I included
the cyan color that was originally used in excess and applied it as an
accent color. Additionally, I used an Old English-style font—Anglo-
Saxon Caps—but with a slightly modern twist, and I kept the original
hobbyists, they probably kept
their past issues. So I added the
bright blue slice of color in the
top-left corner of the magazine
displaying the issue’s date, volume, and issue number. This will allow
the members to easily search through stacks of archived magazines
and find the specific issue they desire.
On the inside page, I organized the “Sharon” article so it was
more inviting. I divided the article into three columns so each line
would be short and easy to read, and I added a little bit of variety to
the grid by inserting images at an angle. I feel this added a bit of
interest in the design to draw the attention of the reader. The text
font is good old Times New Roman.
C y redesign is meant to be easy and functional, allowing the
editor to produce a crisp, consistent-looking edition on short
time or notice. I used three standard Adobe fonts throughout: Felix
Titling (nameplate), Myriad Pro (all sans-serif text), and Adobe Gara-
mond Pro (all serif text).
I started by replacing the nameplate font with something more
modern and increased its size to give it more prominence. I also took
the original circular logo and fashioned it to look like a stamp. Not
only is the logo now a part of the nameplate, but it also can be used
in company collateral.
To get that “pop” the editor is looking for, it’s key to pick one
thing that rules the cover and make everything else secondary. Here,
I bumped up the cover story headline, making it the dominant text
on the page. I framed the text and aerogrammes on a giant post-
age stamp, complete with vector postmark created in Illustrator,
and reduced the opacity in InDesign. The contrast of using such a
normally small item so large is sure to catch the reader’s eye. The sec-
ondary stories on the cover were each given equal weight and color,
and I added an extra element by using the byline for each story.
For the inside page, the redesign was a bit trickier. The approach
focuses on a typographical hierarchy that I would carry throughout
the rest of the magazine: byline above headline, spaced intro text,
and color subheads. I used a stock photo of the area described in the
story and paired it with the Hebrew text to further draw the reader
into the story.

Q 7 8 E K J  J > ;  : ; I ? = D ; H S Q 7 8 E K J  J > ;  : ; I ? = D ; H S
Bmjtpo!Epwjejp!^\!Tvhbsß!ti Kpti!Kbdltpo!^\!:17hsbqijdt/dpn
Alison grew up in Hubbardsville, New York, and now lives just north of Boston in Stoneham, Massachusetts. Josh received a bachelor’s in journalism from the University of Alabama and has worked for newspapers as a
From a young girl who loved to draw, paint, and create arts and crafts, she now finds herself in a corporate reporter, copyeditor, and designer. He and his wife, Sarah, live in Savannah, Georgia, where he works at the
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environment at Osram Sylvania where she works as an e-marketing specialist responsible for maintaining the
company’s 10,000+ webpages, managing the content, and having full creative responsibility.
Alison graduated in 2006 from Merrimack College in North Andover, Massachusetts, with a degree in
marketing and a minor in digital media. She’ll also receive a master’s certification in graphic design and Web development
from Clark University in Woburn in May 2008. Alison continues to take on freelance work; expand her knowledge within the
creative industry; and embrace any experience, adventure, or opportunity that comes her way.
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Savannah Morning News.
He has twice won an award from the Society of News Design for outstanding page design, and for consecu-
tive years has been awarded first place for page design among all papers in the Morris Communications chain.
When he’s not designing news pages, Josh is busy reading up on the latest design trends, studying various design texts, and
teaching himself CSS and HTML using Dreamweaver—everything he has learned about design has been self-taught.
Josh is looking to take on freelance print design and logo opportunities, and is always looking for new projects to sharpen his
skills and diversify his portfolio.
7FFB?97J?EDIKI;:0 Adobe Illustrator CS2 and Adobe InDesign CS2

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Part of being a digital artist and using Photoshop
as an illustration tool is that you sometimes have
to skew your perceptions a little—both in the real
world and when you’re working inside Photoshop.
We all live in the same reality, but we don’t always
look at things the same way. As artists, we simply can’t take the
world at face value. We need to constantly look and understand how
we’re seeing things to better understand how to create them. We
have to break things down into shapes, tones, colors, and textures.
Then we must ask ourselves why these things look this way.
Try this next time you’re out somewhere, say lunch or dinner.
Stop what you’re doing and just stare at your drink on the table.
Look beyond the obvious notion that it’s a glass with liquid in it. Look
at the way the light hits it. Look at how the ambient light colors the
object. Look at the shape of the glass. Look at the negative space
around the glass. Does the glass reflect in the tabletop? How does it
reflect? Look at the condensation. Look at how the light is hitting the
condensation. What about the temperature? Is there a mist because
the room is warm? If there is a mist, what does it look like? How does
it move? How is light refracting in the glass? How is it distorting the
surface of the table when you look through it?
These are just a handful of questions to ask yourself. It’s just
breaking down what you see into shapes, tones, and light. Try this
whenever you see something that makes you curious. Stop and look
closer. In this world, we’re so caught up in the day-to-day rush that
we often forget how to see things.
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This open-minded way of seeing and thinking is crucial when you’re
working in a program such as Photoshop. Despite the obvious
advantages of illustrating in Photoshop, such as multiple undos and
the fact that it’s a lot less messy than traditional methods, you’re
in fact painting with light. Since the reality we look at is merely
This is how Bert Monroy renders reality on his computer.
reflected light entering our eyes, it makes sense that we can come
really close to mimicking reality on the computer.
Digital artists use Photoshop as their primary rendering tool
for illustrations. However, like any other medium in the art realm,
practice makes perfect. When painting or drawing, you fine-tune
your craft with experimentation. Try different brushes and different
drawing tools and over time you’ll find the right brush for the right
effect. For instance, I used to utilize a toothbrush to achieve a really
neat spattered look on my traditional paintings.
Working in Photoshop is a little different, however, largely due to
the fact that the tools and filters available can be used in an infinite
number of combinations to create really interesting effects, textures,
lighting, etc. Sadly, there’s no single volume of instructions on how to
achieve every effect or texture out there. We merely have the tools
available to us. It’s up to us to find that magical combination. And
that’s achieved through experimentation. Once you begin to familiar-
ize yourself with what filters can do rather than just their names,
you’ll look at them differently. This experimentation will expand the
realm of what you can accomplish.
You may find that some combinations give results you never
expected. For instance, would you believe that realistic water drops
can be created with the Stained Glass filter and the Plaster filter?
Because of the filter names, you may never have considered this, but
it actually works.
Have you ever found yourself in pursuit of a particular effect and
somewhere along the way, stumbled onto something that looked
interesting but it wasn’t your original intention? This is where you
should stop and examine what you’ve done. Why not save this ver-
sion of the document under a different name, and then refer to it
later and explore the new effect a little deeper?
The point is that you’re fueling your creative mind with the input
necessary to solve any problem. Armed with that knowledge, you
can look at something and know how to create it in Photoshop.
Qbjoujoh!sfbmjuz
Let’s take this illustration as an
example. It’s a piece that resulted
from a recent lunch outing, where
I found myself staring at my glass
and studying its characteristics—
the lighting, shape, patterns, color,
contrast, and detail—and at the
same time, considering how I could
re-create these effects in Photoshop.
The crucial element here was
lighting. Understanding how the
light behaved around and through
the object made it easier to illus-
trate; however, the one missing
element was the smoky mist around the glass. I had a hard time
coming up with a way to apply the mist realistically, but would you
believe that I achieved a pretty good result using just the Smudge
tool? Here’s how:
HI:E&/ Start by choosing the Smudge tool in the Toolbox (you’ll find
it nested under the Blur tool). Press the letter D then X to set your
Foreground color to white.
[ Corey Barker is an Education and Curriculum Developer for the National Association of Photoshop Professionals. His expertise in Adobe Photoshop and Adobe Illustrator has earned him
numerous awards in illustration, graphic design, and photography.
()
HI:E'/ In the Options Bar, change the brush to a small soft-edged
b 7O ; H I  C 7 = 7 P ? D ;  S Q  @ K BO  %  7 K = K I J  ( & & .
brush (I used a 70-pt brush). Set the Strength to 60% for starters: the
higher the number the more intense the smudging, so staying in the
50–60% range will give the best results. (But remember to experiment.)
HI:E(/ Now here’s the trick. In the Options Bar, you’ll notice a fea-
ture called Finger Painting. This is quite literally like squeezing paint
on a canvas and smearing it with your finger—except you’re smearing
pixels, not paint. Let’s click to turn that feature on.
In addition to han-
dling the intensity of the
smudging, the Strength
setting now determines
how many pixels of “paint” are laid down. With a higher number,
more pixels are squeezed onto the canvas; with a lower number,
fewer pixels are laid down and there’s more smudging of the back-
ground image.
HI:E)/ At the bottom of the Layers panel, click on the Create a
New Layer icon to create a new blank layer to paint on. Now just
go into your canvas and click-and-drag to paint the white pixels.
Don’t release the mouse—just move the cursor back over those
white pixels to continue smearing them in a haphazard, swirly pat-
tern. This will result is a smoky effect. Pretty cool, huh?
Experimentation is
the key. Build on what
we’ve done here and
experiment with other
brushes and other set-
tings. Introduce layer
styles to the layer you’re
“finger-painting” on and see what you come up with. The more you
know what Photoshop can do, the more you’ll be amazed at what
you can do.
I leave you with this final thought. Even though this sample was
something more realistic, the same “seeing” exercise can apply when
you’re designing or illustrating in a less literal sense. Inspiration can
be found in the strangest and most unusual places.
]

Q J>;:?=?J7B97DL7I
TIPXDBTJOH!UIF!EFTJHO!XPSL!PG!PVS!SFBEFST
Illustration: Pool of Dye ] [ Personal Work ] [ Designer: Greg Dye
] [ Software: Adobe Illustrator CS3 ] [ Website: www.gregdye.com
Composite/Illustration ] [ Client: 10,000 Little Ideas to Keep You Believing in Cleveland ] [ Designer: Adam Kilbourne
] [ Lighting Design Concepts: Ardra Zinkon ] [ Software: Adobe Photoshop ] [ Website: www.tecinc1.com
mmm$b Wo[h icW]Wp_d[$Yec
Illustration: Wings of Power ] [ Personal Work ] [ Designer: James Coleman
] [ Software: Adobe Illustrator CS3 ] [ Website: www.jcolemangraphics.com
(*
Q ]Wbb[hoS
S
Illustration: Into the Mystic ] [ Personal Work ] [ Designer: Greg Dye
] [ Software: Adobe Illustrator CS3 ] [ Website: www.gregdye.com
Illustration: Just a Thought… ] [ Personal Work ] [ Designer: John Webb
] [ Software: Adobe Photoshop CS3 ] [ Website: www.jweb3d.com
(+
b 7O;HIC7=7 P?D;SQ@KBO%7K=KIJ(&&.
Illustrations: Self Promo Wallpapers ] [ Client: CreativeReform ] [ Designer: Don Le
] [ Software: Adobe Photoshop ] [ Website: www.CreativeReform.com
Multimedia: Web Promo
] [ Client: CreativeReform
] [ Designer: Don Le
] [ Software: Autodesk 3ds Max 8, Adobe
Photoshop, Adobe Illustrator
] [ Website: www.CreativeReform.com
Illustration: New Orleans ] [ Personal Work ] [ Designer: Aris Dervis
] [ Software: Adobe Photoshop CS3 ] [ Website: www.servingspirits.com
The staff at Layers magazine appreciates the time and effort involved in the creative process, no matter how large or small the
project. With this in mind, we offer you the opportunity to display your work on The Digital Canvas. Please submit your print, Web,
or packaging design (jpeg or eps format) to: cmain@layersmagazine.com. Please include name of piece, client name (if applicable),
applications used, and any website where our readers can view more of your work.
 \ g s fe ! sjy ^ (-

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

great way to grow up, and I guess you could say predetermined my
fate. I dreamed of going to the High School of Art and Design the
minute I heard about it and then later graduated from The Cooper
Union for the Advancement of Science and Art.
Layers: Having both worked for someone else and now on your
own, which do you enjoy more and why?
Layers: What application(s) do you work with most?
Rix: Hands down, Adobe Illustrator. I love Illustrator so much,
I would marry it if I could. It’s no coincidence that my career took
off when I got my hands on some incredibly early version of it.
Having used the earliest version of Flash, it’s exciting to see how
much more nicely they are playing together in the latest version.

Rix: You must be smoking crack! [We cannot confirm or deny this
hellacious allegation!—Ed.] Nothing beats working for yourself…
sans the health insurance mire, of course. That part really sucks.
Layers: How did you transition from doing static artwork into the
world of animation?
Rix: At Cooper Union I did an animation called “10 Short Stories,”
which took hundreds of drawings for a five-minute film. It won some
student film prize, represented the U.S. at several foreign film
festivals, and was shown in the first New York Film Festival with an
animation category. Then I took a Flash class (version 1), and it blew
my mind. Half an hour into the class I had done a simple animation
of a person bouncing a ball. It was a “come to God” moment.
Layers: How has the integration of Flash into the Adobe product
line helped you as a multimedia designer?
Rix: The confluence of all these technologies has created a sea
change in multimedia artists’ workflows that leverages unbelievable
power and efficiency. I don’t know what to say that won’t sound
cloyingly cliché, but it just makes you master of the [digital] universe.
I have the technology to control animation, interactivity, sound…you
name it. Did I mention I love Dreamweaver, too?
Layers: How do you think your personality influences your work? Are
there particular types of projects you naturally find more rewarding?
Rix: Growing up in a more bohemian family, the only competitive
sport my family ever engaged in was who could get the biggest

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laugh at the dinner table. Double points if the laugh escalated to
snorting noises. So I’m especially excited about two current book
discovered his passion when he became a creative director at an projects: a book of humorous poems and illustrations
agency that specialized in technology clients. After illustrating some icons for a project because there called The Wildflowers (sure to be a perennial favorite!)
was no budget to hire someone, he serendipitously stumbled into his illustration career. His experience and a series of children’s books I’m writing and illus-
as a creative director—coupled with the fact that he was already working digitally—brought him a trating called Ant & Butterfly. Both projects are perfect
lot of his early clients, including PC Magazine, InformationWeek, and IBM. His long list of clients now for animation, but it wasn’t until this recent “budding
includes The Washington Post, New York Times, U.S. News & World Report, and Fortune magazine. romance” between Illustrator and Flash that I really felt
inspired to action.
Layers: When did you first realize you were interested in being an illustrator? What was your inspiration? \9EDJ79J ^!Gsfe!Sjy!iuuq;00gsfesjy/dpn
Rix: I knew illustration was for me at an early age. My older (ergo larger) sister won all of our fights by
simply sitting on me. So, I drew a picture of her—naked—and left it out for all to see on the day of her
ninth birthday party. To this day, my heart pounds with pleasure when I recall the uproar, tears, and
Q ?bel[7ZeX[?bbkijhWjeh
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threats that ensued upon the very public discovery of the drawing. It was on that day I learned the pen
is indeed mightier than the sword. I did, of course, forfeit my slice of birthday cake, but I suspected this
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newly found power would someday enable me to buy as many birthday cakes as I could ever want.

Layers: Were you formally trained as an artist or self-taught? cWhho_j_\?YekbZ$ S

Rix: Kind of a mix of both. Growing up, my dad had a small advertising agency in New York and was also 100 km

200 km

an artist. Weekends were spent in his studio, where my brother and sister and I would paint, make 300 km

collages, work in clay or plaster of Paris…whatever my dad was experimenting with that week. It was a All images by Fred Rix

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Digital

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Over the centuries, artists have pushed themselves to the limit while fine-tuning their craft.
Painstakingly, they developed new techniques by using different media that best complemented
their talents. There’s a thin wallet wearing a hole in the artist’s pocket and it bears the scars of
this trial-and-error education. Their real-world experiences were often worth more—and had
more impact—than they knew at the time.
In fact, entire historical periods have been defined as a result of artistic revolution. Think
about the Renaissance and the impact classical and romantic thinking had on the arts with great
thinkers and visionaries such as Leonardo da Vinci and Michelangelo. The principles they contrib-
FAY SIRKIS

uted are still employed by artists today.

Since that period, artists of all kinds have discovered new ways of thinking and communicat-
ing when it comes to technique and the tools used to realize their visions. As the ideologies
evolved, so too did the technology used to carry them out.
Even before Paleolithic man scratched ocher into the walls of a cave in Lascaux, France,
there has always pulsed within us a primal urge to create. This is one of our greatest (and
sometimes most devastating) traits. Along the way, we developed new tools to help us reach
ON
ELS

the next level of design; however, the basic principles essentially remain the same. Once
IX N

mastered, these rudiments transcend the ever-evolving pathways that lead to the artist’s goal.
FEL

Whether it’s dirt and animal blood, or paints and brushes, artists will use whatever tools are
about them to communicate their vision.
 Digital
009786%8-32
  Å ÅÅ
);!%=3*,-2/-2+ So let’s talk software. In the early days of digital art, there were
numerous applications, such as PixelPaint, MacPaint, and Microsoft
This innate drive to create makes the new era of digital illustration
Paint for artists, and then came other programs, such as Adobe
no different than a tuba (so to speak). It’s merely a new medium—
Illustrator, Adobe Photoshop, Corel Draw, and Corel Painter. Like
a new way for the artist to create. It’s the natural order of things.
many other artists’ tools, they were very basic in their initial itera-
Think about this: Before there was television, computers, and the
tions, and evolved over the years with major upgrades to suit art-
Internet, people communicated, received their information, and
ists’ needs. With new apps coming and going, what has emerged
were entertained largely through printed materials, such as letters,
as the definitive choices for illustrators are Photoshop, Illustrator,
newspapers, and books. Along with the volumes and volumes of
and Corel Painter.
text there were illustrations to help convey whatever story was
It’s been a long hard road for these applications to get where they
being told. Back then artists used simple drawing tools such as
are. With traditional methods, someone looking at a piece of amaz-
pencils, fountain pens and inkwells, brushes and paints, etc. to illus-
ing art might say to the artist, “I didn’t know you could do that.”
trate the associated imagery. At their respective times, these were
Whereas these days, someone might look at an amazing digital
state-of-the-art forms of media, and if you wanted your work seen,
illustration and say, “I didn’t know you could do that in Photoshop!”
you had to master the associated techniques.
This is the stigma Photoshop and other apps have had to live with
While it’s true that printed
because people didn’t fully understand what software, in the hands
forms of information like newspa-
of the artistically talented, is capable of doing. This is perhaps one of
pers and books are still around,
the many reasons artists have been so reluctant to convert to digital.
over the past decade or so, there’s
But all you really need to do is look at the various styles of art done
been a huge surge of people
on computers today to see where the majority lies.
embracing the digital age. Now
we get a lot of our information,
and access our entertainment,
through the Internet. Because of
);=4)3*68-787362
A valuable resource to have on hand, especially when witnessing
this increased accessibility to tech- the birth of new artistic genres, is access to those who are leading
nology the world over, the modern the way. Their experiences provide a wealth of knowledge and

BERT MONROY
artist must engage the ever-chang-
ing world of digital technology.
But with new tools and techniques
come new ways of thinking.
While traditional principles may
still apply when it comes to creating
COREY BARKER
digital art, there’s a new challenge
that might prevent someone from
practicing the digital arts—the
distance between the artist and
his work. When the first graphics software applications were being
developed, the only input device was the mouse. Now this obviously
wasn’t a practical tool for artists because it didn’t feel like a brush
or a pen; it felt like a perpetual session of sanding the desktop.
Later, as more artists explored digital technology as an art medium,
there were those in the industry who were sympathetic toward artists’
needs. Wacom came along and introduced the pressure-sensitive
pen and graphics tablet. This put the natural feel and comfort of
a more traditional artist’s tool in command of digital technology.
Working on a flat tablet, an artist could draw just as he would on a
sketchpad and the corresponding strokes appear onscreen.
While this was a step in the right direction, there was yet another
challenge: The artist had to look at the screen while his tablet was
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off to the side—introducing another disconnect between the artist
and his medium—as opposed to looking at his hand on the canvas
or the sketchpad while working. With a little practice, however,
this can be easily overcome. Plus, it was only a matter of time until
Wacom developed the Cintiq, which is quite literally a digital easel
with canvas. It allows you to work directly on your artwork—pen
to screen; another example of the industry adapting to the artist.
Now this doesn’t mean that every artist should adopt this new pen
technology—hey, some artists have adapted to, and had much suc-
cess with, using the mouse. Remember what Lennon said?
)&
learning opportunities for anyone who has his eyes on the digital
arts industry—regardless of perspective. The only problem is get-
ting those artists to slow down long enough to talk!
The inception of new mediums all but guarantees the emer-
gence of new masters and the digital arts are no different. When
asked to name some artists, who comes to mind? Some of you
might rattle off a host of names from different artistic movements
(e.g., Paul Cézanne with Impressionism, Vincent van Gogh with
Post-Impressionism, and Edvard Munch with Expressionism). But
who comes to mind when you try to invoke the names of today’s
legends and leaders in the world of illustration?
While there are more artists than can be mentioned here, I man-
aged to corner three very gifted, contemporary illustrators and posed
some simple, yet profound, questions regarding their transition from
traditional methods into the world of digital.
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When it comes to digital illustrators, the person people often think
of is Bert Monroy. Bert was one of the first to begin creating art
on a computer. We can access our artistic endeavors with minimal
interference from technology because he went through it first—
even going all the way back to using programs like PixelPaint and
MacPaint. If you remember those, they were extremely basic in
their functionality but Bert was able to apply those basic principles
that he knew as an artist and make it work. Bert’s name has since
become synonymous with digital art, specifically, Photo Realistic Art
(genres need an “-ism” so maybe Hyper-Realism is more precise). “over budget” or impossible to produce on deadline. With digital,
there are no limitations. If you can imagine it, you can create it.
Layers: What was the key factor that motivated you to make the There are many advantages of digital over traditional. One very
transition from traditional to digital illustration? important point is the fact that all production is digital at this point.
The page layout is digital. Even the controls on the press are digital.
Monroy: My transition was early. When the first Macintosh was being
All artwork has to be digitized at some point to enter the produc-
demonstrated in 1984, I got hooked. In MacPaint, I created a little
tion cycle. If every element is digital to begin with, it speeds up the
box. That was cool. I selected the box and moved it. That was very
process and eliminates time-consuming and costly steps.
cool. I went into “Fatbits” and fell in love. Something inside me said
Digital has taken over many of the steps in the production cycle
I had found my medium. It was just black and white at the time, but I
that used to require outside vendors and brought them in-house.
saw the future.
Type, for instance, used to take a day to produce. Changes required
Layers: What is the most challenging aspect of illustrating digitally more time and cost. Digital has put that function directly into the
rather than traditionally? hands of the artist giving him greater control over how things will
look. Changes to copy can easily be made. Having copy fit to a
Monroy: There is no challenge. Creating things digitally is far layout can be done on the fly rather than the labor-intensive meth-
superior. The spontaneity and ease of switching from tool to tool, ods of the past. The Haberule! Now there’s a tool I don’t miss.
selecting colors, etc. keeps the creative process flowing. Changes People had to use many steps in the old days that hindered the
can be made instantly. flow of production. The simple task of resizing a logo to place on
the page required scaling the logo using a proportional wheel.
Layers: What, in your opinion, are the advantages of digital
Then the work order had to be written. The logo art then had to be
over traditional?
sent to the “Stat House” where they shot it to the required size and
Monroy: The greatest advantage of digital is the freedom it pro- sent it back. Even if the stat machine was in-house, it was still some
vides for the creative process. I remember many a time when a great time before you got it back. Digitally, you just enter the new size in
idea had to be scrapped because producing it would have gone the parameters box and presto, you’re done.
 Digital
009786%8-32


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Storage of art used to be cumbersome. Studios would devote

valuable real estate to store artwork. There was always the danger
of damage to the art—not only from fire or water damage but simply
a careless worker stuffing an art board between two others and
causing damage. Time would also be a factor in causing colors to
fade or boards to turn yellow.
Searching for a particular piece of art was also time-consuming.
With digital, artwork is stored on a central system and various
employees can access the art without leaving their desks. The art
is always as fresh as the day it was created. Backups of the artwork
are easy to create and can be stored off-site ensuring their avail-

FELIX NELSON
ability and protection.

Layers: What’s in your toolbox? What software and hardware do

you use?

Monroy: My main machine is a dual 3-GHz Intel Mac Pro. It sports

16 GB of RAM and has over 4 TB of storage. I work on two 21"
Wacom Cintiqs side by side with a 30" Apple Cinema HD monitor for
creating basic black-and-
viewing. There’s a Wacom 6x11" Intuos3 tablet that’s used to move
white illustrations with
items between all three monitors. The Epson Perfection V750-M PRO
early versions of Aldus
scanner is connected to the main machine. In the system, there’s an
FreeHand. Eventually,
Epson 3800 for proofing and an Epson 9800 for output.
I switched over to
There are other systems and printers scattered about the studio
Adobe Illustrator.
performing different functions. The software? Whatever I need to
get the job done. Layers: What is the most
challenging aspect
Layers: What types of paper do you use most often when printing
of illustrating digitally
your own work?
rather than traditionally?
Monroy: My choice is Premium Matte papers. I also do a lot on
Nelson: I looked at
watercolor papers. I use papers from both Epson and Red River

Travel the world. Not your computer.

Paper. At Photoshop World in Orlando, Epson was showing this
incredible Premium Canvas Matte. I got a box of 17x22" for my
3800 and a roll for the 9800. I am experimenting with it now and
I think it will become my choice for final art reproduction.
)0-<)0732
watercolor, or gouache...you just don’t get the feel of the medium on
Another digital pioneer is Felix Nelson, the Creative Director for the
Kelby Media Group, which includes (among other things) providing
leadership for visual content in Photoshop User and Layers maga-
zines. He’s one of the most talented artists I’ve ever met. Felix has
accomplished pieces that, to this day, still have other digital artists
scratching their heads in bafflement. Felix’s artwork is done primarily
in Photoshop and Illustrator using a Wacom pressure-sensitive pen.
His work is certainly in a class all its own, but if one were desperate
to put a label on his more recent stuff, I guess it might be called
“Pop-Art-Reverse-Engineering’ism.” Felix can look at something
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the software available at the time as
simply another tool. Learning the application was no more difficult
or challenging than learning a new technique or mastering a new
medium. So I didn’t see it as being difficult. My challenge was mostly
tactile...that is to say, the touch and feel of illustrating traditionally, Traveling for shoots is exciting. It’s a lot less fun traversing your computer and external storage looking
regardless of the medium. Whether it was charcoal, pen and ink,
for the perfect shot. Fortunately, there’s Microsoft Expression Media 2, which catalogs all your images
for you—whether they’re on your hard drive, external drive, CD, or DVD. A streamlined catalog makes
a canvas, or coquille board, etc. For me, discovering a Wacom tablet
helped me recapture the feeling of actually drawing once again. finding what you need simple and support for almost any file format gives you added flexibility. Share
your catalogs with clients. Put together Web galleries and slideshows with zero fuss. And there’s nothing
Layers: What, in your opinion, are the advantages of working with
like geotagging to let people know you’ve finally stepped away from the computer.
digital over traditional?
Nelson: The obvious advantages of speed and “editability” have Finally, image management that’s a snap. For more information visit: www.microsoft.com/prophoto
always been at the top of my list. Being able to undo or quickly
change the original artwork is a huge benefit because in most cases
with traditional illustration mediums, you usually had to start over.
I find being able to tweak and change any part of an illustration—
“Expression Media is an essential tool in our studio

and less than a minute later, you either have an explanation on how
it was done, or he’ll just do it.
Layers: What was the key factor that motivated you to make the
transition from traditional to digital illustration?
Nelson: There wasn’t any one specific factor. It was easy to see that
digital illustration was becoming more and more prevalent. It didn’t
take a genius to figure out this was the way of the future. So I began
on the fly—allows me not only to be more creative, but also to create
for keeping track of hundreds of thousands of
much faster than with traditional methods. images, stored across a dozen terabytes of media.
And because Expression creates relatively small
Layers: What’s in your toolbox? What software and hardware do you use?
catalog documents, I can take a record of my
Nelson: I use a dual-core 2.3-GHz Power Mac G5, Adobe Photo- entire archive with me wherever I go.”
shop, Adobe Illustrator, and Adobe InDesign. I also use a 6x9"
Wacom Intuos tablet (can’t live without it—a mouse feels like I’m – Peter Krogh,
pushing around a rock). Photographer. Author,
The DAM Book, Digital Asset Management for Photographers
continued on p. 34

)(
 Digital
009786%8-32
  Å ÅÅ

%=-6/-7

Another remarkable digital artist is digital photo-painter Fay Sirkis,
who comes from a traditional oil painting background and has
certainly made her mark in the world of digital painting. Her commis-
sioned portraits and paintings are held in private collections interna-
tionally and also exhibited in museums and art galleries. Fay is the
founder of Fays Art Studio, a high-end commission portrait painting

FAY SIRKIS
studio and digital art training and consulting firm, based in New York.

Layers: What was the key factor in making the transition from tradi-
tional to digital illustration?

Sirkis: I had been painting with traditional oils since I was old enough
to hold a paintbrush...and I loved every minute of it! All that came
to a stop in the early ’90s when I developed an allergic reaction to
the smell of oil paints—I couldn’t tolerate the fumes and had to stop
painting completely.
I was devastated and felt a large void that had to be filled in some
way. That was just about the time when desktop publishing, graphics,
and computers were getting more and more popular. With the digital
era exploding, I found a way to fill that void and thus began my journey
to slowly get back to painting, but now in my digital art studio with no
smells, and no drying time needed. Once I made the transition from
traditional to digital, there was no looking back.

Layers: What is the most challenging aspect of illustrating digitally

rather than traditionally?
Sirkis: The challenge is to get the flow and brush strokes as real
looking as it is when painting traditionally. Firstly, get rid of the
mouse. It’s like painting with a bar of soap or a rock, both of which
will give you very poor results. I paint with the Wacom Intuos pen,
which gives me the real experience by giving me the ability to
create realistic brush strokes and paintings that really simulate the
traditional oils and watercolors.
You actually need to forget that you’re in front of a computer,
and transform yourself virtually into the art studio to get realistic
results—sometimes opening up a bottle of turpentine and getting
Layers: What’s in your toolbox? What software and hardware do
you use?
Sirkis: I capture my paintings (photo references) with a Canon 5D and
40D. My computers are a Power Mac G5 and MacBook Pro. For appli-
cations, I use Adobe Photoshop CS3 and Corel Painter X. I also use
a Wacom Intuos 3 tablet and 21" Cintiq. And finally, for printing I use
Canon imagePROGRAF IPF 8100 and IPF 6100 printers.
Layers: What types of paper do you use most often when printing Behind every
great canvas print
your own work?
Sirkis: When simulating watercolor, I print on watercolor fine art

is a great canvas printer.

a whiff will do the trick!
Layers: What, in your opinion, are the advantages of digital over traditional?
Sirkis: Drying time, output size, different variations, different
stages, the list goes on. Art history teaches us that the masters
painted their oils in several layers, sometimes as many as seven,
allowing each layer to dry completely before continuing. In strict
adherence to this process, drying time took up to seven weeks for
each layer. In digital painting, you can paint on as many layers as
you need to, with so much flexibility, and no drying time!
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paper. I like to print on paper with texture because it looks like the
real traditional watercolor paintings when done. Hahnemühle has
some amazing fine art papers—each one serves for a different look
and style of painting. My all-time favorite, the one I use for my lim-
ited editions, is Torchon. The paper has the most beautiful, smooth Dramatic sophistication. Awe-inspiring color. A luxurious depth and texture that begs
marble-like texture; a bright natural white finish; and is, of course, to be admired, touched, and brought home. Your photography and digital artwork
acid free and archival. The printed side of this paper has been specially will exude these remarkably saleable qualities when meticulously reproduced on the
coated for excellent image sharpness and optimum color graduation, world’s finest inkjet canvas by the imaging experts at Artistic Photo Canvas. We combine
as well as a high level of water resistance. I also use William Turner,
the most advanced, earth-friendly materials with image-handling skills and customer
another beautiful fine art paper from Hahnemühle, for my smaller
service unmatched by our imitators. This level of quality and care has never been so

The biggest advantage to digital painting is the fact that you
can paint on a smaller scale and then print out your masterpiece
at a size much larger then the original. Imagine how much time
Claude Monet would have saved on his famous Water Lilies. That
covered the wall from floor to ceiling in the gallery. The idea of
painting on a laptop, anytime, anywhere, and then printing it to full
scale on canvas or watercolor paper, whatever you wish to simulate,
makes it worth it. The sky’s the limit.
watercolor prints.
When simulating traditional oil painting, I output and print on
affordable, with pricing that enables you to profit handsomely from your work.
canvas rolls on the IPF 8100, which can print up to 44" wide. I need
the width so I can do gallery wraps. I’m currently using Canon Matte
Canvas, but am awaiting the newly released canvas from Hahnemühle
“Bongo Lounge”
called Monet Canvas. I’m hearing some great things about it, but Max Kelly
haven’t printed on it yet. How wrong can you go with a canvas named www.maxkellyart.com
after the father of Impressionism? [Adobe Illustrator CS3 & Photoshop CS3]

[ ]
24" x 36" Gallery Wrapped Canvas Print
Corey Barker is an Education and Curriculum Developer for the National Association of Photoshop Professionals. His expertise in Adobe Photoshop and Adobe Illustrator has
)* earned him numerous awards in illustration, graphic design, and photography.
Toll Free 1.888.99.CANVAS | www.ArtisticPhotoCanvas.com

by rafael "rc" concepcion
If you’re designing websites using Adobe applications, you probably fall into one
of two camps: the one that’s already using Fireworks for fast prototypes or the one
that soon will be. Fireworks has undergone an incredible transformation from a
Web design application to an RIA (Rich Internet Application) layout prototyping
tool. When Fireworks sits side by side with Photoshop and Illustrator, it’s easy to
lose sight of what it can do. If you have one of Adobe’s Web suites, however, you’ll
see that big yellow FW icon staring at you, taunting you, daring you to click it and
find out its secret power.
Instead of listening to my plea for faster prototyping, how about we
go through a sample project, highlighting how Fireworks makes life
easier for Web designers? Let’s take that to yet another level. How
about we do it in Fireworks CS4, the new public beta released by Adobe
at http://labs.adobe.com. Not only will you get a tour of the applica-
tion, you’ll also get your hands on Fireworks CS4 before it’s actually
released! I’ll also be posting a companion video, highlighting
these features and showing the detailed creation process
for this project—step by step from start to finish. If
you’re new to Fireworks, this will convince you
to start using it. If you’ve already experimented
mmm$bWo[hicW]Wp_d[$Yec
with Fireworks, it will give you a chance to look at
what’s coming down the pike with CS4. Go ahead
and download the application at the Adobe Labs
site, and follow along as we create a website.
),
the interface
Earlier versions of Fireworks had a layout that harkened back to the
Macromedia days. Fireworks CS4 has been designed to look and feel
similar to Photoshop, Illustrator, and Flash, and the outcome is very
clean. If you’ve used any of those applications, this should come as
no surprise: a Toolbox sits on the left, the canvas in the center, and
there’s a Property inspector at the bottom that lets you modify the
contents of your canvas. The Toolbox is separated into vector, raster
(bitmap), and Web tools, so there’s no confusion, and new users will
find it easier to jump in. New in CS4 is a pop-up menu at the top
that lets you switch between different workspace modes.
Inside the vector tools group, there’s a series of prebuilt auto
shapes. Choose a shape, click-and-drag it onto the canvas, and
you’re done. Also new in Fireworks CS4 is the option to use Smart
Guides when working with auto shapes. When you drag out a shape
in the center of the canvas, the Smart Guides appear, letting you
know when the horizontal and vertical center lines are near. This also
works well when trying to align an object to other objects.
Fireworks takes it a step further: every auto shape has resize
handles and special yellow control points. Clicking on these control
points lets you customize the design of the shape itself, rather than
)-
B 7O ; H I  C 7 = 7 P ? D ;  S Q  ` k bo  %  7 k ] k i j  ( & & .
just changing the size. Rounding corners has also changed
in CS4, with the option to change the roundness in pixels as well
as a percentage—a boon to CSS designers.
Fireworks CS4 offers a 9-Slice Scaling tool that blows scaling
and prototyping out of the water. Let’s say, for example, that you
created a website that had a rounded center and buttons. To
increase its size you’d have to ungroup these sets of objects and
reposition the design. With the 9-Slice Scaling tool, you can set
the portions of the image that you don’t want to scale and resize
the entire image, knowing that the locked portions won’t scale.
Let’s use the auto shape tools to create the outer portions
of the webpage.
vector shapes, colors
& layers
You control the color and stroke of a shape in the Property
inspector. Objects you’ve selected can contain a variety of differ-
ent backgrounds, gradients, and patterns, giving you complete
control when laying out the background of a webpage. Fireworks
CS4 adds a real-time view of gradients, patterns, and styles, so
you don’t have to wait: Changes happen as you make them.
Create a rounded rectangle and then add a regular rectangle
at the same width below it. Then, use the Align panel to align both
shapes to the center. By highlighting both shapes and choosing
Modify>Combine Paths>Union, you can create a simple shape with
rounded corners at the top and square corners on the bottom to use
as the overall frame for the site. Add a dark gray stroke to this shape.
Let’s add another slightly larger rectangle in the background,
with a gradient that goes from black to dark gray, then back to
black, taking advantage of the real-time changes to modify the
gradient. Finally, make a copy of that shape, and resize it so that
it’s the width of the front rectangle and fairly narrow. We’ll use this
for our navigation bar. Add the same dark gray stroke to it, then
drag it near the top. Lock the background layer, and we’re good
to go (see next page).

fireworks CS4
text manipulation
Let’s start adding some text. With Fireworks CS4, Adobe has gone
to great lengths to incorporate their type engine, with noticeable
improvements: groupings of font families in the pop-up menu,
adding font weights in another pop-up menu, adding type on a path,
distortion—it’s all redesigned from the ground up, and it’s all good.
Here, we used the Text tool (T) to click on the canvas and type out
five links to use. We want to take these five text areas and place them
at an even distance from one another on the navigation bar. Doing so
is as simple as highlighting the text boxes and clicking the Space icon
in the Align panel. Notice that moving the boxes around brings up
the Smart Guides, making positioning a breeze.
We’ll need some sample copy to place on the page to let us
gauge where our other graphical elements need to go. Choose
Commands>Text>Lorem Ipsum, and a paragraph of dummy text
appears that you can use for the layout. Just add to it by copying-and-
pasting and use the selection tools to move the text box to its place.
What if we want to create a block of text that automatically flows
around an image? Use the Pen tool (P) to create a path that goes
around the image, then select your text layer and path, choose
Text>Attach in Path, and the text is now inside your custom shape,
flowing around the image, and making your comp more real.
mmm$bWo[hicW]Wp_d[$Yec
).
importing graphics
Importing files into Fireworks has always been easy and it’s even
easier in Fireworks CS4. When importing a PSD file, a dialog
prompts you to specify the dimensions of the image and also lets
you load a specific layer comp in the file, or convert layers into
states, taking into account a multipage workflow. The new version
of Fireworks also does a wonderful job of keeping masks, effects, layer
groups, custom shapes, guides, and clipping masks in order.
RC CONCEPCION
In the dialog when importing an Illustrator or EPS file into Fireworks,
you choose the size, scale, resolution, and other settings to maximize the
file in your layout. For users who continuously go back and forth between
Photoshop and Fireworks, a new panel has been added in CS4 that
allows you to specify how Photoshop components will be handled, and
whether you want to bypass the import dialog entirely.
For the final portion of this website mockup, we used a copy of the
top frame above the navigation bar and grouped it with my mountains
picture as a mask so that it created a rounded top corner on the document.
common libraries make
mockups faster
A website mockup is only as good as its ability to mimic the final
product. While text and images are pretty easy to lay out on a page,
sometimes you need to place content on a mockup that mimics forms,
buttons, frames, and text boxes. In days of yore, screen grabs of other
pages were just fine. Making them in Photoshop was also an option,
albeit a tedious one. Enter the Common Library panel.
In the Common Library panel, there’s a series of graphical ele-
ments that you can drag-and-drop into your layout: bullets, form
elements, flowchart graphics, even Flex graphics. Symbol editing
is done through the Symbol Properties panel. And in CS4, if you
select symbols from the HTML category, they’re represented as
actual code on the page for a richer prototyping experience.
To check how you’re doing, choose File>Preview in Browser and
send the file to your favorite browser for a quick review.
Now that we’ve looked at developing a mockup, let’s talk about
how you take that information and turn it into your HTML site.
slicing and rollovers
for the page
Fireworks offers a robust slicing tool for working with PNG files
you want to export to the Web. Using it is simple: Just get the
Knife tool (K) and click-and-drag out the areas you want to use
as separate images. As you slice the image, keep in mind that all
of this information will be put back together in Dreamweaver, so
slice judiciously. We made slices of only the portions of the image
that we’re going to use for the website—all of the other text and
graphical information on the page will be replaced by actual code.
If you exported this content now, the filename for the smaller files
would be weird, including underscores and numbers, so it’s a good
)/
B 7O ; H I  C 7 = 7 P ? D ;  S Q  @ K BO  %  7 K = K I J  ( & & .
idea to go back to your original file and give each slice a unique
name. Press 2 to make sure the slices are showing, select one with
the Pointer tool (V), then change the name in the Property inspector.
optimization at your fingertips
Because all of the sections on your website aren’t the same, you’ll
have to export different slices on the page at different settings. Click
the Preview button at the top of the window and you can look at the
file size of a given slice in a specific format. If you aren’t happy with
the file size, use the Optimize panel to switch the export format.
If you’re unsure which type is the best choice, use the 2-Up and
4-Up views to make your comparisons. This is similar to the Save for
Web function in Photoshop—having it in Fireworks means one less
jump to another program.
Now we’ve sliced the main portions of the image, as well as por-
tions of an image that we’ll to use to repeat on the page. So, let’s
get this document ready to approve and go to the Web.
misbehaving with pages
and behaviors
I’d much rather spend a short time prototyping than a long time
coding prior to getting the okay for the webpage, so let’s make this as
easy as we can. We’ve organized the main graphics under the slices
into a layer folder called MainPage, and the content of the page into
a folder called Content_About. This allows us to select the bulk of the
content for the page with one click and cut it from the layout.
 fireworks CS4

With the new Pages panel in CS4, you can take all the interface
elements of the website and turn them into a Master Page by
Control-clicking (PC: Right-clicking). Then, just create new pages
with the Add Page icon at the bottom of the Pages panel or with
the new contextual menu.
To add content to separate
pages, just paste it into the
new pages (it will always place
in the same location that you
copied it from—another plus).
Then change the headers of
each section, making new page
sections as fast as you can hit the
Command-V (PC: Ctrl-V) shortcut.
Let’s tie the pages together:
Double-click on the pages them-
selves and change the names to
something more relevant, then
click on the Master Page and
use the Pointer tool to click on
each of the button slices at the
top of your webpage. In the
Property inspector, the Link pop-up menu will automatically show
the names of the pages. Select the pages, and the links are all set.
hovers over it. In this example, select State 2 from the pop-up
menu and your rollover is set.
Earlier versions of Fireworks made it really hard to preview
multipage layouts. Fireworks CS4 has added a File>Preview in
Browser>Preview All Pages in [primary browser] command, taking
all the pages and linking them for review.
Now, we haven’t done any coding, but we have rollovers and
separate pages that we can show a client as a prototype. But how
do we get all of this packaged for a client?
exporting the page
There are a couple of different ways to go about the export. If you
choose File>Export, you’ll get a dialog asking you to save the files
in a specific location. The Export pop-up menu lets you export
HTML and Images, or CSS and Images (newly revamped and a
much anticipated upgrade in Fireworks CS4), among others. The
new Adobe PDF option takes the cake for me, however. In the
past, whenever I exported a Fireworks site, I handed over code
to a client who could use it as he saw fit. Not only did I have to
collect all of this in a folder, compress it, mail it, and worry about
the client’s skill, I also didn’t feel this protected me. In one click,
Fireworks CS4 provides the solution: By saving the file as a PDF,
the entire layout and all the pages, graphics, and behaviors are
exported into an interactive PDF to send to the client. No compres-
sion, improved protection, and no fuss. You’ve got to love that!

Previous versions of Fireworks created rollovers using the

Frames panel—a throwback to animated GIF images. As it turns
out, not many people are creating animated GIFs, and the Frames
panel was really a representation of the webpage or interface at a
specific state (like mouse over, mouse down, etc.). Fireworks CS4
changes the name of the panel to States to reflect the new work-
flows. To add rollovers to the site, go back to the Master Page and
bring up the States panel. Control-click (PC: Right-click) on State 1
and add a Duplicate State after it. Then, with that state active, high-
light the navigation text in it, and change the color to a darker gray,
symbolizing a mouse over.
Bring back the slices (press 2) and click on the center of the
About button slice. Click on the target at the center of the slice and
drag it slightly to the left, then let it go. In the dialog that appears,
choose the state you want this slice to swap with when someone

where to go from here

mmm$bWo[hicW]Wp_d[$Yec

A special thanks goes to Alan Musselman, Adobe Applications

Architect, for his help with this on short notice. We’ll post an
interview with Alan about Fireworks CS4, more tutorials dedicated to
the new release, and a list of all of the features on the Layers maga-
zine website so you can get up to speed and get designing.

[ Rafael “RC” Concepcion is an Education and Curriculum Developer for the National Association of Photoshop Professionals. An Adobe Certified Instructor in Photoshop and
Illustrator, RC has more than 10 years’ experience in the I.T. and e-commerce industries and has hosted training seminars in the U.S., Europe, and Latin America. [
*&
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(on-sensor and in-processor) can affect an image is key to getting a UÊÊ9œÕʘii`Ê̜ʎ˜œÜʈvʈ̽ÃʘiViÃÃ>ÀÞÊ̜ʜ«i˜Ê>˜Êˆ“>}iʈ˜Ê*…œÌœÃ…œ«Ê

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Q J>;:?=?J7B97C;H7S good image. For example, did you know that you get fewer pictures on
a memory card when your camera is set at a high ISO than when it’s set
as a 16-bit file, which limits the use of some filters and other
vi>ÌÕÀiÃʈ˜Ê*…œÌœÃ…œ«]ÊÛiÀÃiÃÊ>˜Ên‡LˆÌÊwʏi°
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at a lower ISO, and that as the detail in a scene increases, so does the UÊÊvÊޜÕÊ«ÕLˆÃ…ÊLœœŽÃʜÀʓ>}>∘iÊ>À̈ViÃ]ÊޜÕʓ>Þʅ>ÛiÊ̜ʏi>À˜Ê

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file size? Here are some things you’ll need to know about your camera: >LœÕÌÊ̅iÊ*…œÌœÃ…œ«Ê
9Ê
œœÀÊ-iÌ̈˜}ÃÊ­ `ˆÌ€
œœÀÊ-iÌ̈˜}îÊ
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can offer dozens and dozens of options that help you fine-tune ˜ii`Ê̜ʎ˜œÜÊ>LœÕÌʜ˜ÃVÀii˜Ê«Àœœwʘ}Ê­6ˆi܀*ÀœœvÊ-iÌÕ«®°
your pictures—or ruin them if not set correctly.
UÊÊ,iÃi>ÀV…Ê­œ˜Ê̅iÊ7iL®Ê̅iÊÃi˜ÃœÀʵÕ>ˆÌÞʜvÊ`ˆvviÀi˜ÌÊV>“iÀ>Ãp
I fondly remember my good old days back in the “œÀiÊ«ˆÝiÃÊ`œiؽÌʘiViÃÃ>ÀˆÞʓi>˜Ê>ÊLiÌÌiÀʵÕ>ˆÌÞʈ“>}i°Ê
early ’80s as a professional photographer. In the UÊÊ9œÕʓ>ÞÊiÛi˜Ê…>ÛiÊ̜ʎ˜œÜʅœÜÊ̜ʫÀˆ˜ÌÊ`ˆÀiV̏ÞÊvÀœ“ÊޜÕÀÊVamera
and shoot wirelessly, transmitting your files to a remote computer.
field, from a technical standpoint, all I had to know
UÊʈ˜>Þ]ÊÀiÃi>ÀV…Ê܅ˆV…Ê“i“œÀÞÊV>À`ÃÊ>ÀiÊLiÃÌÊvœÀÊޜÕÀÊ«>À̈VՏ>ÀÊ
was how to expose a frame of Kodachrome 35mm
needs when it comes to GB size and write speeds (maybe you
film. When I returned home, I sent off my film to the photo lab for
need a write accelerated card, maybe you don’t).
processing and waited impatiently to see the results of my efforts.
UÊÊœ«ivՏÞ]ÊޜÕÊܜ˜½ÌÊiÛiÀʅ>ÛiÊ̜ÊÕÃiʈ“>}iÊÀiVœÛiÀÞÊÜvÌÜ>ÀiÊvœÀÊ
When my film came back, I examined each slide on a light table.
>˜ÞʜvÊޜÕÀʓi“œÀÞÊV>À`ÃpLÕÌʈÌʘiÛiÀʅÕÀÌÃÊ̜ʏi>À˜Ê>˜ÞÜ>Þ°Ê/…iÃiÊ
If a slide, which has a narrow exposure latitude/tolerance, was over-
«Àœ}À>“ÃÊÜiÀiÊ`iÛiœ«i`ÊvœÀÊ>ÊÀi>ܘ°
exposed, I tossed it immediately. There was no hope to save it. If
it was slightly underexposed, there was hope! A company called
Edwal offered a product called Correct-a-Chrome, which consisted
of chemicals and trays in which you dipped a slide, held with twee-
zers, until the desired result was achieved.
For presentations, I used duplicate slides in glass mounts placed
in carousel trays sitting atop a carousel projector. (I know I’m showing
my age, but so are the programmers who develop Microsoft Word,
because unlike the word Photoshop, Kodachrome isn’t showing up
in Word’s dictionary.)
Today, it seems as though I have to know about 100 more
things as a professional photographer if I want to keep up with my
competition—and that includes my friends.
For those of you who are thinking about becoming full-time pro
shooters, I thought I’d put together a list of must-know photo-pro
info. (As illustrations for this article, I’ll use some of the RAW files I took
during Venice Carnival 2008 in Italy with my Canon EOS-1Ds Mark III.)

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QJeZWo"_ji[[ciWij^ek]^ /œ`>Þ]Ê«…œÌœ}À>«…ÞʈÃÊ«>ÀÌʈ“>}iÊV>«ÌÕÀiÊ>˜`Ê«>ÀÌʈ“>}iÊ«ÀœViÃÇ
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«iÀÌÕÀi]Ê
?^Wl[jeademWXekj'&& or the software that came on the CD that was packed with your digi- Dpnqvufs!tztufn
tal camera. So here are some things to keep in mind when it comes 7…ˆiʈ˜ÃÌ>ˆ˜}Êiœ«>À`ʜ˜Ê“ÞÊ>VÊ>ÊviÜʓœ˜Ì…ÃÊ>}œ]ÊÊÜ>ÃÊ
to postprocessing: reminded of just how much a photographer has to know about
ceh[j^_d]iWiWfhe\[ii_edWb UÊÊ-…œœÌÊ܈̅Ê̅iÊi˜`ÊÀiÃՏÌʈ˜Ê“ˆ˜`]Ê>˜`ʎ˜œÜÊ>Ê̅iÊVÀi>̈ÛiÊ>˜`Ê his or her computer—like how important it is to choose the
VœÀÀiV̈ÛiÊ«œÃÈLˆˆÌˆiÃÊ̅>ÌÊ>ÀiÊ>Û>ˆ>LiÊ̜ÊޜÕʈ˜Ê̅iÊ`ˆ}ˆÌ>Ê`>ÀŽ‡
ÀV…ˆÛiÊ>˜`ʘÃÌ>Êœ«Ìˆœ˜Ê­Ü…ˆV…Ê«ÀiÃiÀÛiÃÊ>Ê…>À`Ê`ÀˆÛiÊ`>Ì>®Ê
f^eje]hWf^[h_\?mWdjjea[[f room with a few clicks of a mouse, or tap of a stylus on a tablet. as opposed to just choosing the Clean Install option (which
UÊÊi>À˜Ê>LœÕÌÊ*…œÌœÃ…œ«Ê«Õ}‡ˆ˜ÃÊ̅>ÌÊV>˜Ê…i«ÊޜÕÊÌ>ŽiÊvÕÀ̅iÀÊ iÀ>ÃiÃÊ>Ê…>À`Ê`ÀˆÛiÊ`>Ì>®°Ê
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Dbnfsb!tfuujoht «Àœ}À>“®ÊV>˜Êœ«i˜ÊޜÕÀÊ,
7ÊwʏiÃ]Ê܅ˆV…Ê“>ÞʘœÌÊLiÊ̅iÊV>ÃiÊ the best methods for backing up your data (now made easier for
Today, knowing how Quality settings, ISO, White Balance, Color ՘iÃÃÊޜÕÊ`œÜ˜œ>`Ê̅iʏ>ÌiÃÌÊÛiÀȜ˜ÊœvÊ̅iÊ
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Space (Adobe RGB vs. sRGB), and in-camera noise reduction from www.adobe.com for your brand-new camera. ÜÀÞÊ`ÀˆÛiÃ]ʓi“œÀÞÊV>À`ÊÀi>`iÀÃ]Ê>˜`ÊÜʜ˜°Ê

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your camera support experts

rectly could make people in your pictures look as though they
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resolution to select in your System Preferences (explained to me
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the correct resolution. I import 7x9" JPEGs into Keynote and
they look pretty darn good onscreen.
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-œÊˆvÊޜսÀiÊ̅ˆ˜Žˆ˜}ʜvÊLiVœ“ˆ˜}Ê>Êfull-time pro, keep in mind
that it really is a full-timeʍœLpLiV>ÕÃiÊޜսÊëi˜`ʏœÌÃÊ>˜`ʏœÌÃÊ
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of money to pay for all the digital photography tools and toys. L-plates – mount

˜`Êëi>Žˆ˜}ʜvÊÌ>Žˆ˜}Ê«ˆVÌÕÀiÃ]Ê̅iÀiʈÃʜ˜iÊ̅ˆ˜}Ê̅>Ìʅ>ؽÌÊ in landscape
V…>˜}i`ÊvœÀʓiʜÀʜ̅iÀÊ«ÀœÃʈ˜Ê>Ê̅iÃiÊÞi>ÀÃp}iÌ̈˜}Ê̅iÊÛiÀÞÊ

Ê«Àœwʏi]Ê>ÃÊÜiÊ>ÃÊ
or portrait!
LiÃÌʈ˜‡V>“iÀ>Ê«…œÌœ}À>«…ʈÃÊÃ̈Ê̅iʓœÃÌʈ“«œÀÌ>˜ÌʜLiV̈Ûi°
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the printer’s driver, is key to getting a great print. You also have
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[ Rick Sammon, a Kelby Training instructor, has published 27 books with three more coming in 2008: Face to Face: The Complete Guide to Photographing People, Exploring the Light:
Making the Very Best In-Camera Image, and Rick Sammon’s Pocket Guide for Taking Travel and Nature Pictures. Rick teaches dozens of workshops and gives seminars each year. See
www.ricksammon.com for more information.

All images by Rick Sammon.

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The most recent release of Lightroom is better than ever. It’s faster and more robust, includes some great new tools,
and much more. And it’s just a preview of things to come when the final version ships later this year. So let’s take a
look at a few tips that will help you take advantage of some of the new features in the Photoshop Lightroom 2 Beta.
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One of the advantages of digital capture is the ability to create a
high volume of photographs; on the downside, as photographers
shoot more, it becomes more difficult to find images. Not to worry,
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the new Filter feature will help. Press G to enter Grid view in the
Library module. Next, click on one of the filtering options: Text,
Refine, or Metadata. Use Text to type in words to search based
on filename, metadata, and more; use Refine to search based on
rating, flag, or label; or use Metadata to search based on a newly
enhanced set of criteria.
*,
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If you used Collections in the previous version, forget what you
know because that feature is now smarter and more functional.
Accessing Collections from the left-side panels area in the Library,
Print, Slideshow, and Web modules, you can use them to create
groups or sets of images based on specific criteria. Use “regular”
Collections to group selected images and use Smart Collections to
group images based on specific predefined metadata. To create
a Collection or Smart Collection, select multiple images in the
Filmstrip or the Library Grid view, click the plus icon, and choose
the type of collection from the list.
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On the right-side panels area in the Library module, you’ll find two
panels to add/manage keywords in Lightroom: Keywording (see Tip
4) and Keyword List. Start by selecting one or more images in the
Library Grid view. To use the Keywording panel, just type keywords
in the space provided, separating the keywords with a comma. If
you’d like to use the Keyword List panel instead, just click on a key-
word and drag it over the image thumbnail, or click on the image
thumbnail and drag it over to the specific keyword.
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The Develop module is where you make your images really come to
life. It’s the most important module in Lightroom and it’s incredibly
important to learn how to navigate quickly. Did you know that in
Lightroom 2 Beta, you can modify your images without using your
mouse? Here’s how: Press Option-< or > (PC: Alt-< or >) to scroll
through and target the various adjustments in the Basic panel. And
once you highlight the adjustment name, press Option-+ or – (PC:
Alt-+ or –) to increase or decrease the slider amounts. Add the Shift
key for greater increments.
*-
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Now you know how to add keywords to your images, but it takes
time. Here’s some great news: Keywording just got simpler and
the more keywording you do, the faster it will become. New to
this version is the Suggested Keywords feature: When you add
one keyword, Lightroom will do some serious behind-the-scenes
work to figure out what other keywords might also be appropriate
(suggestions are based on time, subject matter, other keywords,
and more!). If you like the suggestion(s), just click to add the key-
word to the selected image.
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One exciting capability of Lightroom (and of RAW image process-
ing in general) is being able to make nondestructive adjustments to
your images. In Lightroom 2 Beta, this capability has been extended
to retouching with the all-new Retouch tool (circled). This is about
more than a new tool; this is about a new way of thinking. We can
now make retouching edits, burn and dodge, and more to our images
without drastically increasing file size or without permanently affect-
ing the pixels. For many photographers, this will literally revolution-
ize how we work on our images.

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Click on the Retouch tool under the Histogram in the Develop
module (or press K) to open the menu. Next, click on the menu to
the right of Paint to select the type of effect you’d like to modify or
paint: Exposure, Brightness, Saturation, Clarity, or Tint. Then define
the Brush: Size is the overall size of the brush; Feather, the hardness/
softness of the brush; and Flow, the intensity of the effect. (I recom-
mend that you start with a low Flow amount and then slowly build
up more of the effect.) Just click and begin painting on the image.
/ QIB?9AIFB?JJED?D=S
Split Toning gives you the ability to add color tone to highlights
and shadows. It’s a unique feature that you can use to add subtle
or dramatic visual interest to your images. In the past, using this
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feature was a bit awkward but with this latest release, it’s sophis-
ticated and simple at the same time. To choose a color, click on
the color swatch to open the color selector dialog (shown here).
Click-and-drag to choose a new color or drag the Hue and Satura-
tion sliders.
*.
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Once you’ve “painted” with the Brush, it’s time to add some finish-
ing touches. First, hover over the retouching node to see a preview
of the retouched area, then click on the node and drag to the left
or right to decrease or increase the amount of the overall effect.
Or click on the Edit button in the retouching controls to modify the
retouching. If you’re content with the overall edit, click New to add
another retouch effect to the image. If you don’t like the retouching,
click on the node and press the Delete key.
'& Q:;B?9?EKI:;J7?BIS
The Detail panel has also been upgraded in Lightroom 2 Beta. Pre-
viously, this panel only contained Noise Reduction and Sharpening;
now it includes Chromatic Aberration sliders as well. In this way, you
can really focus on all the small detail work at one time. But wait…
there’s more: a 100% preview window built right into the panel so
that you can actually preview the effects of the sharpening!
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Adding a vignette can strengthen your overall image. Because the
eye is attracted to brightness, darkening corners or edges of the
frame keeps the viewer focused on the subject in the frame. Many
photographers have taken advantage of the Vignettes feature in the
Develop module in Lightroom, except in previous versions, this fea-
ture didn’t work when you cropped your image. Now in Lightroom 2
Beta you can choose a Post-Crop vignette that follows the size and
shape of your crop. Sweet!
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In the previous version of Lightroom, printing was a bit limited,
but you can now define Print Resolution, Print Sharpening, and
even print to 16 Bit Output. Another new feature is the ability to
Print to JPEG File: In the Print Job panel, choose Print to: JPEG
File to view the other menu settings (as shown). Then define File
Resolution, Print Sharpening, Custom File Dimensions, and Color
Management. These settings will ensure that all your end results
will be as good as possible.
QChris Orwig, photographer and author, is on the photography faculty at the Brooks Institute in Santa Barbara, California. His publications include a number of best-selling Lightroom and
Photoshop training titles at Lynda.com and Photoshop CS3 How-Tos: 100 Essential Techniques (Peachpit Press). For more inspiration, visit his website at www.chrisorwig.com.
*/
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There’s nothing more exciting than seeing the final print of an
image. And now, printing in Lightroom 2 Beta is better than ever. In
particular, there’s a new layout feature called Picture Package in the
Print module that gives you incredible layout flexibility. The Layout
Engine panel allows you to choose between Grid and Picture Pack-
age to print multiple images on one (or more) page(s). Choose the
Grid layout for a standard grid or Picture Package to position images
freely on a page without the confines of a grid.
'* QCKBJ?FB;CED?JEHI7H;CED;OS
When you’re working in a software application, screen real estate
is always a consideration. This is especially true when working on
photographs because it’s so critical to minimize the interface to
really focus in on the image. Now in the Lightroom 2 Beta, there’s
support for multiple monitors. Just click on the monitor icon (Show
Secondary Window) above the Filmstrip on the right and you can
view images on a second monitor in Grid, Loupe, Compare, and
Survey mode.
S
All images by Chris Orwig unless otherwise noted.
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 GSFE!SJY +)
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The first step is to bring the two exposures into a single layered file.
For this example, we’re adding the darker exposure to the lighter
image so that it will be the top layer. Select the Move tool (V), hold
down the Shift key, and drag-and-drop the darker image onto the
lighter one. Hold down the Shift key until the image appears in the
lighter file as a new layer. This ensures that the two pictures are
perfectly aligned.
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Now we’ll add a layer mask to show only the “good” areas of the top
layer. Depending on the nature of the images you’re combining and
the complexity of the edge, this is the part of the process that will
be different for each image. Some scenes may require intricate and
precise masks, while for others a soft-edged mask will do; we’ll use
a soft-edged mask for this image. With the top layer active, click the
Add Layer Mask icon at the bottom of the Layers panel.

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One classic technique that digital cameras make very easy is blending more than one exposure together for
contrast control, increased dynamic range, or creative purposes. A variation on this technique is to apply different
RAW-conversion settings to a single RAW file and then combine the files into a single image. Let’s explore both
approaches and look at the proper camera technique behind the scenes.

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The layer mask

13 seconds @ ƒ/16, 100 ISO
25 seconds @ ƒ/16, 100 ISO The composite blend of two exposures

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Before you start in Photoshop, you have to create the files so that In the images of Makapuu Point on the island of Oahu in Hawaii, the Choose the Brush tool (B) from the Toolbox and set the Foreground We lowered the Opacity to 20% and painted with black over the
each has a good exposure for a specific part of the image. For the sky and most of the ocean looks better in the 13-second exposure, color to black. In the Options Bar, set the Opacity to 50% and choose distant hill to show more detail there. To reverse the mask edits,
files to align properly, it’s best to be on a tripod. Although handheld, while the longer one reveals better detail in the dark foreground a soft-edged brush that’s large enough to cover the bottom part press X to switch the Foreground and Background colors, and paint
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rapid-fire, auto-exposure bracketing may work in some cases, I prefer
the tripod approach. The tripod is definitely a must for long expo-
sures, such as the photos in this example, which had shutter speeds
of 13 and 25 seconds. I used a 5-stop, solid, neutral-density filter to
force a long exposure time that would totally blur the surf.
rocks. I also like the way the incoming surf is blurred into a fine mist
in the 25-second shot. To minimize any chance of vibration that might
yield a soft shot, I turned off lens stabilization and used an electronic
cable release. For the purposes of this tutorial, the files are JPEGs,
but I recommend you shoot RAW for the most control and quality.
of the image (ours is 300 pixels). Check the Layers panel to make
sure the layer mask is active (look for the highlight border around
the thumbnail). Paint over the image where you want to reveal the
lighter tones from the bottom layer (paint multiple strokes to reveal
more of the lighter layer). Reduce the brush size to work on the
areas where the two images meet at the edge of the rocks.
with white to bring back the darker layer. To add a contrast punch
to the top layer, Option-click (PC: Alt-click) on the Create New
Adjustment Layer icon in the Layers panel and choose Curves.
Turn on the Use Previous Layer to Create Clipping Mask checkbox
and click OK. Adjust the curve as shown. The clipping mask means
that it affects only the underlying layer.

[If you’d like to download the images used in this tutorial to practice these techniques, visit www.layersmagazine.com and navigate to the Magazine section. All files are for personal use only.]
+(

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If you click on the Background layer’s Eye icon, you can see how the
layer mask controls which parts of the top darker layer are visible in
the final composite. Click again to turn on the Background layer’s
visibility, then Shift-click the layer mask to temporarily disable it and
view the darker image without the lighter foreground. Shift-click
the layer mask again to turn it on. The soft-edged layer mask we
used here works well because the long exposure times blurred the
water and we don’t have to be concerned with lining up the waves.
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Process the first version of the image in Adobe Camera Raw for a
specific area (in our example, we’re keeping the sky from getting
too washed out). To preserve maximum flexibility, click on the blue
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Workflow Options link below the preview and turn on the Open
in Photoshop as Smart Objects checkbox. Click OK then Open
Object to bring the file into Photoshop. Choose Layer>Smart
Objects>New Smart Object via Copy to create a duplicate smart
object of the embedded RAW file (the smart object duplication
must be done this way to apply different RAW develop settings).
+*
Q
Seán Duggan is co-author of The Creative Digital Darkroom and Photoshop Artistry. He teaches regular workshops on Photoshop and Lightroom for photographers. Sign up for his
free digital darkroom newsletter at his website, www.seanduggan.com.
\evbm.qspdftt!sbx^
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If you have a single exposure, and it’s a RAW exposure, then you
can create essentially the same effect as in the previous steps.
This is useful for scenes that contain moving subjects or where a
tripod is impractical or simply not an option. The main thing you
need to do in terms of exposure is bias the histogram as far to the
right as possible without clipping the highlights (i.e., forcing the
brightest areas to a total white). This ensures you have the best
exposure possible for the shadows, which will help minimize noise
in those areas.
The layer mask
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Double-click on the thumbnail for the duplicate smart object layer
to access the Camera Raw dialog and adjust as needed for specific
areas. We used the Exposure, Fill Light, and Brightness sliders to
show more detail on the rental surfboards. Click OK to apply these
new settings. Now it’s just a masking job to combine the two. We
used the Quick Selection tool (W) to make a basic selection of the
bright sky, then used that to make a layer mask for the top Smart
Object layer. We then fine-tuned the edges using a Brush tool at
varying opacities.
S
All images by Seán Duggan unless otherwise noted.
 GSFE!SJY +-

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©ISTOCKPHOTO/SAM VALTENBERGS
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For each finished layout, you’ll need to prepare graphics that will
replace the placeholders. In this example, we saved a photo of each
city using a simple, logical name (London.jpg, SF.jpg, etc.). We also
prepared a series of graphics for the star rating of the hotel, again
using logical names (3stars.jpg, 4stars.jpg, etc.). As you prepare all
the graphic elements, make note of the filenames, and put all the
graphics in one folder.
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From the Image menu, choose Variables>Define. In the resulting
dialog, a list of all your layers will appear in the Layer pop-up
menu. Choose a text layer, check the Text Replacement box, and
assign a name for that variable. When you choose text layers, it
simply asks you to name the variable for the text replacement. For
example, for the layer that has the name of the city, we named
the variable “cityname.” As you assign variables, an asterisk will

b! vupnbufe!mbzpvu!
appear beside the layer name.

Years ago, someone introduced me to Mail Merge in Microsoft Word—what a great timesaver, avoiding entering
lots of names and addresses by hand. Thanks to Variables, Adobe Photoshop can take things one step further,
replacing text and graphic elements to automatically generate finished layouts.

Q9H;7J;J>;J;CFB7J;S
Create a layered document with the following placeholders: text
layers in the font and size you want for the text elements, and
shapes to represent the photographic pieces. You can also use
actual photographs as placeholders—it doesn’t matter. Tip: When Q:;<?D;J>;L7H?78B;I=H7F>?9IS QFH;F7H;J>;J;NJ<?B;S
deciding on font sizes, use the longest text from all your data; if
Graphic variables are defined the same way, but with some addi- In a text editor, enter the name of each variable separated by
that one fits, then you know the rest will as well.
tional choices. For example, after clicking the Pixel Replacement commas. Click Enter. Then, for each separate design (in this case,
box, we chose Fit as the Method and center for the Alignment— for each city) enter the matching information: the city name,
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that way, we’ll still see each city photo in its entirety even if it’s the
wrong size for the bounding box. For the stars graphic, we chose
As Is and aligned left since we don’t want the graphic to scale and
we want them all to appear with the first star in the same position.
[If you’d like to download the layered Photoshop file, star graphics, and text file shown in this tutorial to practice this technique, visit www.layersmagazine.com and navigate to the
Magazine section. All files are for personal use only.]
the name of the JPEG, the price, which graphic to use as a star
rating, and so on. Again, follow each entry with a comma. We
also included a short description of the travel package, being
careful not to include commas since that would throw things off.
Use a return to separate each design and save as a text file. If
all your data is already in a spreadsheet, you could export it as a
comma-delimited file and avoid lots of text entry.

+,
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Back in Photoshop, go to Image>Variables>Data Sets. Click the Once you’ve made sure the data sets appear properly, go to File>
Import button, choose the text file you saved, click Load, then Export>Data Sets as Files. In the dialog, choose a destination
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. Q;:?JJ>;H;IKBJI?<D;9;II7HOS
Since this operation creates a layered document for each data
/ Q9H;7J;<B7JJ;D;:9EF?;IS
Assuming that you want flattened versions of the finished graph-
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any changes. your graphics. Of course, this operation is designed more for An insider’s guide to optimizing A step-by-step guide to setting up Looks at this powerful application
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upfront effort, you can save a ton of time thanks to Variables. photography workflow. analog and digital image files. photography workflow.

QDave Cross is Senior Developer, Education and Curriculum, for the National Association of Photoshop Professionals. He is the author of Photoshop Finishing Touches and The Photoshop
CS2 Help Desk Book, and is featured on a series of Photoshop training DVDs. S Focal Press Books are available wherever fine books are sold and through your preferred online
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retailer. Be a part of the Focal Monthly Photography Contest and check out free video and
audio tutorials at focalpress.com. And look for us on Facebook, MySpace, and YouTube!
 GSFE!SJY ,'

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QC7A;7IOC8EBS
Once your label art is complete, select all the elements by pressing
Command-A (PC: Ctrl-A). Using the Selection tool (V), click-and-
drag the selected label into the Symbols panel (Window>Symbols).
In the Symbol Options dialog that pops up, name your symbol, set
Type to Graphic, then click OK. Press Delete (PC: Backspace) to
delete the label from the artboard.
Q:H7MJ>;97DS
Now let the fun begin. Create a vertical line with the Pen tool (P)
by clicking once on the artboard and then Shift-clicking below it
to keep it perpendicular. Next, make it a guide by choosing View>
Guides>Make Guides. Set the Stroke to a medium-to-dark gray and
the Fill to None (/) in the Toolbox or Control panel. Then draw a path
similar to the one you see here (or download this file from the web-
site). Make sure the path begins and ends on the guide. Believe it or

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not, this will become the right side of the can. You’ll notice that
I’ve created rounded corners. I did this to give my can a lip.

Let’s tap into some of the 3D features of Adobe Illustrator. Though Illustrator doesn’t offer a 3D environment like
a true 3D application, it does give you the ability to create 3D objects that can be modified within a 3D space.
Texture mapping and light sources similar to those found in high-end 3D applications are also available.

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The first thing we’ll do is create the label that will wrap around our
can. Create a label like the one here, or you can download the
source file from www.layersmagazine.com. In this example, we’re Q=?L;J>;97DI>7F;S Q7<<?NJ>;B78;BS
going to create a tin can full of beans, but you can fill your can with
whatever you want. You can even import an Adobe Photoshop file With your can selected, go to Effect>3D>Revolve. In the 3D Revolve Now we’re ready to apply the label. Click the Map Art button to
for your label, if you wish. Options dialog that pops up, check Preview to see the 3D effect. open the Map Art dialog. At the top of the dialog there’s a Surface
At first it will look a little off. Dialing up the Perspective setting indicator. As you cycle through the various surfaces by clicking the
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will make the can look more realistic (30˚ in this example). Click Surface arrows, the currently selected surface will be displayed
the More Options button to reveal the controls for lighting the over the object in red. Click the arrows until the body of the can
object. I’ve added a second light source by clicking the New Light is outlined in red. Then find your label in the Symbol drop-down
icon and then dragged the two light sources into place. With both menu in the upper-left corner of the dialog.
light sources set, play with the other Surface settings to taste. I’ve
bumped up the Highlight Intensity, as highlights would be stronger
[If you’d like to download the image used in this tutorial to practice these techniques, visit www.layersmagazine.com and navigate to the Magazine section. All files are for personal on a real tin can. (Don’t click OK yet.)
use only.]

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 QFEI?J?EDJ>;B78;BS
Drag your label over the white surface shown in the box. The white
area signifies the area that is currently in view, whereas the dark
areas are the areas behind the object that are hidden from view.
You can also grab the handles on the sides of the label to resize
and alter its shape. Check Shade Artwork to add the highlights and
shadows that appear on the can to your label. You can now click OK
in this dialog and the one below because your tin can is finished.
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To make the can look like it’s standing within 3D space, add a little
shadow behind it like the one shown here. To do this, click the Create
New Layer icon at the bottom of the Layers panel for your shadow
and then click-and-drag it below your can layer. Next, create a shape
like the one shown here with the Pen tool and fill it with black.

. QIE<J;DJ>;I>7:EMS
Lower the Opacity for the shadow to make it more realistic
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(Window>Transparency). If at any point you want to edit your can

or label, go into the Appearance panel (Window>Appearance)
and double-click 3D Revolved (Mapped). You have now completed
your 3D tin can!

QBert Monroy is considered one of the pioneers of digital art. His work has been seen in many magazines and scores of books. He has served on the faculty of many well-known institutions,
written many books, and appeared on hundreds of TV shows around the world. S
,(

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K B N F T ! |
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J N B H F T ; ª J TUP D L Q I PUP ! ! J M MV TU S BU J P O ; ! D I S J TU Z ! X J O U F S
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The disclosure forms for prescription drugs are typ-
ically printed using eye-aching 6-point Helvetica
Light Condensed. It would doubtless be smaller
if this minimum weren’t mandated by law. As a
designer or typesetter, your job is to make sure the
type you create isn’t just legible, but readable, and usually there’s
no FDA around to make sure you do the right thing.
If you don’t want your small type to look like it’s hiding some-
thing, if you really want it to be read, it takes some extra effort,
because all type programs default to settings for creating full-sized
text, like what you’re reading now. When you start setting smaller
type than this, whether it’s for footnotes, contracts, legal notices, or
the front and back matter of books, you have to make adjustments.
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If you’ve struggled to read a drug disclosure, you know that a light,
condensed face for small type is bad news. What you really want is
a face with a wide set width, that is, one whose characters are rela-
tively wide. In addition, you’ll want a face with a generous x-height:
one whose lowercase letters are rather tall. Below is a selection of
faces illustrating this. All of these footnotes are set in 7-point with
9 points of leading. The apparent size of the various faces varies
widely, as does their relative readability. The faces, from top to
bottom, are Adobe Garamond, Bookman, Baskerville, Helvetica,
ITC Avant Garde Book, and Antique Olive.
1 No matter how far the Cathars withdrew into the hills, the forces of the King and
the Pope pursued them. Finally trapped in their remote hilltop redoubts, they were
besieged and eventually exterminated.
1 No matter how far the Cathars withdrew into the hills, the forces of the
King and the Pope pursued them. Finally trapped in their remote hilltop
redoubts, they were besieged and eventually exterminated.
1 No matter how far the Cathars withdrew into the hills, the forces of
the King and the Pope pursued them. Finally trapped in their remote
hilltop redoubts, they were besieged and eventually exterminated.
all the previous criteria: big x-height, good color, and a wide stance.
In fact, many sans serifs fare well in small sizes for the same reasons.
In general, humanist sans serifs such as Gill Sans work better than a
geometric sans, such as Futura or Avant Garde, because the shapes
and proportions of their letters share more of a seriffed face’s visual
cues to easy character recognition. Antique Olive is a face that was
specifically designed for legibility (by Roger Excoffon, in the 1960s),
but it’s sadly neglected today. With its lowercase letters that are almost
as big as its caps, it stands up very well in small sizes.
Italics suffer particularly badly when set small. Ironically, they
were first developed 500 years ago by Aldus Manutius as a way
to cram more type onto a page, because their narrower charac-
ters saved space and paper for his popular cheapo editions. They
looked crowded then too, and when you reduce the size of italic
type, it can quickly start to look like alphabet soup.
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No matter which face you use, when setting small type you should
loosen the tracking. Spaces between characters always appear to change
size faster than the type they’re with: Just as type appears too loosely
spaced when its size grows, it appears pinched as its size is reduced.
Depending on the setting, you may have to alter your type’s
hyphenation and justification (h&j) settings as well. Often, loosen-
ing tracking to open word spaces enough will cause overall slack
character spacing. In such cases, consider making the h&j Optimal
value for word spaces more than 100% of normal. (“Normal” being
the value established in the font itself.)
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You can’t reduce point size much without also narrowing its measure
(that is, shortening its line length). For two or three lines, you can suffer
a reader to endure small type over a long measure, but in longer para-
graphs, it becomes too easy to lose track of the correct baseline as
the eye moves from right margin to left. Generous leading helps. In
magazines with image captions set at reduced point sizes, designers
often leave the leading the same as the surrounding text type. This
not only makes for easier reading, but it also makes it easier to align
the captions to the page’s baseline grid.
Footnotes—especially lengthy academic ones—present a particular
challenge because they’re normally set to the full width of the page,
matching the measure of the text type. In these cases, generous
leading is a must. Often, using italics for footnotes will allow for
an effective contrast with the text type while allowing you to use a
slightly larger point size than you’d be obliged to use for footnotes
,+
breaking up thin strokes and hairlines. Proofing on a desktop printer
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may not reveal these problems, as these printers are less prone to ink
spread than a printing press, especially on absorbent, uncoated paper.
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All type is meant to be read, even the fine print—although you
have to wonder if the people who write the text necessarily agree.
As always in typography, it’s the little things that count, and this is
nowhere more true than in little type.
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For the 500 years that commercial type was set using hot or
cold metal, it was normal for different sizes of a typeface to
have different designs. Small types were wider, slightly bolder,
with taller lowercase characters. In the 1960s, phototype intro-
duced the possibility of using a single master character design
to generate type in a range of sizes. Fonts with different master
sizes (8-point for classified ads, 12-point for text, 18-point and
up for display) were still made, but not universally used.
Desktop digital type made the problem worse, forcing
everyone to use a single-size type master—usually 12-point—
for type of all sizes.
The OpenType format has broken this limitation by allowing
several fonts representing the same typeface to be bundled
together transparently in the same package. Adobe calls these
size-specific variants “opticals.” They’re found in a handful of
Adobe’s OpenType pro fonts. A good example is Adobe’s Arno
Pro (shown here), which offers five size-dependent variants:
caption (6–8.4 point), small text (8.5–10.9 point), regular
(11–13.9 point), sub-
head (14–21.4 point),
and display (21.5+
multiple masters
point). The design
of each is matched multiple masters
to the demands of
readability in various
size ranges. Designs
multiple masters
for smaller sizes
feature wider, taller,
multiple masters
bolder characters,

.OMATTERHOWFARTHE#ATHARSWITHDREWINTOTHEHILLSTHEFORCESOFTHE
set in a roman type. features that become multiple masters
less so as point

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+INGANDTHE0OPEPURSUEDTHEM&INALLYTRAPPEDINTHEIRREMOTEHILLTOP
REDOUBTSTHEYWEREBESIEGEDANDEVENTUALLYEXTERMINATED Cbdlhspvoe!difdlt size increases.
The visual fragility of small type makes it extra vulnerable to other The only one of Adobe’s recommended optical ranges that
1 No matter how far the Cathars withdrew into the hills, the forces of
forms of graphic static, such as high color contrast. In addition, Arno lacks is poster, which would normally kick in above 72-point.
the King and the Pope pursued them. Finally trapped in their remote
_j¼i^_Z_d]iec[j^_d]" hilltop redoubts, they were besieged and eventually exterminated. when small type is printed in a blended color (that is, not pure cyan, These point-size ranges aren’t normative, though, and font
magenta, or yellow), the screening used to create that blend is going developers are free to use whatever ranges they choose. A font
1 No matter how far the Cathars withdrew into the hills, the forces
could just as easily have three ranges, for example, covering
_\oekh[WbbomWdj_jje of the King and the Pope pursued them. Finally trapped in their
remote hilltop redoubts, they were besieged and eventually
to cause a loss of sharpness more exaggerated than that seen in
larger type. Any slight misregistration multiplies the problem. The small, medium, and large sizes, applied to point-size ranges of
exterminated.
result is fuzzy text that’s hard to decipher. the maker’s choosing.
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X[h[WZ"_jjWa[iiec[ Avoid reverses—white type on black—when using small type, As of today, the complete list of Adobe Pro fonts including
Likewise, faces with a heavier stroke weight and less contrast especially small italic type or typefaces with high contrast, such opticals is Arno, Brioso, Cronos, Chaparral, Garamond Premier,

[njhW[\\ehj°S between the thick and thin parts of their characters are more leg- as Bodoni. Inevitably, the ink that forms the black background will Jenson, Kepler, Minion, Sanvito, Utopia, and Warnock.
ible in small sizes. Palatino, for example, holds up better in petite spread slightly into the white type areas, thinning them and possibly
formats than Garamond, and both fare better than Bodoni.
Although Helvetica Light Condensed may be a poor choice for
setting small type, Helvetica itself is not, because it scores high on [ James Felici is the author of The Complete Manual of Typography (Adobe Press), former managing editor of Publish magazine, and contributor to The Seybold Report, Macworld magazine,
PDFZone.com, and Publish.com. ]
,*
 GSFE!SJY ,-

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As you can see, my filenames don’t tell much—they don’t mean
anything to me and probably mean even less to you! So we need
more than _TLW9886.psd. I’m not a fan of long filenames either,
so instead of trying to describe your files by their filenames, we’ll
use the Title and Description areas of the Metadata panel. Select
one of your images and click the Metadata tab in Bridge.
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Scroll down to the IPTC Core area of the Metadata tab. Each of the
IPTC tags with a pencil icon to the right of it can be edited so you
can describe what’s going on with your images (unlike a filename).
Click on an image, then just click on the pencil and enter the Title,
Description, City, State, Country, etc. When you’re done, click on
the next image. The first time you do this, you’ll get a dialog where
you can click the Apply and Don’t Show Again checkboxes. Enter

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titles and descriptions for the other images in your folder.

I know what you’re thinking: “Shouldn’t this be in the Photoshop section?” After all, whenever you hear the term
“contact sheet,” you probably immediately think images and Photoshop. Also, if you looked around the InDesign
interface, you wouldn’t really find anything that says contact sheet; however, Adobe Bridge CS3 and InDesign have
this secret relationship that allows you to do some really cool things with automating image placement and metadata.

QOEK¼BBD;;:7<EB:;HE<?C7=;IS QJ7A;?JJE8H?:=;S QI;JKFOEKH9EDJ79JI>;;JS QCEH;J>7D7<?B;D7C;S

First, you’ll need to have a folder of images that are in a format that As you can see in our example, having a folder full of images doesn’t Now that you’ve entered some metadata for your images, you’re By default, Bridge will use the image’s filename as the caption
InDesign can place. Luckily, InDesign can place a variety of different always mean that you can see what they actually look like. That’s ready to create a contact sheet from Bridge CS3. Select the under each image it places in InDesign, but we’ve already dis-
formats, such as PSD, TIFF, JPEG, etc. However, if you’re a photogra- where Adobe Bridge CS3 comes in. If you’re new to InDesign, don’t images you want to be in your contact sheet and choose Tools> covered that filenames don’t tell us much. Here’s where we can
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pher used to working in Adobe Camera Raw, you’ll need to convert
those Camera Raw/DNG files into another format.
start looking for your discs…you already have Bridge. It’s in your
Applications folder or you can just choose Browse from the File
menu in InDesign. Also, if Bridge is in your Dock on the Mac, you
can simply drag your folder of images right on top of the Dock icon
to launch Bridge and switch to that folder to view.
InDesign>Create InDesign Contact Sheet. The first part of the
setup is pretty straightforward. In the Layout section, choose how
you want your page arranged, including the number of Columns
and Rows you want to display on the page. For our example,
we’ve selected only four images and we want to maximize the
space on the page, so we chose 2 Columns and 2 Rows on our
8.5x11" page.
use the Title and Description info that we entered earlier. Click
the Define button in the Caption section, then click on <var
filename> (var stands for variable) and click the Remove button.
Also delete <var filename> from the box below; otherwise it will
be appended at the end—and we don’t want that.

,,

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Now choose Metadata from the Select From The List drop-down
menu and click the Add button that’s immediately to the right of
this menu. The Select a Metadata Element dialog opens showing
all the available metadata fields. Choose Title and click OK to close
this menu. Now click the Add button that’s immediately to the right
of the Title tag you just added to the box.
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At this point we have everything we need to generate our first
“smart” contact sheet. Just click the OK button and let it run.
InDesign will generate additional pages if needed, based on the
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number of images selected and the number of rows and columns.
,.
. Q7:::;I9H?FJ?EDS
Next, we want to add our description. Once again choose Metadata
in the Select From The List drop-down menu and click the Add
button immediately to the right. This time, you want to choose
Description from the available metadata list and click OK to close
this dialog. Now click the Add button that’s immediately to the
right of the Description tag you just added to the box. If you did
it correctly, you’ll see a sample at the bottom of the dialog that
shows your title and description. Click OK.
'& QC7A;9>7D=;IS
Once you’re in InDesign, you have a regular InDesign document and
you can edit any aspect of it that you want. What’s even better is
that the Contact Sheet script also generated paragraph style sheets
and object styles for the images and the captions. For example,
say you don’t like the font choice for the “labels” paragraph style,
then just bring up the Paragraph Styles panel (Window>Type &
Tables>Paragraph Styles); double-click on “labels”; click on Basic
Character Formats; and change the Font Family, Style, Size, etc.
continued on p. 70
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Although it’s extremely cool that InDesign can make a contact sheet
automatically from images selected in Bridge, I don’t like how “plain
'(
Jane” it is. You can, of course, start adding other elements to the
page and totally customize it; however, you probably don’t want to
have to do that each time, so let’s build a template. Do the exact
same steps as before but select only one image in Bridge, and
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Now let’s convert your one-image-per-page document into the look
that you want and save it as a template. First, modify the object styles ...yo u rs e l f ? !
so that the image is centered in the frame and the frame has a heavier
stroke. Go to Window>Object Styles and double-click on “images.”
In the Object Style Options dialog, click the Frame Fitting Options in
the Basic Attributes list. Then, click the center Reference Point in the

o u t o f yo u r m in d !
You must be
then in the Contact Sheet dialog, choose 1 Column and 1 Row to Alignment section and click OK. Next, double-click “imageFrames,”

in g
display one image per page. Click OK to create your contact sheet select Stroke in Basic Attributes and change the Weight to 2 or 3

Clip p
in InDesign. pixels. I also set the Stroke for the captions object style to None.

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

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Change the labels paragraph style to the font you want. (I also added
Why Mister Clipping?
a signature name to the A-Master Page.) Once the document looks
the way you want, clean it up before saving it as a template: Delete all
Five reasons to choose Mister Clipping:
I wanna
try it out!
It couldn’t be easier. Simply register, and upload your images.
the elements on the page, delete any extra pages, and delete the last
It’s cheaper than doing it yourself.
three color swatches that were added to the Swatches panel. Then
Sign up for an account and use
choose File>Save As and select InDesign CS3 Template in the Format Always delivered online within 1-24 hours, regardless of the number of images.
the following promotional code:
drop-down menu. Now when you choose Tools>InDesign>Create
Perfect, handmade clipping paths. 100% satisfaction guaranteed!
InDesign Contact Sheet from Bridge, you can choose this new template
and have your document formatted the way you like. You can try $20 worth of images for free!
USQBLA02
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This code gives you $20

worth of free clipping paths.

QIn his current role as Director for North America Creative Pro Core Business for Adobe Systems, Inc., Terry White leads a team of creative professional product specialists. He’s also the
author of Secrets of Adobe Bridge and co-author of InDesign CS/CS2 Killer Tips and The iPhone Book. S
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ALL IMAGES BY TERRY WHITE UNLESS OTHERWISE NOTED

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In addition to providing integration between all the Creative Suite applications, Adobe Bridge also gives an array
of tools and methods for opening, viewing, and even creating PDF documents. Here are some of the more useful
PDF management techniques using Bridge.
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To specify the default application used to open PDF documents
through Bridge, press Command-K (PC: Ctrl-K) to activate the Pref-
erences dialog in Bridge. Then, select File Type Associations from
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the list on the left. Scroll down the alphabetical list of file formats
to PDF Document (.pdf). Click on the downfacing arrow located
to the right to activate the list of PDF-capable applications (the
number may surprise you). Select the application you want, and
click the OK button. Your choice will now be the default applica-
tion to open any PDFs through Bridge.
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Sometimes you may want to open a PDF document in an applica-
tion other than the one you designated in Step 1. To specify a
particular application to open a PDF document, first select the
PDF you want to open in Bridge. Control-click (PC: Right-click) on
the image to activate the contextual menu. Choose Open With to
activate the list of PDF-capable applications. Select the application
you want (here Photoshop CS3) and your PDF will be opened in
that application.
QL?;M9EDJ;DJIM?J>EKJEF;D?D=S
In Bridge, select Window>Workspace>Horizontal Filmstrip to
activate an enlarged preview of you documents. Then, select
the PDF document you want to preview from the thumbnails in
the Content tab located at the bottom of the Bridge window. If
your PDF has more than one page, you’ll see navigation arrows,
a page display field indicating the page you’re currently viewing,
and the total number of pages. Use the navigation arrows to scroll
through your PDF. Note: You can adjust the dimension of the pre-
view by changing the size of the Bridge window or dragging the
bar between the Preview and Content areas.
QGK?9AM7OJEC7=D?<OJ>KC8D7?BIS
Use the following keyboard shortcuts to enlarge or reduce the
onscreen dimensions of the thumbnails in the Content tab: Com-
mand-+ (PC: Ctrl-+) to enlarge; Command- – (PC: Ctrl- –) to reduce.
If you first select one of the thumbnails, Bridge will keep the selected
PDF in view as you enlarge or reduce.
-)
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As you did in Step 3, select Window>Workspace>Horizontal Film-
strip to activate an enlarged preview of your documents. Command-
click (PC: Ctrl-click) each PDF document you want to view and
compare in the Content tab (we used three documents). Enlarged
previews of all the selected PDF documents will be displayed, side-
by-side. Note: You can navigate the contents of any of the PDFs
that contain multiple pages.
Q9EDL;HJ<?B;IJEF:<L?7F>EJEI>EFS
From the Content tab, select the images you’d like to convert to
PDF. These images can consist of a broad range of file formats
including TIFFs, JPEGs, and PSDs. You can Shift-click to select a
continuous sequence of images or Command-click (PC: Ctrl-click)
to select noncontiguous images.
Tip: If you don’t select any images in a folder displayed in the
Content tab, Bridge assumes you want to work on all the images
contained in that folder. This is a very handy feature when you’re
working with dozens or even hundreds of images in a single folder.

Q9H;7J;7F:<FH;I;DJ7J?EDS
Choose Tools>Photoshop>PDF Presentation. When the PDF
Presentation dialog appears, all the images you selected are
listed in the Source Files section. You can add to this list by either
clicking on the Browse or Add Open Files button. Configure your
Output Options section. We selected Multi-Page Document rather
than Presentation, but you can use Presentation mode to assign
Presentation Options such as Transitions (these can be controlled
more completely in Acrobat). It’s recommended that you check the
Include Filename box to facilitate image identification in your PDF.
Click Save, then name and choose a location for your PDF.
/ Q9H;7J;J;CFB7J;<EH9EDJ79JI>;;JS
Using InDesign, create a contact sheet template. Stick with a basic
layout until you get the hang of it; so just design a simple head-
line at the top of the page—no need to create image frames, as
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Bridge and InDesign will perform this. Go to Layout>Margins and
Columns and adjust the Top margin so it’s below your headline.
This way, only the white space below the headline will be used by
Bridge and InDesign to place the selected images. [For more on
creating contact sheets in Adobe InDesign, see page 66.—Ed.]
-*
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Job postings appear on over 20 sites,
reaching 8 million creative professionals monthly!
Preset or configure your own PDF settings. (In this example, we’re
using a custom preset called “PDF Presentation_Web.”) Then, click
the Save PDF button to create your PDF.
Note: For your PDF settings, be sure to consider the resolution,
compression, and color space that’s consistent with how you intend
Advertising / Marketing t Multimedia / Web Design t Video Games
to use this PDF.
Animation & VFX / TV & Film t Software / Tools / Technology t Mobile / Wireless
Tip: For multipage Web PDFs, check the Optimize for Fast Web
Preview option to allow your PDF to be sent across the Internet one
page at a time.
Digital Artists, Graphic and Web Designers, Animators, Compositors
Game Designers, Programmers, Producers, Technology Directors, Editors and Instructors
CreativeHeads.net Job Board Network
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When you’re done, save your template. In the Save As dialog,
choose InDesign CS3 Template as the Format. In Bridge, gather
the images that you’d like to place in a contact sheet. You can
either select images from a larger set or isolate your choices in a
separate folder (as shown). Decide how many images you want to
have on each page—the greater the number of images per page,
the smaller the image dimension. If you want to use all the images,
don’t select any (remember the Bridge tip in Step 6), and then
choose Tools>InDesign>Create InDesign Contact Sheet.
continued on p. 76 Post jobs @ www.creativeheads.net
 PHOTOSHOP WORLD IS THE OFFICIAL CONVENTION OF THE
NATIONAL ASSOCIATION OF PHOTOSHOP PROFESSIONALS

Photoshop World: ®

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In the Contact Sheet dialog, set the number of Columns and Rows
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Check the Save as PDF box at the bottom of the Contact Sheet
COMING TO MANDALAY BAY RESORT & CASINO
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(here 3, 3). Then check the Auto–Spacing box. Now set the captions
to be used (filenames in this example). Check the Use InDesign Tem-
plate box and locate and select the InDesign template you created
in Step 9. If you think you might use this Contact Sheet setup again
in the future, click the Save Settings button to create a preset. Don’t
click OK yet.
Mark your calendar: the world’s largest educational event for creative professionals
dialog. In the Select InDesign PDF Preset dialog that appears,
choose a PDF preset that matches your output intentions. Once is coming to Las Vegas! Experience class sessions and workshops by some of the
again, consider the image resolution, compression, and color
most respected names in the industry, as well as a 3-day Tech Expo, portfolio
space in your decision. Click the OK button to confirm your PDF
Preset settings, which will return you to the Contact Sheet dialog. reviews, discussion panels, and much more!

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Click the Output File button next to Save as PDF, name your PDF,
select a location, and click Save. Click OK back in the Contact
Sheet dialog to begin the Contact Sheet and PDF creation process.
Using either Bridge (the fastest way), Acrobat, or another PDF
application, view your new InDesign PDF contact sheet.
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Register Today! Call 800.738.8513

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or visit online www.photoshopworld.com

-,
QTaz Tally is the author of Acrobat and PDF Solutions from Wiley Press, as well as numerous other digital imaging books on Photoshop, scanning, digital photography, and prepress.
Visit Taz’s websites www.taztallyphotography.com and www.tazseminars.com.
ALL IMAGES BY TAZ TALLY UNLESS OTHERWISE NOTED
S Adobe, the Adobe logo, and Photoshop are registered trademarks of Adobe Photoshop Incorporated.
 CONFERENCE TRACKS AT-A-GLANCE
The overall class schedule allows you to customize your curriculum by attending any
session, in any track, and move between them as you see fit.
9.4-6.08 CONFERENCE HIGHLIGHTS
Photoshop® World® ADOBE WEB TOOLS
® Learn how Photoshop®, Flash®, and Dreamweaver®
come together to make compelling websites.
Pre-Con Workshops: Wed., Sept. 3
This three-day track – featuring Dave Cross, Fay Sirkis, and Come take part in any of 12 elective
CREATIVITY Bert Monroy – will inspire your creativity and imagination.

Come Face to Face With

workshops held prior to the confer-
ence…a fantastic way to kick-start
PRODUCTIVITY Work faster and smarter with tips and tricks from such
instructors as Taz Tally, Dan Margulis, and Jeff Schewe.
your Photoshop World experience!
Separate registry fee is required.

The Future of Photoshop

Photoshop World Conference & Expo –
®

DIGITAL PHOTO
LIVE STUDIO
These class sessions – featuring Helene Glassman, Jim
DiVitale and Frank Cricchio – will teach you the same light-
ing, posing, and studio techniques the pros use.
Opening Keynote: Thurs., Sept. 4
Entertaining, enlightening, and full
of surprises, the opening keynote is
definitely not to be missed! In Orlando,
attendees were the first to see Light-
Find out how applications like InDesign®, Bridge®, and
The Ultimate Adobe Photoshop Experience
® ®

ADOBE CREATIVE SUITE

®
Camera Raw can take your work to new levels.
room 2.0 and Photoshop Express…
who knows what revelations await
you in Vegas?

Tech Expo:
Thurs., Sept. 4 through Sat., Sept. 6
Prepare yourself for three extraordinary days of Photoshop, photography,
digital media, and graphic design training like nothing you’ve ever encoun-
PHOTOSHOP ® This learning track – featuring Scott Kelby, Deke McClelland,
and Ben Willmore – will show you how to boost your For three days you can check out

tered before…
TECHNIQUES Photoshop skills, productivity, and creativity. the newest plug-ins, digital cameras,
scanners, printers, imaging software,
hardware, storage devices, and more
PHOTOSHOP & DESIGN Learn the eye-catching graphic design tricks and tech-
®
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niques that you see in top magazines and advertisements. from some of the biggest names in
sessions taught by an all-star team of technologies at the 3-day Tech Expo the industry.
industry legends. – a Photoshop World first!
LIGHTROOM Get better pictures and a faster workflow with classes by
®
Portfolio Reviews: Thurs., Sept. 4
Matt Kloskowski, Tim Grey, Andrew Rodney, and more. Get invaluable feedback from some

r

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of the most respected figures in photo-
and events where you can mingle hosted by Photoshop World spon- Dive into the amazing world of motion graphics with
with your peers, as well as confer- sors like Adobe, Nikon, NAPP, MOTION GRAPHICS class sessions by Rich Harrington and Rod Harland.
graphy at this once-in-a-lifetime
opportunity. Availability is on a first-
ence instructors. and Microsoft. come, first-served basis during the
PHOTOSHOP &
®
Discover how special digital photography tricks and first day of the Tech Expo.
Additionally, all conference attendees receive the Photoshop World workbook:
a massive compilation of notes, tips, tutorials, and step-by-step instructions for almost DIGITAL PHOTOGRAPHY Photoshop techniques can help you create sharper, more
colorful, more vibrant images than ever before. Photoshop World After-Hours
every class and instructor at the conference in one easy-to-reference volume. Party: Thurs., Sept. 4
Don’t miss your chance to mix with

Join us for the ultimate Photoshop and digital fellow attendees and meet your in-
structors at The House of Blues, Las
imaging experience… PRO PHOTOGRAPHY Photographers such as David Ziser, Moose Peterson, and Eddie
Tapp reveal their “tricks-of-the-trade” in this session track.
Vegas for a night of food, fun, and music.
Tickets are limited, $59 per person.

Art of Digital Photography:

PHOTOSHOP &
®

INSTRUCTOR ROSTER Choose from five sessions that delve into advanced techniques
in Photoshop – including automation, retouching, and lighting – Fri., Sept. 5
PHOTOGRAPHY as well as special topics in photography. Gain inspiration and instruction from
eight of the most elite artists of today.
Scott Kelby Taz Tally Helene Glassman Tim Grey These outstanding photographers will
Dave Cross Eddie Tapp Rich Harrington Andrew Rodney PRINT/PRE-PRESS Join Dan Margulis as he shares tips for making the entire
print/pre-press process easier than you ever imagined. reveal how and why they create their
Bert Monroy John Paul Caponigro Lesa Snider-King Laurie Excell inspiring images at this interactive
panel discussion.
Matt Kloskowski Deke McClelland Chris Orwig Corey Barker
DIGITAL PHOTOGRAPHY Learn artistic techniques specifically for digital photo-
graphers from Laurie Excell and Vincent Versace. Midnight Madness: Fri., Sept. 5
Jay Maisel Rod Harlan Peter Bauer Edward Greenberg
That’s right…time to kick back and cut
Moose Peterson Jim DiVitale Jeff Schewe Rick Sammon Open your mind and discover how simple Photoshop tech-
ARTISTIC PHOTOSHOP
®
loose. Join conference attendees, in-
niques can transform ordinary images into a works of art.
Vincent Versace Kevin Ames Frank Cricchio Julieanne Kost structors, and the NAPP staff for a night
of games, giveaways and goofing off!
Joe McNally Fay Sirkis Joe Glyda George Lepp
Terry White Jack Davis Dan Margulis
For a complete class schedule go to Register Today
Ben Willmore David Ziser Jack Reznicki
www.photoshopworld.com and Save $100!
All classes, class materials, and instructors are subject to change without notice. Adobe, Photoshop, Lightroom, InDesign, Bridge, Flash, and Dreamweaver are registered trademarks of Adobe Systems Incorporated.
 Photoshop® World
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K B O J O F ! | ~ ! X B S O F S
PRO PASS Upgrade to a Pro Pass and get a hold of the coolest Photoshop World gear
as soon as you walk in the door. A $100 Pro Pass gets you:

r

Photoshop World Party Ticket: This special ticket r Exclusive Photoshop

guarantees your place at THE after-hours event of World Water Bottle:
the conference. A $59 value! Keep hydrated with a
r
Official Conference Attaché: Stay organized and on- convenient spill-proof
the-go with this multi-compartment canvas briefcase. souvenir water bottle.
r

Badge Holder: This billfold-style carryall stores your r
Notebook & Pen Combo:
money, keys, and business cards while displaying Take notes and keep track
your admission pass. of new contacts with your pad and pen combo.
r

Official Photoshop World Attire: Get your limited r

Extra Photoshop World Workbook: On the last
edition themed t-shirt and ball cap when you pick- day of the conference, you’ll be able to pick up
up your Pro Pass attaché. a second conference workbook.

Reserve your Pro Pass today…only 250 available!

Special room rates have been arranged for attendees at these official host hotels. Enjoy the convenience of be-
OFFICIAL ing within walking distance to all the classes and events as both hotels are connected to the Convention Center.
HOST
HOTELS MANDALAY BAY
RESORT & CASINO THEhotel AT MANDALAY BAY
v! tjoh!dpef!wjfx!up!jotfsu!hpphmf!bet!boe!npsf!
3950 Las Vegas Blvd. S. 3950 Las Vegas Blvd. South
Las Vegas, NV 89119 Las Vegas, NV 89119
877-632-9001 877-632-7000 or 702-632-7000
www.mandalaybay.com www.mandalaybay.com Dreamweaver CS3 makes it easy to create beautiful webpages without ever having to look at the code behind
Located right on the famous Vegas strip, Mandalay This hotel provides guests with a haven of your designs. But even though you don’t have to learn HTML, every once in a while knowing how to work with
Bay Resort & Casino offers newly-remodeled rooms sophistication and service on par with the best
the code can come in handy. In this tutorial, you’ll find instructions for using Dreamweaver’s code-editing features
decorated in a simple, casual elegance that affords boutique hotels in the world with elegantly
appointed rooms and a roster of amenities. to insert Google ads and other features.
comfort, relaxation, and style.

You must identify yourself as a Photoshop World conference attendee to receive a special room rate.
Reservations required by August 4, 2008. See the Photoshop World website for rates, rules, and regulations.
OFFICIAL We have arranged for discounts with Avis Car Rental and Alamo Car Rental.
CAR RENTAL Special discounts codes can be found online at www.photoshopworld.com.
Q7::?D==EE=B;7:IS
PRICING Register by August 1, 2008 and Save $100 We’ll use Google AdSense as the main example in this tutorial but
the process is similar for nearly all sites that offer features you can
NON-NAPP MEMBER NAPP MEMBER include on your pages. You generally begin by creating an account.
Before August 1, 2008 $
599 *
Before August 1, 2008 $
499
After August 1, 2008 $
699 * After August 1, 2008 $
599 In the case of Google AdSense, once you’re approved (most web-
*Includes a full-year NAPP membership sites are), you simply log in to create the code needed to display
Educator, Alumni, and Student pricing also available. Google ads for your pages. Once you’ve added the code, Google
delivers ads to your site based on the content on your pages. If

To Register Call 800.738.8513 your visitors click on those ads, Google pays you a small fee.

or Visit www.photoshopworld.com
Copyright © 2008 National Association of Photoshop Professionals – all rights reserved. Adobe, the Adobe logo, and Photoshop are registered trademarks of Adobe Systems Incorpo-
rated. All other company names, logos, and trademarks are the property of their respective holders.

Q9>EEI;7:I?P;I"9EBEHI";J9$S
As you go through the Google AdSense setup process, you can
select from a variety of advertising options, including the size
and colors you want for your ads. You can also create Channels
to better organize and track ads on different parts of your site.
QKI;9E:;L?;M?D:H;7CM;7L;HS
Now, open the page where you want to insert your ad code.
Click either the Split view or Code view buttons (located in the
upper-left corner of the workspace) to display the code behind
the page. The advantage of using Split view (shown here) is that
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you can see Design and Code views at the same time. Tip: High-
light any element in Design view, such as the headline, “Saving
and Editing Family Photos,” on this page, and Dreamweaver
automatically highlights the corresponding code so that you can
find your place more easily.
.(
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Once you’ve completed the ad setup process and specified all
of the options for your ads, Google generates a unit of code
in JavaScript that you can add to your webpages. You’ll need
to copy all of this code, from the opening <script> tag to the
closing </script> tag, so that you can paste the code in its
entirety into the pages on your site.
Q?DI;HJ=EE=B;7:I;DI;9E:;S
Find the exact place on your webpage where you want to insert
the Google ads and click to place the cursor in that spot in the
code. Note: If you paste the JavaScript into Design view, it won’t
work. Choose Edit>Paste to insert the code from the website
into your code. Again, make sure that you have all of the code
including the opening <script> and closing </script> tags. If you
ever want to move or remove this code, you’ll need to select all
of this code.
QL?;M?D==EE=B;7:IS
One of the most confusing aspects of working with Google
AdSense in Dreamweaver is that although you can see the
code in Code view after you paste it into your page, you won’t
see the ads in Design view. The only indicator that you’ve suc-
cessfully added your Google ads will be a little blank space
added to your design.
. Q7::?D=CEH;7:IS
You can add the same AdSense code to as many pages in your site
as you want. You can create a variety of ads to include in different
places in your site by repeating the Google AdSense setup process
and choosing different options before generating a new snippet of
code. Tip: When you open Dreamweaver to add your code, leave
your Web browser open so that you can easily return to Google to
make changes or copy the code again, if necessary. You can switch
between two programs on your computer by pressing Command-
Tab (PC: Alt-Tab).
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To view your ads in your pages, you’ll need to preview the page in
a Web browser: Click the Preview button at the top of the workspace
or choose File>Preview in Browser. As long as you’re connected to
the Internet, the Google ads should automatically appear wherever
you added the code to your page. Note: Google ads can take up to
10 minutes to become activated before they’ll display.
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If you use Dreamweaver’s Dynamic Web Templates (a great way
to save time and create more consistent designs), you can add
Google AdSense code to a template and automatically insert
ads into all of the pages created from the template at once. To
do so, open the template file, choose Split or Code view, and
paste the code into the template file just as you would into any
other HTML page. When you save the template, choose the
Update option to automatically insert the ads into all cor-
responding pages.
 QUALITY SOFTWARE SINCE 1993

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Although the first nine steps in this tutorial are specific to Google
''
AdSense, the process of inserting code into a page in Dreamweaver
works the same whether you’re using AdSense or any of the myriad
other online advertising options, such as www.CommissionJunction
.com and www.Linkshare.com. You can also use this process to add
widgets or images from sites such as www.Flickr.com.
Q7::?D=?DL?I?8B;<;7JKH;IS
Some of the code you may want to add from sites like Google won’t
appear in your webpages in a browser, making it a little trickier to
add. For instance, you can use Google Analytics to track your Web
traffic (with better detail than you’ll get from most Web hosts). Just
insert code in a way that’s similar to the way you do it with AdSense
but because the code won’t be visible on the page, save it some-
where that makes it easy to find, such as just above the body tag at
the bottom of your pages.

Be the designer.
Freelancer? Just starting out? Not quite what you ex-
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but no idea what, where or when to put into it. We know
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'( Q9>7D=?D=9E:;:?IFB7OEFJ?EDIS
') QKFBE7:OEKHF7=;IS You supply the creativity. Copy
right ©
1997–2008 Softpress Syste
ms L
td.

Freeway handles the code.

If you spend a lot of time working in Code or Split view, you may
want to take a minute to adjust the code preferences in Dreamweaver.
Choose Dreamweaver>Preferences (PC: Edit>Preferences) and then
specify your preferred options in these Categories: Code Coloring,
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Although you should be able to test most third-party code, such as
Google AdSense, by previewing your pages on your local computer,
remember that your new features won’t become visible on your web-
site until you’ve uploaded the pages to your Web server. freeway pro

Code Format, and Code Hints. Also note that the Code Rewriting
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Contact sales@softpress.com for more info. Intuitive, award-winning software
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QJanine Warner has authored more than a dozen books about the Internet, including Dreamweaver CS3 for Dummies. She’s also the host of more than 50 hours of Web design
video training for Total Training. A popular speaker, she has been working online since 1995 (www.JCWarner.com).
Freeway 5 Pro and Freeway 5 Express are Universal applications and run on any Mac with Mac OS X 10.4 (“Tiger”) or higher.
Discounts are available for non-profits, seniors and education users.
ENJOY FREEWAY 5
S Copyright © 1997–2008 Softpress Systems Limited. Freeway and Softpress are trademarks of Softpress Systems Limited, registered in some countries. Other product names are the property of their respective owners.

.* pro-cd-sticker.indd 1 3/12/08 4:40:02 PM

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Open captions.xml in your favorite editor. We’re using Dreamweaver
CS3 as it has many handy features for editing XML files. You can use
this XML file as a template for your future projects. Lines 1 and 2 are
required and should never change. Lines 4 through 8 define the
head block, which contains styling information for the captions.
Lines 10 through 14 define the body block where your captions will
be entered. Line 12 shows the format that the captions use followed
by the actual caption. This paragraph tag can contain a begin time,
a duration time, and a style definition.
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Open the video file in a player that displays the playhead time.
You’ll need to play the video and each time there’s an appropriate
break for a caption, pause the video and enter the information in
the XML file. Unfortunately, there’s no easy way of automating this
process without buying additional software. Each caption should
be on its own line using the paragraph tag as shown in line 12 in
the previous step. For each caption, enter the begin time and a
duration time in the format of HH:MM:SS.m. For a complete list of
possible parameters, look in the Flash Help files.

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With the release of Flash CS3, Adobe has made the process of adding closed-captioning information to video files
a whole lot easier. Taking the time to provide captions for your video is not only helpful for hearing-impaired view-
ers, but captions are also very useful for those times when people just can’t listen to audio.

Q=;JJ>;<?B;IS QI;JKFJ>;<B7I>CEL?;S Q?CFEHJJ>;L?:;ES

Download the exercise files for this tutorial at www.layersmagazine Open Flash CS3 Professional and from the welcome screen, choose Select the first keyframe in the video layer. Select File>Import>
.com and unzip them to your desktop. The files consist of a Quick- Flash File (ActionScript 3.0). Rename the first layer on the Timeline Import Video. In the Import Video dialog, browse to the captions
Time video named captions.mov and an XML file named captions to “video,” as it will contain the video and captioning components, .mov video file and click Continue. Choose Progressive Download
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.xml, which will serve as the template for the caption information.
The new FLVPlaybackCaptioning component in Flash allows you
to easily incorporate captions from an external Timed Text (TT)
XML file. The Timed Text format is a standards-based method of
representing captioning information. The first step in the process
is to write this XML file with your captions.
[If you’d like to download the files used in this tutorial to practice these techniques, visit www.layersmagazine.com and navigate to the Magazine section. All files are for personal
use only.]
.,
and click anywhere on the Stage. In the Property inspector, change
the Frame Rate of the movie to 30. Create a new folder for your
project and save this Flash file as captions.fla. Then, move your
edited captions.xml file into this folder, as well.
from a Web Server as the deployment type for your video, which
will keep it externally from your Flash file and is appropriate for
most situations. Click Continue. Choose an appropriate encod-
ing method and click Continue. From the Skin menu, select
SkinUnderPlayMuteCaptionFull. You need to choose a skin with
the caption button included if you want to be able to toggle the
captions on and off. Click Continue and then Finish to import the
video onto the Stage.

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Now that you have the video component on the Stage, the next
step is to add the captioning component. Open the Components
panel by pressing Command-F7 (PC: Ctrl-F7). Twirl open the Video
folder and drag out FLVPlaybackCaptioning onto the Stage. If
there’s only one instance of the FLVPlayback component on the
Stage, the captioning component will automatically hook itself up
to the video component. Don’t worry about where you place the
component, as it won’t be visible when you view your movie.
. QIJOB?D=EL;HL?;MS
More than likely you’ll want to customize the look and feel of the
captions in some way. Any style information needs to be added
to the captions.xml file. In the Flash CS3 implementation of the
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Timed Text format, you have the ability to change the font family,
font color, font size, background color, text alignment, and text
justification. For those familiar with CSS and HTML, styling the
captions will be a very straightforward procedure.
..
QI;JKFJ>;9ECFED;DJS
The first thing needed to set up the captioning component is to
point it to your XML file. With the captioning component selected
on the Stage, open the Component Inspector by pressing Shift-F7.
Set the Source property to captions.xml. Test the movie by pressing
Command-Return (PC: Ctrl-Enter). You should see your captions
display as the video plays. You can toggle the captions on and off
by pressing the caption icon on the player. If you’re satisfied with
the default look of the captions, then you can stop here. The rest
of this tutorial will explain how you can style the captions.
/ Q9KIJEC?P?D=J>;<EDJ<7C?BOS
Open the XML file again in your editor. In the head block, remove
the “Add styles here” comment line. Enter the code shown in the
graphic above. Within the code you’re creating a new style tag
with an id of 1 and are setting the fontFamily property to _sans.
Unfortunately, you can’t set the font to any old font on your system;
you’ll need to set it to one of the device fonts in Flash. Your options
include _sans, _serif, and _typewriter.
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You can continue adding new style properties to the style tag. In
''
the example shown above, we’ve added styles for the font color,
weight, and size. The color property needs to be set with a valid
hexadecimal color value, so we’re using #FFFFFF, which will color
the text white. We set the font weight property to bold to help it
stand out better against the video, and finally, we set the font size
property to 16. You should, of course, customize these values to
your own liking.
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Save the XML file and jump back over to Flash. Test the movie
by pressing Command-Return (PC: Ctrl-Enter). You should now
see your styled captions display as the movie plays. (To learn
more about the full set of options available to you when using the
FLVPlaybackCaptioning component, consult the Flash Help files.)
Taking the time to add captions to your videos is an important
step toward improving the accessibility of your Flash movies. In
government and educational settings, you’ll likely be required to
implement them into your projects.
QLee Brimelow is a Platform Evangelist with Adobe and is an award-winning interactive designer. Lee runs the free tutorial site at www.gotoandlearn.com and a Flash-related blog at
www.theflashblog.com. He is also the author of several titles for Lynda.com dealing with Flash and After Effects.
./
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You have a couple of options available for customizing the back-
ground for the captions. The background color property can be
set to a value of transparent to make Flash not render the back-
ground. This can make the captions hard to read depending on
the color of your video. You can also set the background to a valid
hexadecimal value similar to the font color property. In the code
shown above, we set the background to transparent. Now that
you’ve defined the style for your captions, you need to assign that
style id to each caption by typing style=“1” after the duration
time in each paragraph tag.
Q!ceh[edYWfj_ediS!
In a previous issue of Layers (Sept/Oct 2006, p. 74), we
showed how you could add simple captions using embed-
ded cue points for scene changes. This technique works but
it’s not best suited for doing full-blown closed-captioning,
as in this example. It’s much better to keep your caption
text in an external file so that it can be easily updated later
without having to re-encode the video file. This will also
make things much easier if you need to internationalize
your content so it can be translated simply by using a text
editor. Using the Timed Text format also automates the
process of doing captions, as you can use the FLVPlayback-
Captioning component.
If you plan on doing a lot of captioning work, you may
want to consider some dedicated software to help you out.
MAGPie (http://ncam.wgbh.org/webaccess/magpie) is
a popular free tool that runs on both Mac and Windows for
creating Timed Text captions. Captionate (www.buraks.com/
captionate) is a Windows-only tool for doing Flash video cap-
tioning and is very popular in the community.
S

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ROD HARLAN
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As more and more users discover the video capa-
bilities in Photoshop CS3 Extended, I’m increas-
ingly asked for techniques and tutorials that show
how to create After Effects-type motion design
projects—in Photoshop. I think there are three
basic reasons why people want to be able to do this:
1. They’re Photoshop addicts and they want to learn everything this
program can possibly do.
2. They want to assign certain work (such as simple animations, title
slides, and lower thirds) to interns, while freeing up their main
animators for more intensive work.
3. And they don’t want to invest in After Effects.
To help with these requests, I’ve created a full After Effects-like
motion design animation that involves playing video inside an
iPhone graphic. This includes a full motion video background and
a reflection of the iPhone with video playing inside the reflection as
well. Here’s how you do it in Photoshop CS3 Extended.
[If you’d like to download the project files used in this tutorial to prac-
tice these techniques, visit www.layersmagazine.com and navigate to
the Magazine section. All files are for personal use only.]
HI:EDC:/ Find BlueRadialSquare.mov in the project files that you
downloaded from the Layers website and open it in Photoshop
Extended. You can also use your own animated video backdrop
(like the kind you can get from Artbeats or Digital Juice). Click the
Create a New Layer icon at the bottom of the Layers panel, drag it
below the movie layer, and fill it with white.
HI:EILD/ With the video layer active, press Command-T (PC:
Ctrl-T) to bring up Free Transform. Photoshop will ask you if you
want to convert your video layer to a smart object. Click Convert.
Drag the bottom middle control point up until the Height value
in the Option Bar reads 75%. Click Return (PC: Enter) to commit
the transformation.
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b 7O ; H I  C 7 = 7 P ? D ;  S Q  @ K BO  %  7 K = K I J  ( & & .
HI:EI=G::/ To blend the bottom of the video clip into the white
background, you need to add a gradient layer mask. Click the
Add Layer Mask icon at the bottom of the Layers panel to add a
mask to your video layer. Grab the Gradient tool (G) and select
the Foreground to Transparent gradient in the Gradient Picker in
the Options Bar. Make sure your Foreground color is black in the
Toolbox, and then drag the Gradient tool from the bottom edge of
the video layer to the top of your document. Tip: Depending on
the look you’re trying to achieve, you could also try dragging the
Gradient tool a shorter distance. Feel free to experiment. HI:E:><=I/ Open the video clip that you want to play inside this
object (LayersTVopen.m4v in this example). Use the Move tool
to drag this video into the smart object document and position
it above the screen area. If you need to, use Free Transform to
scale the video to fill the screen area. Option-click (PC: Alt-click)
between the video and screen layers in the Layers panel to
create a clipping mask. This will “clip” away any excess video
outside the screen area. Close the smart object window and click
Save when prompted.
HI:E;DJG/ Bring in an object that has a screen where you can play
your video (e.g., iPod, iPhone, PSP, etc.). Convert it to a smart object
(Layer>Smart Objects>Convert to Smart Object), and then drag it to
the Create a New Layer icon to duplicate the layer.
We converted the object into a smart object before we dupli-
cated it because when we embed our video clip later in the tutorial,
the embedded clip will automatically update in all copies of the
HI:EC>C:/ Press the Spacebar to play the clip. The video is play-
smart object.
ing in both the main iPhone object as well as the reflection. Very
cool! Now simply go to File>Export>Render Video to render to the
HI:E;>K:/ Using the Move tool (V), hold the Shift key and drag the format of your choosing.
duplicate object down below the main object to create the reflec-
tion. Then, choose Edit>Transform>Flip Vertical to flip the duplicate
object so that it mirrors the original object above it.
HI:EH>M/ Add another gradient layer mask (see Step Three) to the
duplicate object layer to blend the object into the white back-
ground. Drag the Gradient from the bottom of the duplicate object
to just above the top edge of the object.
Note: You’ll notice that the final movie also has sound with it. Even
though Photoshop CS3 Extended doesn’t have direct support for
an audio layer, it doesn’t strip out audio layers. So if you have a
video clip with audio attached, it will both import and export
through Photoshop untouched.
HI:EH:K:C/ Open your original smart object layer by double- Rod Harlan is a video industry veteran and founder of the Digital Video Profession-
clicking on its thumbnail in the Layers panel. Use the Rectangular als Association. Through his company DriveDV Inc., Rod works on special projects
Marquee tool (M) to select the screen area where you want your for Fortune 500 clients such as Adobe and private institutions such as the NAPP.
His popular industry blog is packed with tips, tutorials, and industry insight and
video clip to play. Then, press Command-J (PC: Ctrl-J) to put this
can be found at DVconfidential.com.
selection on its own layer (see top right).

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T U F W F ! | ~ ! I P M N F T
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Animated swirls are all the rage in the motion graphics world, and there are some pretty cool things that can
be done with them. But creating and animating such elements is really not as difficult and time-consuming as it
would seem, even if the shapes are detailed and intricate. Bring on the swirls!
Q9H;7J;?BBKIJH7JEHIM?HBS
Let’s start out in Adobe Illustrator CS3, by far the best tool for creating
such design elements—and as you’ll see, hugely important in providing
the actual animation paths for us also (yes, you read that right!). Create
mmm$bWo[hicW]Wp_d[$Yec
a new document called “Swirls” at 720x540 pixels, and set the Color
Mode to RGB. Click OK, then using the Pen tool, create the main stem
for the left side of your design. Then switch to the Spiral tool to draw
the swirl on the right. With the Direct Selection tool, select the right
end point of the Pen tool path and the left end point of the swirl path
and go to Object>Path>Join to create a single path.
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With the path selected, go to either the Toolbox or Color panel,
click the Fill icon then the None icon to remove the default white
fill, leaving only the black 1-point stroke (going to View>Show
Transparency Grid can help confirm this is done). In the Layers
panel, double-click Layer 1, rename it “Stem,” and click OK.
Then click the Create New Layer icon, rename the new layer
“Branch 1,” and use the Spiral tool to draw another swirl coming
out from the stem, as shown above.
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Continue the same steps (new layer, draw new branch swirl, check
fill is None) for as many branches you would like to have coming
from the main stem. Make sure the branches start at the stem as
accurately as possible. (Note: To draw a swirl in the opposite direc-
tion, click once on the artboard with the Spiral tool and select the
other Style in the Spiral dialog.) In this case, I’ve created a total of
four extra branches. Save your document as Swirls.ai at this point,
then go to Window>Brush Libraries>Default Brushes, and choose
Basic RGB.
Q9H;7J;C7IJ;H9ECF1?CFEHJIM?HBIS
Click the Create a New Composition icon at the bottom of the
Project panel, name it “Little Swirls,” and set it to NTSC D1
Square Pixel (720x540) for consistency. Set the length to 8 seconds
or so, and click OK. Now, double-click in the Project panel to
bring up the Import File dialog, locate Swirls.ai, choose Import
As Composition - Cropped Layers, and click Open. Double-
click the new Swirls comp in the Project panel to open it. Go to
Composition>Background Color and choose white so you can
see the swirl elements.
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Q7::8HKI>IJHEA;17:@KIJM?:J>S
With the Selection tool, select all of the stem and branch elements,
and click on the second brush graphic in the Basic RGB panel to
apply that style. Feel free to use any of the other Brush Libraries,
or indeed create your own, to suit your taste. In the Stroke panel,
adjust the Stroke Weight accordingly to achieve the desired effect
(1.5 pt in this example). Save the file once more, then switch to
Adobe After Effects CS3.
Q;:?JEH?=?D7B?D?BBKIJH7JEHS
Believe it or not, you’ve done the hardest part of the project,
and have also unknowingly created the animation paths that will
“reveal” the strokes perfectly. Select the main Stem layer in the
Timeline, then press Command-E (PC: Ctrl-E) to Edit Original back
in Illustrator. Once in the program, go to View>Outline—this is
how we want After Effects to see our path shape, as we’re going
to copy-and- paste it. Due to the fact we have a custom brush
applied, however, this will most likely not work. So...

QH;CEL;IJHEA;I19EFOF7IJ;S
Press Command-A (PC: Ctrl-A) to Select All of the lines, go to
the Color panel, click the Stroke icon, and click the None icon to
remove the brush stroke. As long as we don’t save this document,
our brush strokes won’t be affected. Now target just the Stem
layer, and press Command-C (PC: Ctrl-C) to Copy the path into
memory. Switch back to AE, and with the Stem layer still selected,
press Command-V (PC: Ctrl-V) to Paste the path as a mask shape
onto the layer. Double-click on the right side of the path in the
Composition panel and drag to align with the brush stroke. Press
Enter when you’re done.
/ Q7::IJHEA;;<<;9J17:@KIJS
Starting with the stem now, we can create one animation technique
that can be re-used on all the other layers. Select the Stem layer
and go to Effect>Generate>Stroke; a white stroke will appear on
mmm$bWo[hicW]Wp_d[$Yec
the layer. In the Effect Controls panel (ECP), you’ll see that Mask 1
is selected as the path being stroked. Adjust the Brush Size and
Brush Hardness until the original black line is hidden; in this case, a
6-pixel stroke and 100% hardness covers it just fine.
/*
. QH;F;7JFHE9;II;IS
Now switch back to Illustrator and do the same process for the
remaining strokes: Target one of the paths in the Layers panel,
copy it, switch to After Effects, select the corresponding layer,
paste the path as a mask, then nudge it into position if necessary.
When all the paths have been copied and pasted, switch back to
Illustrator, close the file, and do not save the changes.
'& Q7D?C7J;IJHEA;S
Now drag on the End value and you’ll see your stem drawing
perfectly back and forth. See, I told you it was easy, didn’t I? All
you need to do now is animate the End value across time. At 0
seconds, click the Stopwatch to set a keyframe for the End value
at 0%, move along the Timeline to 2 seconds, and set the End
value to 100%. Then Control-click (PC: Right-click) the second
keyframe and choose Keyframe Assistant>Easy Ease In. You’ll
notice the line is actually erasing itself at this point, but that will
change in the next step. Note: Depending on how you created
the shape, you may need to animate the Start point instead.
'' QI;JC7IAS
Very cool indeed! There’s one more step, however. If you go
to Composition>Background Color and set the color to a blue,
you can see all we are doing is using a white stroke to hide/
reveal a black stroke—which is no good if you intend to com-
posite these swirls on a different background. Back in the ECP,
simply set the Paint Style to Reveal Original Image—perfect!
You’re animation should now be drawing the line instead of
erasing it, as well.
©ISTOCKPHOTO/BULENT INCE
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Now switch to the initial Composition you created in Step 5.
Import a textured background image, such as this one from
iStockphoto.com (#3855804), drag it into the Timeline at 0
seconds, and scale accordingly. Then drag your animated Swirls
composition over the top, and duplicate, scale, position and
rotate accordingly. Now, go to Effect>Generate>Fill, change the
color to white, and set the layer Blend Mode in the Timeline to
Overlay. Repeat this step for each of the Swirls comp layers in
the Timeline.
QSteve Holmes is the creative director at Energi Design in Sausalito, California, creating award-winning motion graphics and Web design for clients worldwide. He also speaks at
various design conferences on the subjects of After Effects, motion graphics, and typography, and can be reached at steve@clickenergi.com.
/+
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Now the same Stroke effect, including keyframes, can be re-
used for the branches. In the ECP, select the Stroke effect name
at the top and Copy it. At 0 seconds in the Timeline, select the
branch layers and Paste. Now, simply click-and-drag the key-
frames in the Timeline to adjust the timing for each branch so
that they start to reveal just after the stem has passed by, and
your swirl animation is complete!
'* Q7:@KIJC;DJB7O;H1=BEMS
At 0 seconds, go to Layer>New>Adjustment Layer, then
Effect>Color Correction>Tritone. In the ECP, change the Highlights
swatch to a slight off-white, and the Midtones swatch to orange.
Now choose Effect>Stylize>Glow, and set the Glow Threshold
to 100% (experiment with the settings based on the background
you’re using). Hit 0 on the keypad for a final RAM Preview, and your
simple, single-line vector swirls from Illustrator look completely
different now, not to mention that their own paths essentially
self-animated! Use them creatively. Enjoy!
S
 GSFE!SJY /-

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N B S D V T ! | ~ ! H F E V M E

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As the first step in remixing the audio, switch to the Audio Work-
space by choosing Window>Workspace>Audio from the menu.
This Workspace includes the Audio Mixer—the perfect tool for
the changes we want to make.
QI;J7KJEC7J?EDCE:;JEMH?J;S
Our first task is to set new levels for the music track. This isn’t as
simple as lowering the volume because we want the music to fade
and swell at various times during the sequence. To record volume
changes in real time while listening to the sequence, set the Auto-
mation Mode for the Audio 1 track to Write in the Audio Mixer
panel. Note that the volume slider is currently at zero.

bvupnbujpo!npeft;!mjwf!bvejp!njyjoh!jo!Qsfnjfsf!Qsp
A little-known fact about Premiere Pro is that it contains a live Audio Mixer. This means you can make adjustments
to volume (and other audio properties) while your sequence is playing. Premiere Pro will record those adjustments
as keyframes in the Timeline. To use this technique, you have to understand the various Automation Modes.

QJ>H;;7K:?EJH79AIS QFB7O7D:7:@KIJS Q:?I78B;IM?J9>JEJEK9>7<J;HMH?J;S

In this example we have added three tracks of audio to our sequence: Hit the Spacebar to start playing (you can also click the Play/Stop We don’t want that return to zero. So via the Audio Mixer flyout
music, ambiance, and dialog. On preview, we notice that some of the Toggle icon at the bottom of the Audio Mixer panel). While listen- menu, turn off the Switch to Touch after Write option. When this
audio levels are a bit off. At times, the music and ambiance drown out ing to the audio, drag the slider up and down, raising and lowering option is on, the Automation mode switches from Write to Touch
mmm$bWo[hicW]Wp_d[$Yec

the dialog; at other times, the dialog is a bit too loud. the volume, as appropriate. At some point, press the Spacebar when you press the Spacebar to pause playback. Touch mode
to pause playback and then press it again to continue. Notice the records a keyframe when you pause playback, and that keyframe
volume slider jumps back to zero when you continue playback. always returns the property to whatever value it was before you
started adjusting it. That’s why our audio jumped back to zero.

/,

QJHO7=7?DS
With the Switch to Touch after Write option disabled, return the
Current Time Indicator (CTI) to the beginning of the sequence,
set the Automation Mode back to Write, press Play, and remake
your adjustments. This time, when you pause while you’re making
adjustments, the rest of the track will stay at your new ending
volume level, which is what we want. In this example, we pressed
the Spacebar again to pause playback after about 34 seconds.
. /
QH;L;7BA;O<H7C;I?DJ>;J?C;B?D;S
While you were in Write mode, Premiere Pro added keyframes
in the Timeline. To see them, twirl down the music track in the
Timeline (if it isn’t already), click the Show Keyframes icon, and
mmm$bWo[hicW]Wp_d[$Yec
select the Show Track Keyframes option. Notice the keyframe
at 34 seconds. That was when we quit making adjustments. By
default, Premiere Pro adds a keyframe as soon as you switch the
Automation mode back to Read, returning the property to its set-
ting before you started adjusting.
/.
GO BEYOND
P H OTOS H O P ®
- QI;J7KJEC7J?EDCE:;JEH;7:S
When you’re finished making adjustments, immediately set the
Automation Mode back to Read (the default). This ensures that
you don’t accidentally record more changes to the volume during
subsequent playbacks when you’re just previewing the audio.
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, vibrant Web content, and industry news, product reviews, feature articles, and
dynamic video. You need to be a contests, you’ll find yourself more inspired, creative,
Q7DEJ>;HJH79AS
Photoshop guru and so much more… and competitive than ever before.
Repeat this process with another track (in our example, the dialog).
Set its Automation Mode to Write and leave all other tracks set to
Read. Return the CTI to the start of the sequence, hit the Space-
bar, adjust the volume slider while listening, and when you’re
done making adjustments, hit the Spacebar once again to pause
playback. While you were recording changes to the dialog, did you
notice the music track’s slider moving up and down by itself, as if
a ghostly hand were adjusting it? It was really just displaying the
changes you made earlier.
continued on p. 100
Subscribe online at www.layersmagazine.com/gobeyond
t o o r d e Subscription a l land8
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pricing can be found at www.layersmagazine.com or by calling 877-622-8632. Layers is produced and published by Kelby Training, Inc. – www.Kelbytraining.com.
Adobe, Photoshop, and Creative Suite are trademarks or registered trademarks of Adobe Systems Incorporated.
 I love to teach and my online classes
are just like being in a real classroom with me.
With Kelby Training you’re learning
AT YOUR OWN PACE, ON
YOUR OWN COMPUTER
and best of all …
you have me as a private tutor!
'& QIEBEJH79AS

While repeating the same steps with other tracks, you might find
'' Q7::?D=7D;<<;9JS

We decided to add an effect to the ambiance track. Click the right-

I’m Katrin Eismann, and I’m a teacher at Kelbytraining.com

yourself getting distracted by the music and dialog. In this exam- facing arrow to the left of the mode drop-down menus in the Audio
ple, we want to record adjustments to the ambiance track without Mixer to show the effects for each track. Click on one of the down- 4HE"EST4EACHERSONTHE
hearing the other tracks. So click the Solo Track icon. Once you’re facing arrows in one of the tracks to choose an effect. Premiere 0LANET®/NLINE®!LLIN/NE0LACE
-ASTERING!DOBE 0HOTOSHOPDIGITALPHOTOGRAPHYANDTHEENTIRE!DOBE
‡ ‡ ‡
done recording new levels, click the Solo Track icon to toggle it off records keyframes to an effect the same way it records them for
#REATIVE3UITE HASNEVERBEENEASIERORMOREAFFORDABLE'AINUNLIMITED
‡

so you can hear all the tracks again. volume. Just set the track’s Automation Mode to Write and adjust
ACCESSTOOURONLINETRAININGCATALOGFEATURINGEXCLUSIVECLASSESFROMTHE
the effect’s control in real time, while listening to the playback.
INDUSTRY´SMOSTTALENTEDANDGIFTEDTEACHERS¨LIKE+ATRIN%ISMANN

$
199 19
PER YEAR
OR
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A MONTH
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NAPP Members 179 a year or $17.99 a month.

$

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WWW+ELBYTRAININGCOMONLINEORCALL 800.201.7323

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‡ ‡

Using the LAB Color Mode

Black and White Presets
Printing and Toning Methods
Using Image Channels
Processing Multiple Times
And Many More!

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Q9h[Wj[W<_bc<hWc[S
If you have second thoughts about changes that you’ve made
') QEJ>;HCE:;IS
As for the other Automation modes, Latch and Touch don’t immedi-
to a track, play back the audio again, but this time change that ately start recording keyframes during playback like the Write mode.
track’s Automation Mode to Off. This will allow you to hear what They start when you begin making adjustments. So if you hit play and
mmm$bWo[hicW]Wp_d[$Yec

the audio sounded like before you made adjustments. In our
example, we decided the keyframes were a mistake. To remove
keyframes, switch to the Pen tool and drag a rectangle around the
then don’t make an adjustment until two seconds into the sequence,
Premiere won’t start laying down keyframes until two seconds. When
you pause playback, Latch (like Write) sets the rest of the Track to the
Katrin Eismann
!UTHOR!DOBE 0HOTOSHOP %XPERT
‡ ‡

keyframes in the Timeline to select them all. Then press Delete level of your last adjustment; Touch returns the rest of the track to 0ROFESSIONAL0HOTOGRAPHER
(PC: Backspace) on the keyboard. whatever level it was before you began making adjustments. Visit the
Help Viewer under the Help menu to learn more about each of the
Automation modes.

'&& QMarcus Geduld is the Senior Flash Developer for Nabbr.com and an Adobe Certified Expert who has written several books on Adobe products. He speaks regularly at conferences such
as NAB, Macworld, and the Editors Retreat. He lives in New York City and is the Artistic Director of Folding Chair Classical Theatre. S
!DOBE0HOTOSHOPAND#REATIVE3UITEAREREGISTEREDTRADEMARKSOF!DOBE3YSTEMS)NCORPORATED

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DPNQMFUF!DPMPS.NBOBHFNFOU!TZTUFN
Spyder3Studio is an easy-to-use,
comprehensive solution for pro-
ducing an accurate, predictable
color workflow—from calibrat-
ing and profiling your display to
building excellent paper profiles.
The package contains the new
Spyder3Elite colorimeter and software
for monitor calibration and Spyder3Print
spectrophotometer and software for
profiling paper.
You can use the Spyder3Elite to calibrate
LCDs, CRTs, laptops, and projectors. Compared to its predecessor
(Spyder2), the Spyder3Elite is 37% smaller, uses more sensitive sen-
sors, and has a larger aperture for collecting light from your display.
The colorimeter monitors room light using an ambient light sensor
located on its back. Like the Spyder2, Spyder3 uses a seven-channel,
seven-filter, optical engine. The Spyder sits in a handy desktop cradle
that can be mounted on a tripod to facilitate calibrating projectors. To
hold it in place for measuring, it has a removable suction cup for CRTs
and a counterweight on its cord for LCDs.
Online documentation helps you make informed decisions as
the software guides you through its steps. If your monitor provides
access to controls, you can manually adjust brightness, contrast, and
RGB color sliders during calibration; otherwise, you can select from a
list of presets. I used 2.2 gamma, 6500K color temperature, and 110
luminance. When finished calibrating and profiling, there’s a handy
way to clear up any confusion that arises when profiling third-party
papers—when you’re asked to select from a list of media presets
(made up of only the manufacturer’s papers) in your print driver. In
other words, which one of their papers is similar to the third-party
paper you’re profiling? For example, I found when profiling Moab
Fine Art papers that using Epson’s Premium Presentation Paper as
a preset was optimal.
The Spyder3Print software supplies targets made up of 150 to
more than 729 rows and columns of color patches, with an extended
target for building black-and-white profiles. Usually the more patches,
the more precise the profile; however, I used the target with 225
patches and got quality profiles. After letting the paper dry, you
read the patches with the spectrophotometer. Datacolor includes
a guide device that facilitates moving the spectrophotometer over
the patches. You must read each patch individually, however, which
can be tedious and lead to errors. The software lets you know if you
Before After
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ToonIt! is an Adobe After Effects plug-in that comes with four filters
for achieving a cartoon look without the time-consuming exercise of
rotoscoping and painting frame-by-frame. ToonIt! uses the render
code from Toonamation, licensed by Digital Anarchy specifically for
animators and video editors. The filters—Roto Toon (the one you’ll
use the most), Outlines Only (my favorite), Goth Toon, and Blacklight
Edges—won’t give you the “Charles Schwab Commercial” look
(which uses a different process); however, they’ll allow you to create
great pen-and-ink looks, flat cartoon styles, line art, graphic novel,
and comic-noir styles of animation.
Using After Effects 7 on a dual-core, 2.6-GHz Intel Mac Pro, it took
on average of 2 minutes to render every second of footage with ToonIt!
filters applied—or about 1 hour of rendering for every 30-second clip.
A speed demon this plug-in is not! But when I used After Effects CS3
on a quad-core, 2.8-GHz Intel Mac Pro, it cut the render time in half.
This is because After Effects CS3 has a Render Frames Simultaneously
checkbox in its Preferences (turn this on!) that renders multiple frames
on each of the individual processors, provided you have enough RAM.
Digital Anarchy points out that “ToonIt! will never be a real-time
or even a semi real-time product, so please plan your render time
accordingly.” However, the company is planning a free 1.1 version
that will include speed upgrades and optimization, along with multi-
processing support.—Rod Harlan
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ColorBreaker ID is a plug-in that tags all the color objects and, as an
option, the text formatting in your InDesign documents. It’s avail-
able for InDesign CS3 or CS2 and is extremely easy to use, with only
three dialogs of user-defined options: one for setting the items to be
labeled, and the other two for formatting what the labels look like.
Overall, the plug-in did a good job: It creates labels near the edge
of the page (a user-adjustable setting) and draws arrows to the objects
in question, all on a new layer. You can easily move the labels with the
arrows automatically updating, and they can be updated when you wish.
Of course, the color breaks can be removed at any time.
ColorBreaker ID can definitely save hours of work if you need to label
the color and text elements (required for some publication ad submissions);
however, there are a few options that I wish it could do, such as:
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format info).
before-and-after image file that lets you compare your results.
The Spyder3 is much faster than its predecessor. It has a reca-
librate feature that cuts the process time in half; but are the final
results better than its predecessor? When I compared Spyder2
against Spyder3, I didn’t see a dime’s worth of difference. So if you
already own a Spyder2, you might not want to upgrade.
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mistakenly skipped over a patch and lets you correct for it. Company: Digital Anarchy Price: $295 UÊ Ê˜VÕ`iÊVœœÀÊLÀi>ŽÃÊvœÀʏÕÃÌÀ>̜ÀÊ>˜`Ê*ÊwʏiÃÊ­VÕÀÀi˜ÌÞ]ʈÌÊV>˜Ê
I hope with Datacolor’s next version that gliding or skimming Web: www.digitalanarchy.com Rating: ● ● ● ● include EPS files).
the spectrophotometer over a row of patches in a single movement
Hot: Easy to use
will replace the current method—saving time and mistakes—but if I only ran into one minor bug with the plug-in: One page of
matching prints to your display is a priority, Spyder3Studio has the Not: Slow render times
labels had the top label running slightly off the top edge of the
tools for the job.—Steve Baczewski

pasteboard.—David Creamer
The second part to the Studio is Spyder3Print, which does an excel-
lent job of simplifying the process for building quality, custom color
and black-and-white ICC paper profiles. There’s a world of great third- Company: Datacolor Price: $599 Company: GLUON, Inc. Price: $199
party papers to explore from companies such as Hahnemühle, Moab, Web: www.datacolor.com Rating: ● ● ● ● Web: www.gluon.com Rating: ● ● ● ●
and Red River, but printer manufacturers like Epson, HP, etc. include
Hot: Affordable, comprehensive, accurate color-management tools Hot: Easy to use
profiles for their papers only, and buying good customized profiles
for third-party papers can cost up to $100. Studio3Print goes a long
Not: Very difficult getting through to tech support Not: Could use a few extra features

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THE MOMENT
IT CLICKS
Podcast Series and Contest
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LFZGSBNF!BTTJTUBOUT!UIBU!NBOBHF!ZPVS!4E!MBZFST

Get Inspired, Share and WIN!

I love the look of 3D layers and traveling through an animation in 3D

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space but as a motion graphics animator, I hate spending time ani-
mating the position and orientation of all those layers to get the right
3D look. So here’s my secret! 3D Assistants from Digital Anarchy—a

gps!Opufcpplt! collection of 16 After Effects keyframe assistants for arranging and

managing layers in 3D space. This allows you to create layer clusters
in the shape of cubes, tunnels, circles, spheres—all from your own
Joe McNally’s work and new book, “The
Moment It Clicks,” has inspired thousands of
QPSUBCMF!4E!NPVTF layers of graphics, photos, and video clips. photographers—as well as our own authors!
Using the assistants, you can easily turn 10 layers into 100 (or
The folks over at Logitech have done it again with the SpaceNavigator
more) replicated layers and work them all within After Effects 3D
Now, you can listen to Scott Kelby, Matt
for Notebooks. As a professional on the go, I’ve either had to leave
space. You can make a 3D wall of video clips in a matter of minutes Kloskowski, Rich Harrington, Kevin Ames,
my SpaceNavigator at home or lug it along with me in my laptop
and, because these are keyframe assistants (not filters), there’s no and Chris Orwig talk about their favorite
bag—only to have airport security look at it 10 times before they let
additional render time. You can arrange, rearrange, reposition,
it go through. Now Logitech has come up with a 3D mouse that you
and rearrange again: If you don’t like one configuration, change a few
photos and the “moment it clicked” for them
can take with you! The great thing is that you can use it both as a 3D
parameters and readjust the layers. Or press Undo to go back to your in our podcast series based on Joe’s book.
navigator and a traditional mouse. It was actually a pleasure to use
original layout. You can even use an After Effects 3D camera to fly
on planes and even in hotel rooms as it takes up very little space and
around the layers that 3D Assistants has positioned. While you can’t
I didn’t have to move it around like a typical mouse.
make the Assistants work directly on Camera or Light layers, they
The SpaceNavigator sports a redesigned grip cap for easier move-
work on Text layers for some very cool effects. The Digital Anarchy
ment through 3D environments, dual mouse buttons, a USB 2 connec-
website provides several great tutorials for working with 3D Assistants,
tor, and a travel case. With its ability to be used with programs such as
including project files and support material.
AutoCAD, Maya, Photoshop CS2/3, and, of course, Google Earth, the
For tackling the tedious process of managing 3D layers in After
possibilities are endless with this great tool.
Effects, I can’t recommend 3D Assistants enough!—Rod Harlan
From flying through your hometown to working with cameras,
models, and tools in your favorite 3D program, the SpaceNavigator
does it all quite well; however, it’s not exactly the easiest device to get
Company: Digital Anarchy Price: $199
used to. But if you follow the provided instructions and tutorials, you’ll
be fine with a little practice. Overall, this is a great product that will Web: www.digitalanarchy.com Rating: ● ● ● ● ●
become a fixture in my laptop bag.—Bruce Bicknell Hot: Manages hundreds of 3D layers with ease
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Not: Mac upgrade to CS3 is $25, Win is free

0-321-54408-0, $54.99
Company: 3Dconnexion Price: $129 Also, don’t miss your chance to win really cool prizes in our new
Web: www.3dconnexion.com Rating: ● ● ● ●
The Moment It Clicks photo contest. All you have to do is share
Hot: Great for 3D applications; portability
your favorite photos as well as the moments that inspired YOU!
Not: Price; learning curve

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To find out more, visit www.peachpit.com/themomentitclicks

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Softpress has come a long way with its release of Freeway 5 Pro. My
introduction to their software goes back to the days of Claris Homepage
and when GoLive was still a company with a product called CyberStudio.
Freeway has always offered graphics-rich authoring and an interface that
works well for those used to page-layout applications. This latest version
brings some wish-list items on board, as well as enhancements to some
favorite features to bring Freeway 5 Pro into today’s world of search
engine optimization and home-based e-commerce.
One of the major changes in Freeway 5 Pro is the addition of
precise CSS control in an otherwise graphical approach, but with
little change in the learning curve for Softpress’ faithful client base. If
you’re not familiar with the clean interface, it takes only a few clicks to
get your bearings and you’ll be on your way. More advanced design-
ers will enjoy how Freeway 5 Pro now supports layered transparency
from Photoshop and Illustrator (with overlapping) using anti-alias
blending directly in the site layout. It looks great and you can export
those images into a huge range of file types. It also supports essen-
tially code-free creation of dynamic effects with actions for fade,
pulse, or blind; new blogger templates that can be customized for
the individual style; plus sliceable background images and onboard
inclusion of actions for Google Maps and AdSense.
Softpress has always offered a huge surplus of design templates,
lots of tutorials, and third-party add-ons to further enhance the user
experience, and this new version is no exception. Freeway’s loyal
fan base seems to have the company listening, as is evident by how
Softpress added so many features that people were asking for in
their user forums and client requests. One example is the new email
address encryption that reduces email “spiders” that virtually harvest
addresses from webpages and, most likely, end up as spam.
There are two things that some may consider obstacles. First,
there’s no full source view for hand coding and editing. As a code
generator, not a code editor, getting used to this difference doesn’t
take very long. Second, onboard JavaScript effects allow the use of
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impressive visual and audio effects within each page. But with today’s
mobile Web browsing, not every viewer will appreciate these effects,
so you might want to either employ some code that recognizes the
browser type and platform or simply create additional versions for
multiple devices.
One particularly nice addition is the Freeway Shop set of actions
to create simple shopping carts and set up your payment processing.
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Softpress also offers support and pricing with Mal’s e-commerce that
provides free shopping cart services.
Somewhere between GoLive, iWeb, and Dreamweaver, a little
patience and some open-minded thinking can bring your websites
into the next generation of the Internet interface design game.
Sites can really come to life with beautiful and seamless motion that
carries the content without overpowering it. With only a modest
learning curve, Softpress plays hardball with a serious Web-authoring
application.—Daniel M. East
Company: Softpress Systems Limited Price: $249 (Upgrades from $99)
Web: www.softpress.com Rating: ● ● ● ●
Hot: Advanced features; great compatibility
Not: No source editing
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Like a guy who married his high school sweetheart, I began using
my Wacom tablet years ago and never strayed. But now in my 40s,
my roving eyes were drawn recently to the CyberTablet 12000 from
Adesso, Inc. With a slight twinge of guilt (sorry, Wacom), I plugged
the 12x9" CyberTablet into one my MacBook’s USB ports, installed
the drivers, and started up Photoshop.
Within minutes I was sketching and not giving a thought to my
Wacom tablet gathering dust in the corner…until I made a mistake,
flipped the pen over, and tried to erase. Just like the Wacom pen,
the CyberTablet pen sports a faux eraser but alas, on the Cyber-
Tablet, it’s just decorative. Soon, I noticed some other limitations:
You can’t link the function keys (on the included mouse, pen, and
tablet) to Photoshop tools; the bundled software (e.g., a note-taking
program) works only on Windows PCs; and the tablet only offers 512
levels of pressure-sensitivity (the Wacom has 1,024).
So why buy a CyberTablet? I can’t give you a good answer except
that the same size Wacom Intuos lists for $449.95. Since I only use the
tablet to draw in Photoshop and Illustrator, it suits my needs—though
I do miss the eraser. (I’ll put the leftover cash toward that fast sports
car I’ve been eyeing.)—Marcus Geduld
Company: Adesso, Inc. Price: $169.99
Web: www.adesso.com Rating: ● ● ●
Hot: Can’t beat the price!
Not: No eraser; only basic features
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Swift 3D kicks it up a notch with the release of Version 5! Designed
with graphic and Flash designers in mind, Swift 3D has always been
the easiest 3D program on the market to use with very little training.
By following one or two of the provided tutorials, even users with
little graphic design skills are easily creating content within an hour
and rendering 3D objects as vector files to export.
Along with the ease of use, Electric Rain keeps adding to the
great features of the product. In this latest release, they’ve added
some groundbreaking new features that make upgrading worth
every cent; for example, Mesh Morphing and Animations that allow
users to create Morph targets for 3D objects. This support is an
absolute must for animating objects that are continuous with no
joints—allowing Swift users to animate faces, mouths, fishtails, and
any other solid object that moves in a way that can’t be achieved by
standard methods.
Other key new features include an enhanced user interface that’s
more user friendly, Keyframe Easing, and the ability to export true
3D models using 3DS files from the RAViX rendering engine. These
new features add a new dimension to Swift 3D’s capabilities, making
it a fantastic tool for anyone looking to add 3D to their websites.
—Bruce Bicknell
Company: Electric Rain, Inc. Price: $249 (Upgrades from $79)
Web: www.erain.com Rating: ● ● ● ●
Hot: Great 3D-to-Flash integration; ease of use
Not: Confusing lighting setup; modeling tools still lacking
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Phantasm CS is a fantastic plug-in for Illustrator that comes in three
versions: CS, CS Designer, and CS Studio. The CS version is basically
the same as the Phantasm CS plug-in that we reviewed about 1½
years ago. CS Designer adds the ability to create duotones and half-
tone effects on art (imported and native), while Phantasm CS Studio
adds important prepress capabilities.
Studio’s prepress options are so important that I wonder why it
took a third-party company to add the features to Illustrator (now in
its 13th version). Because of space constraints, we’ll focus on the new
Studio features, but I recommend a trip to the website to review the
CS and Designer features (and to get a demo). Be sure to check out
the new halftone feature—it’s fun to play with.
Studio adds the ability to edit embedded images in Photoshop
(or another editing program) and save the changes back to the file
or to extract the image completely. You can also view separations
right in the original document or create a press-ready file complete
with crop/registration marks and color bars. When performing the
latter, a new document is created, leaving the original intact. The
new document is flattened and the objects separated into process
and spot-color layers. You can go a step further and split the (new)
file into separate grayscale layer separations. Other useful prepress
features include the ability to highlight overprinted objects and TIC
(total ink coverage) areas.
My only complaint is minor: I wish the separations feature had
an option to resize the artboard automatically to include the added
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marks and bars.—David Creamer
Company: Astute Graphics Limited Price: $175
Rating: ● ● ● ● ●
Web: www.phantasmcs.com
Hot: Adds prepress functions to Illustrator
Not:
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IJHI.EFGJOJUJPO!NJOJEW!DBNDPSEFS
The Canon VIXIA HV30 is the successor to the wildly popular HV20
camcorder. While the changes are minimal, this camera does not
disappoint. Coming in at just over a pound, it’s small enough to put
in a backpack or coat pocket.
The HV30 records images at a resolution of 1920x1080 (1080i
widescreen video). It sports a 10x zoom at f/1.8, touts Canon’s Optical
Image Stabilization technology, and can capture 3.1-megapixel still
images. The camcorder also comes with a built-in light, internal lens
cover, multiangle screen, and HDV/HDMI connections to the right of
the battery in the back.
One thing that’s mildly annoying is the viewfinder. When outdoors,
I usually like to use the viewfinder because LCD screens are hard to
see. The viewfinder on the HV30 is fixed to the back of the camera
and doesn’t tilt—similar to the HV20’s design.
Video quality is crisp, with a lot of detail and nice colors coming
from the camera. The camera focuses well, and I’m happy with the
Where designers
audio quality.
The camera is capable of recording in 24p and the newly added
learn Photoshop !
30p modes—making a bid to win over the shoot-and-upload crowd
because most video sites convert to 15p. I recorded footage at both ®
settings and downloaded it to my Mac with no problems.
The VIXIA HV30 has wonderful video quality, great sound, and
provides a host of features for someone looking to shoot in a variety
of video formats. The design is compact enough to carry around, and Every day, the National Association of Photoshop Professionals teaches designers
stylish enough to show off.—Rafael “RC” Concepcion from around the world how to turn ordinary into extraordinary
and memories into masterpieces. We’re your ultimate resource for
Adobe Photoshop training, education, and news.
® ®
Company: Canon U.S.A., Inc. Price: $999
Web: www.usa.canon.com Rating: ● ● ● ●
Hot: 24p and new 30p modes; sleek design
Join today and receive...
r
Photoshop User magazine r
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EJTDPVOUT
Not: Eyepiece not moveable r

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And, as a bonus, you’ll get “The Best of Photoshop User: The 10th Year” DVD
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Use code NAPM-1UM for your bonus gift.
National Association of Photoshop Professionals
Image Courtesy of Ciro Marchetti, NAPP Member and Photoshop World Guru Award Winner
w w w. p h o t o s h o p u s e r. c o m o r c a l l 8 0 0 - 7 3 8 - 8 5 1 3
Adobe and Photoshop are registered trademarks of Adobe Systems Incorporated. *Prices are for U.S. residents only. Corporate, Educational and International rates are also available.

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B Y P E T E R B A U E R
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Photoshop comes with a great selection of custom shapes,
but you can add hundreds more using the symbol and ding-
bat fonts installed on your computer.
Type a character, convert it to a shape
layer (Layer>Type>Convert to Shape),
then use the Edit>Define Custom Shape
command. Shown is the glyph created
by the comma key using the ITC Zapf
Dingbats font.
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With a path active in your image, there’s rarely a need to
switch tools to edit the path. Just position the Pen tool
(P) over an existing anchor point and it automatically
switches to the Delete Anchor Point tool; position it over
a path segment and it switches to the Add Anchor Point
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tool. Hold down the Option (PC: Alt) key for the Convert
Point tool or the Command (PC: Ctrl) key for the Direct
Selection tool.
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Saving and using Adobe Camera Raw presets not only saves
time, it ensures consistency. Anytime you shoot a series of
images under the same lighting conditions, consider saving
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a preset. Open one of the images in Camera Raw, adjust it
until it looks perfect, and then choose Save Settings from the
flyout menu. Your saved settings then appear in the flyout
menu’s Apply Preset submenu.
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B Y D A V I D C R E A M E R every new document.)
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If you save your file as a native .ai, EPS, or PDF, any fonts
used will be embedded by default. If you plan on just plac-
ing the file into a page-layout program, such as InDesign or
QuarkXPress, you don’t have to convert the fonts to outlines
first; however, if you ever open the file back in Illustrator,
you’ll need the embedded fonts loaded on your computer.
You can open up the PDF file in Acrobat to view or print, but
if you try to edit the type in Acrobat, again you’ll need the
fonts. If you’re creating a logo where the type is unlikely to
change, it might be a good idea to convert the type to out-
lines (after making a copy of the original, editable file).
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If you import AutoCAD DWG files into Illustrator and have
been frustrated with losing your layers, you may want to
download and install the updated plug-in. Note: This replaces
the old plug-in, so you may want to make a copy of the origi-
nal one. The plug-in can be found at http://kb.adobe.com/
selfservice/viewContentdo?externalID=kb402977&sliceID=1.
F7DJED;9EBEHF7D;B
If you use Pantone colors in most of your graphics, you can
set a Pantone panel to always open in Illustrator. Click on the
Swatch Libraries Menu icon at the bottom of the Swatches
panel (Window>Swatches), select Color Book, and choose
Pantone from the submenu. Then from the Pantone panel’s
flyout menu, select Persistent.
You can also choose Show Find Field from the flyout menu
and type in the Pantone number you’re looking for. If you’re
looking for a Pantone named color, type in the name, such as
Reflex Blue.
Note: If you change the panel’s view, it won’t be saved; it
reverts back to the default Small Thumbnail view when reopened.
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B Y D A V I D C R E A M E R
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As you may know, ruler guides are created on the active
layer, which is handy for hiding and showing additional
grid guides quickly. It’s also possible to color-code the
ruler guides by selecting the desired guides and using
Layout>Ruler Guides. (In fact, if you change this setting with
no documents open, you can set a guide color default for
Also, with ruler guides, you can set the View Threshold for
selected guides—this makes the guides appear only when
the threshold is reached. For example, if you have a guide
set to 125%, it won’t show up until your view is at 125%
or greater; less than that percentage, the guide is invisible.
(Note: Be careful that you don’t adjust the threshold acciden-
tally with no documents open.)
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If you have some text that’s uniquely formatted (manually or
with character styles), you can use the Find/Change dialog
to apply the formatting throughout your document. Simply
copy the formatted text and choose Edit>Find/Change.
Type in the text you want to find, click on the Change To
menu, and select Other>Clipboard Contents, Formatted.
The found text doesn’t have to be the same text as on the
clipboard, but it will use the text on the clipboard as the
replacement.
It’s also pos-
sible to use
the clipboard
change feature
unformatted.
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There’s a free Layout Zone script (http://automatication.com/
layout-zones-script.html) that lets you convert selected
InDesign objects on a page to an external InDesign file (that’s
placed back in the original document). Even though it’s a
number of scripts, it uses custom menus under the Edit menu
so it’s similar in functionality to Composition Zones in Quark-
XPress. Unlike Composition Zones, however, you can use the
script to convert the placed INDD file back to native objects.
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B Y D A V I D C R E A M E R
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Acrobat Connect is a nice, cross-platform service to share
your screen or to give a presentation, but it’s not perfect—
you can’t schedule meetings in advance; a maximum of
15 people can be connected at one time; sessions last for
only three hours each; you can’t create multiple presenta-
tion layouts; and currently, there’s no voice-over Internet.
Acrobat Connect Pro eliminates those problems and
has many other features, but it’s expensive in comparison.
You can, however, overcome some of the limitations of
Acrobat Connect without investing in the Pro version.
Your meeting link is always the same, so you can send
the email notice out early. Also, note that the limitation
is really 15 computers, not 15 people, which means if
the viewers can share a screen, you can almost double or
triple your audience. And if you run long meetings, simply
have everyone reconnect to the meeting (using the same
link as the first part of the meeting) and the conference
phone isn’t affected by the three-hour limit.
 ;7IOF7=;:KF;
If you want to make a quick copy of a page in Acrobat, open
the Pages navigation pane (F4) and Option-drag (PC: Ctrl-
drag) the page to where you want it.
FB79?D=F>EJEI
You know that you can use the TouchUp Object tool
(Advanced Editing toolbar) to open an image in Photo-
shop and make edits to it, right? Did you know that
you could also use it to place an entirely new image?
Just Control-click (PC: Right-click) on the image with the
TouchUp Object tool and select Place Image from the
contextual menu (instead of Edit Image).
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Sometimes when working with a small screen, you can’t see
all of your content. Try this: At the lower right-hand corner of
the page, there’s a zoom percentage that lets you know how
magnified the page is at the moment. Click on the arrow to
the right of it and change it to a lower number. Now, you’ll
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Remember that the page is zoomed out for you to see in
Dreamweaver only. If you forget that you’re zoomed out, you
may think all of your content is too small, so before you start
increasing the sizes of your files and fonts, check that zoom
and be sure you have it back at 100%.

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B Y C Y N D Y C A S H M A N , P H . D .

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Did you know you could keep a layer from publishing by
changing its properties to “Guide”? Just double-click on the
CHRIS MAIN

icon to the left of the layer name and in the Layer Properties
dialog that appears, click on the Guide radio button under
Type, and click OK.

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B Y R A F A E L “ R C ” C O N C E P C I O N

IFHOL7B?:7J?ED Yeah…it’s kinda like that

When you’re working with forms, getting the right data is Simply put, the Adobe Photoshop Seminar Tour offers the very best real-world training
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These rules, called Patterns, come in a variety of formats, all Photoshop, Illustrator, InDesign, Lightroom, and more, easy, affordable, and fun.
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available to you from a pop-up menu in the Property inspec-

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Choose any of our incredible one-day seminars…

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The Transform panel
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When you preview in Dreamweaver, you’ll see the text
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can change by going to Dreamweaver>Preferences. Near value in one of
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click on Status Bar to open the preferences (as shown). fields, and turn on the Constrain checkbox to maintain the
object’s current ratio.
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 G S F E!S J Y
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B 7O;HIC7=7 P?D;SQ@KBO%7K=KIJ(&&.
Q9H;7J?L;IK?J;G7S the Relink icon; select the same Photoshop file and you’ll be
able to change to a different layer comp.
Q7ZeX[Zh[Wcm[Wl[hYi)S
B Y R A F A E L “ R C ” C O N C E P C I O N

Q7ZeX[?d:[i_]d9I)S QGS What’s a jump menu and how can I use it for
B Y D A V I D C R E A M E R my webpage?

A jump menu is another way to create navigation on a web-

QGS How can I prevent drop shadows from getting cut off
when I crop my photos?
page. It’s a stripped-down form with one thing: a drop-down
box. A jump menu is different than a regular form in that
when you select something from the drop-down box, the
I suspect you selected your image with the Direct Selection
form action automatically “jumps” to the page that you’ve
tool (the white arrow) before applying the drop shadow. This
selected. It’s a great way to place a lot of navigation into a
applies the shadow to the graphic rather than to the frame.
small space.
This tends to happen more in CS3, as double-clicking on a
Click on Insert>Form>Jump Menu and a window appears
graphic switches you between the Selection tool and the
where you can place the text for what will appear on the
Direct Selection tool.
menu (the face), as well as where that text will be linked. You
can add, remove, and re-organize the pages, as you like.
QGS Can I change the default picture Fitting options for
new documents?

Strangely enough, changing the Fitting options (Objects>

Fitting>Frame Fitting Options) with no document open QGS What’s a DSN? And an ODBC?

These two terms relate to the lovely world of databases.

doesn’t affect graphic frames. You have two options: Use

txffu!botxfst!gps!tvjuf!rvftujpot
Simply put, when you need to connect to a database that
the Rectangle tool, which is affected by the Fitting option
you have on a website, you’re going to need something that
defaults; or create an object style.
serves as a bridge between Dreamweaver and the database.
Data Source Name, or DSN, is a connection string that makes
Q7ZeX[7YheXWj.Fhe\[ii_edWbS that bridge to the database. The Object Database Connec-
tivity (OBDC) driver is essentially the interpreter between
B Y D A V I D C R E A M E R
Dreamweaver and the database creating the language so
Q7ZeX[F^ejei^ef9I)S Q7ZeX[?bbkijhWjeh9I)S they can understand one another.
B Y P E T E R B A U E R B Y D A V I D C R E A M E R QGS How can I create forms that expand based on content
in Acrobat?

You need to use LiveCycle Designer, which comes with Acro- Q7ZeX[<bWi^9I)Fhe\[ii_edWbS
QGS Is it possible to have a path anchor point connecting two
curved path segments that go in different directions? QGS Whenever I apply a graphic style to my objects, it
changes my fill and stroke. How can I apply certain
bat Pro (it’s Windows only). Using the Hierarchy panel, select
the page’s default subform and set the Object panel’s Content
B Y C Y N D Y C A S H M A N , P H . D .

settings to an object but not change my selected fill

Normally a curve will flow smoothly through a path’s anchor
point. To manipulate the two adjoining path segments inde-
pendently, first switch to the Direct Selection tool and select
property to Flowing, then create additional subforms into the
and stroke?
This is another example of how Illustrator hasn’t kept pace
default one. The most common example would have the top
subform’s content property set to Fixed, and the secondary
QGS How do I tell Flash to publish hidden layers?

Choose File>Publish Settings. Click the Flash tab at the top

the point. Then, press-and-hold the Option key (PC: Alt key)
and click-and-drag one of the two control points for that
anchor point. Remember, too, that you can convert between
smooth and corner anchor points with the Convert Point tool.
with InDesign in how effects are applied. With graphic styles,
it’s an all-or-nothing setting. There’s a workaround, however:
Group the object(s) first (a group can be a single object), then
when you want to edit the group, just double-click on it to
enter Isolation mode. Make the edits, and double-click out-
QGS
subform set to Flowing. of the Publish Settings dialog, then click the checkbox next to
Export Hidden Layers. Click OK to close the dialog and save
What causes white lines on my InDesign PDF when
it’s viewed in Acrobat?
the setting. From now on, whenever you publish or test your
movie, the hidden layers will also be published.

side the group to return to Normal mode. The fill and stroke Most likely, it’s an Acrobat and Reader display glitch. It hap-
QGS I want to share my custom actions with a friend, but I can’t
find the file on my hard drive. Where are my actions? won’t be changed. pens because of the flattening process when InDesign and
Illustrator files are exported as PDF 1.3. Generally it’s harm-
QGS When a word is an ActionScript keyword, what does
it mean?
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Until you use the Actions panel menu command Save Actions,
your actions are stored only in the Preferences for Photoshop.
Click on a set of actions (not an individual action), then select
QGS
Save Actions from the Actions panel flyout menu. Choose a
location, name the set (retaining the .atn file extension), and
Save. Transfer the ATN file, then use the Actions panel menu
command Load Actions to add the set to the panel.
Is there a way to select Photoshop layers from within
Illustrator as you can in InDesign?
Not as directly as it is in InDesign but if you create layer comps
in Photoshop first, you can select the desired layer comp when
placing the file in Illustrator. If you need to change the layer comp
for a placed image, select the image in the Links panel and click
less, but can be avoided in two ways: Turn off the Smooth
Line Art preference (which will make all vector-based graph-
ics look bad); or export the PDF as 1.4 or higher. If your
commercial printer requires PDF 1.3, the lines won’t appear
on the output unless your printer is running an older dual-res
RIP, in which case the printer needs to turn that option off to
process your files.
Keywords are reserved words that are used to perform specific
tasks in Flash. Keywords in a script can easily be identified by
their color. “Stop” is one example of a keyword with which
most Flash designers are familiar. Empty parenthesis and a
semicolon follow this keyword. If the default ActionScript
preferences in Flash haven’t been changed, keywords appear
in blue.

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Data Robotics . . . . . . . . . . . . . . . . . . . .129 www.kelbytraining.com Wacom. . . . . . . . . . . . . . . . . . . . . . . . . . . .7
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To order, call 800-201-7323, eprintFast . . . . . . . . . . . . . . . . . . . . . . . .126

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Microsoft . . . . . . . . . . . . . . . . . . . . . . . . .33
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or go to www.Kelbytraining.com Every attempt has been made to make this listing as complete as possible. However, its accuracy cannot be guaranteed.

*All prices in US dollars. Copyright © 2008 Kelby Training, Inc. – all rights reserved. Leopard and Mac are registered trademarks of Apple, Inc. Content in
The Mac OS X Leopard Book is published and produced by Kelby Training, Inc., 333 Douglas Road East, Oldsmar, FL 34677, www.kelbytraining.com.
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azine.com/designcontest.

(S Use any portion of the truck image in conjunction with elements of your
own creation to compose a unique image based on the theme listed
below. You can use illustrations, photography, animation, or video.

)S Take your final image and use it in a design (e.g., poster, billboard, website,
Flash banner ad, magazine cover, movie trailer, etc.—anywhere you’d see
a movie advertised or promoted [see theme below]).

*S Finally, upload your image at the Layers website for a chance to win.

J^[J^[c[S Summer Movie Blockbusters (choose your favorite movie

genre—drama, science fiction, action/adventure, comedy, fantasy, etc. It’s
up to you!)
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J^[Fh_p[SThe winner will receive a $300 shopping spree to Kelby Train-

ing! You can score all kinds of books, DVDs, seminars, and even online train-
ing for that kind of dough. But don’t forget that if you really want to claim the
prize, your final piece has to make our judges jump up and say, “Wow!” The
overall design and level of creativity is what they’ll be looking for.

J^[:[WZb_d[S August 25, 2008. (The winner will be announced in the

November/December 2008 issue of Layers magazine.)

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