2 Inside front cover (*Hi) [+] FEEDBACK MAI N Welcome to Proxy What are we doing here? Quite simply, Proxy’s purpose is to serve your interests—to help you in your work, be it through an inspirational nudge or with a software tip to get you over that technical hurdle. This is a magazine by designers for designers, and anyone else in the business of communi- cating ideas. For this initial issue, Beverly Hills design ﬁrm AdamsMorioka reveals its process and pays special attention to the singular moment or idea—the “spark,” as Noreen Morioka calls it—that marks a critical turning point in any creative project. We hope you enjoy issue No. 1. Walk through the front door into AdamsMorioka’s studio and tag along as they redeﬁne USC’s admissions kit. Bone up on creating presentations with Adobe® InDesign® CS and Acrobat® 6.0 Professional software. Find out why OpenType® is the next great advance in digital type technology. And, most of all, let us know what you think. Ultimately, as the name implies, Proxy will be more about you than us. Mouth off: Have your say. Tell us what you love, what you despise, what The Creative Team at Adobe inspires you, what puts you to sleep. We’re listening. Really. Rate Proxy by clicking on the [+] symbol on the following pages. Carry on a conversation in the Proxy forum. Printing: To print this issue, click this button and select “Fit to paper” in the Print dialog.
3 Main (*Go from here to other places) [+] FEEDBACK ������������������������ �� ���������������������������������������� Contents��������������� �� ���������������������������������� �� ����������������������������� ������� �� �������������������������� �������������� �� ����������������������� �� �������������
4 Happenin’s (*Goings-on in the world around us) [+] FEEDBACK MAI N Featured Event AIGA 50 Books/50 Covers of 2003 Exhibition Macworld Conference & Expo September 23–November 24, 2004 January 10–14, 2005 AIGA National Design Center, New York City Moscone Center, San Francisco Since 1923, the AIGA 50 Books/50 Covers competition has recognized excellence in book design and production. For this year’s competition, Adobe events a jury of distinguished designers selected and seminars outstanding examples of book and book cover See demos of new design from more than 820 entries. The winning products at a location near you. entries are mounted as a public exhibition in Events the AIGA National Design Center. Migrating from QuarkXPress to InDesign CS November 1–17, 2004 Touring event Geek Cruises Photoshop® Fling II February 5–12, 2005 Southwestern Caribbean Digital Video Expo West December 8–10, 2004 Los Angeles Convention Center, Los Angeles
5 Download it now (*It’s all free) [+] FEEDBACK MAI N Photoshop AC T I O N B&B Set of effects by Panos Efstathiadis Give your digital photographs the look of old-time snapshots. This set of effects lets you manipulate your images to simulate the curled edges and depth (concave and convex) seen in Photoshop AC T I O N traditional printed snapshots. Velvia effects by Paul Bleicher This simple action reproduces the selective color, Behind the action contrast, and saturation boost of Fujichrome Velvia The author of some of the most downloaded files film. The effect is fully adjustable from minimum to in Adobe Studio Exchange hails from Greece. Panos maximum gain. All steps are done on a copy of the Efstathiadis has uploaded 8 action sets (including the original photo. ever-popular “B&B Filmstrip”), 2 tutorials, and a set of InDesign S C R I P T brushes. They’ve been roundly praised by other users. “A good action is more than a recorded sequence of steps,” he says. “It is a filing of Photoshop knowledge.” InDesignPhotoshopActions by Richard Ronnback This script lets you call Photoshop actions from within InDesign. Actions can either be run on a selected image or on all PSD files placed in an InDesign document. Photoshop P LU G - I N Harry’s filters 3 by Harald Heim Choose from 69 filters for applying artistic effects, gradients or patterns, warping, special noise effects, and encrypting and decrypting images with 64-bit keys. The filters also include zoom, mirror, and paint Adobe Studio® Exchange is a resource effects and can simulate natural phenomena like within Adobe Studio for sharing add-ons tornados, lightning, and flames. for Adobe software. Download one of the thousands of plug-ins, actions, filters, brushes, and scripts hosted on the site, or upload one of your own for others to enjoy. It’s all free!
6 Feature story (*Spark by AdamsMorioka) [+] FEEDBACK MAI N Creative spark All design ﬁrms provide visual solutions for their clients’ particular needs. The alchemy that occurs in these relationships is often a mystery to the people participating. Take a business problem, add a client team to analyze the situation and deﬁne some speciﬁc goals and/or methods that would solve the problem, throw in a design team to actualize the client’s strategy and make effective communications tools to put into use—and somewhere in this process a spark ignites. What motivates designers to be creative is clear—a real client project. What causes their creativity is something else. It is said that creativity is 10% inspiration and 90% perspiration; all designers understand this. How and what inspires designers is as varied and different as the designers themselves. Factors that inﬂuence a designer to make a particular set of graphic choices could include context, culture, target audience preferences, budget, client suggestions and the designer’s own interests. One thing that is consistent from design ﬁrm to design ﬁrm is that sparks always ﬂy when a group of talented people come together, pushing and pulling against each other to develop great work. This issue of Adobe Studio Magazine takes a look at this creative spark process with Beverly Hills-based design ﬁrm AdamsMorioka and their client, the University of Southern California.
8 Feature story (*Spark by AdamsMorioka) [+] FEEDBACK MAI NCase studyUniversity of Southern California undergraduate admission materials J.Michael Thompson Vice Provost, Dean of Admission USCAdamsMorioka was asked by the University of Southern California (USC) Ofﬁce of Admission to develop a marketing plan Provide integrated print/online branding •and create the admission materials for the undergraduate program. USC, which is located in the heart of Los Angeles, had Communicate the unique beneﬁts of a USC education • Beat the competition for the besta successful program of materials, but wanted to reﬁne its messaging by refreshing the visuals, directing the audience to students • Spotlight LA • Make it easy to getwww.ucs.edu, and effectively competing with other universities for outstanding students. the facts and follow admission procedures “Viva Technology!” “ Sense of place” “ Authentic TERRY voices” SEAN “ Academic quality” NOREEN “ Present public perception of USC is ‘school of the rich,’ located in negative LA” CLIENT “Clarity” CYNTHIA “ Cohesive visual system” Since none of us attended USC, we took a VOLKER chance and passed out 100 disposable cameras to students and faculty to show us the REAL USC experience. The images were not only used in the collateral, but served as the inspiration for creating an authentic voice of USC.
9 Feature story (*Spark by AdamsMorioka) [+] FEEDBACK MAI N Once USC has heard back from a prospective student, the Ofﬁce of Admission sends this piece, which gives a real sense of both Los Angeles and USC. Broadside The broadside provides some quick facts about the university along with lots of photos. Inside is a reply card for the student to request a viewbook. Search letterThis letter goes to USC’s primecandidates—honors students allover the United States. If they’reinterested in USC, the student goesonline or sends back an enclosedreply card to get more information.Receiving more mailings from USCrequires a prospective student tointeract with the Ofﬁce ofAdmission. Marketing is now atargeted and focused activity. Broadside structure
10 Feature story (*Spark by AdamsMorioka) [+] FEEDBACK MAI N The viewbook functions as a travel guide to USC, complete with maps of LA and at-a-glance charts about the student population, College fair brochure entrance requirements, academics, ﬁnancial aid, and other information. It provides speciﬁcs about faculty, undergrad majors, and courses of study in text, student testimonials and photos.Viewbook When USC admission representatives meet prospective students and parents in person, this piece is used to highlight key facts. It’s a pocket guide to the university, and another vehicle that prompts students to go online and explore the USC website for additional information.
Open11A What’s your type? (*Type in depth) A OpenType The new face of type Where do the hours go? Every day, mundane production chores rob [+] FEEDBACK you of your creative time, the time you need to experiment, to perfect— to design. Every day your passion for perfect type is ground down by the eﬀort it takes to get simple typographic tasks done. But getting your time—and your focus—back can be as simple as choosing the right kind of font, an OpenType font. Because OpenType MAI N Add to this one single all-inclusive file per font that works on all major computer plat- forms, plus support for multiple languages, fonts not only make creating great type faster and you have a format that just might make and easier, in many cases they can make it your life a little easier. automatic. On deadline? An OpenType font’s bigger All the characters money couldn’t character set means far fewer time-wasting buy—until now trips to the Font menu to scour companion OpenType is a type format jointly developed fonts for the “special” characters you need. by Adobe and Microsoft. Since 1999, all new There’s no more need for “expert sets” or alter- typefaces from Adobe have been released nate fonts. only in OpenType format, and Adobe recently Pursuing perfection? OpenType fonts completed the conversion of the entire Adobe can automatically give you a wide variety of Type Library into OpenType. ligatures, swash characters, and decorated A single OpenType font can contain thou- initial capitals, all of which can be built into a sands of characters —compare that to the single OpenType font. You no longer have to 220-odd characters that have been the norm memorize obscure key combinations to get in fonts up until now. When Gutenberg cre- the characters you want. ated his famous Bibles, his fonts had hundreds
12 What’s your type? (*Type in depth) [+] FEEDBACK MAI N of ligatures alone; before OpenType, the aver- Smart fonts Leaping the language barrier “ Never, ever age PostScript or TrueType font gave you two. OpenType fonts don’t just see these charac- Naturally, the characters that can be in an stretch type!” OpenType takes the compromise out of fine ters as little bits of artwork that are placed OpenType font don’t all have to be in the Cynthia typography, giving you the choice to use just one after another to create text. These fonts same language, and indeed they shouldn’t the characters you need. see type as language. For an OpenType font, be. You don’t have to change fonts to change In an OpenType font, a single character— an ﬃ ligature isn’t merely a logotype with language anymore. a 2 or an E, for example—can be represented three letters jammed into it; it is a The trend among Western font vendors“Gill Sans, blecchh!” ® by several glyphs, or representations of that representation of an f, f, and i. OpenType is to build into OpenType fonts the full set of Noreen character. When simple lining numerals aren’t savvy applications can see it as such—not characters and accents needed to set all of the enough, you can have proportional numer- as an abstract symbol—and understand its languages that use the Latin alphabet. Many als, or old-style numerals, or proportional meaning during spell checks and searches. also include Greek and Cyrillic. A single font “Typefaces are a bit old-style numerals. There’s no need to suf- Likewise, ligatures are no longer an can serve the entire European and Western like clothing; fer computer-generated small capitals when obstacle to proper hyphenation, because community, making international collabora- Hobo: Bell bottoms Trade Gothic™: Jeans you can have the real thing, crafted by a type applications can see that they represent a tions much easier. and white t-shirt designer’s hand. Ordinals such as nd and th string of characters, and they can replace OpenType fonts can also contain sophis- Garamond: Black dress can be built right into the font, as can them with those individual characters ticated justification information to ensure Sauna™: Mini Skirt and boots typeface-specific math and scientific symbols. when and where needed. Smart fonts make that lines of multilingual type—say, a Hebrew Cochin™: Plaid You can even have access to multiple charac- type easier to compose well, because phrase amid English text—will compose well. Trixie®: Flannel shirts” ter designs that reflect the needs of type set proper hyphenation yields better, more The key to this progress is Unicode, an at different sizes. consistent spacing. international, platform-independent standard Sean OpenType makes it easy for font vendors OpenType fonts can also enable applica- that assigns characters to specific, universally to expand the character sets available in their tions to automatically build perfect fractions. recognized numbers. This system lies at the fonts, even for typefaces that may currently An OpenType font can contain a full set of heart of OpenType fonts, as well as most “ Univers™ is great; lack a wide variety of alternate characters, all properly proportioned and positioned operating systems. it’s so clean!” of those typographic niceties—and necessi- numerals for numerators and denominators, Terry ties—that were squeezed out in older tech- so when you type 99/100, your program Better type through Unicode nologies. International characters such as the can automatically convert it to the proper Unicode also has some very practical benefits euro (€), estimated (℮), and liter (l) symbols fraction as seen in the example below. for everyday typesetting. First, it can help are now standard parts of OpenType fonts ensure that the type you create on your Mac from Adobe. appears as you intended when it’s viewed“ For that ‘smart’ look, use typographer’s quotes!” on a Windows® or UNIX® computer, and vice 99⁄100 versa. No more disappearing quotation marks Volker or em dashes. Computer-generated OpenType fraction fraction
13 What’s your type? (*Type in depth) [+] FEEDBACK MAI N And although substituting alternate glyphs individual programs to tap into OpenType for particular characters may change their “layout features,” such as automatic glyph “ But, Gill Sans® in typographic qualities, Unicode continues to substitution. Adobe InDesign® CS and all caps is quite regard them essentially as numerals or Illustrator® CS software lead the way in this beautiful.” letters, so if your document ends up on a respect. Other major graphic arts and publish- Volker computer that doesn’t have the same fonts, ing application vendors are following suit. the text will still be recognizable and correct. Both Windows and Mac OS X utility On non-Unicode systems, such substitutions programs such as Notepad and TextEdit do generally create an illegible mess. so today. And the Windows 2000, Windows NT, and Windows XP Character Map and the One for all, and all in one Windows 2000, Windows NT, and Windows XP “ A widow has a past but no future; OpenType fonts are far easier to manage. They Character palette allow you to sift through an an orphan has a combine the best of the TrueType and Post- OpenType font’s extensive character sets to future but no past.” Script® standards into a single font file with find the letters, numbers, symbols, and a logical, comprehensible name. Goodbye ornaments you need, so you can copy them Cynthia PBO____.pfb, hello Palatino. OpenType fonts into almost any program. “feel” just like the fonts you’re used to, and they work with your existing programs. You Future, meet the past“ Rivers are nice— just not within a can even use them alongside Type 1 fonts in OpenType fonts are compatible with current paragraph!” the same document. printers and imagesetters, and they can be This one-font-fits-all approach is a bless- embedded easily into PDF files. They work Noreen ing for workgroups using different kinds of side-by-side with the fonts in your existing computers, because the same font file works library. And character for character, they’re on Mac and Windows. Both systems treat less expensive than the old-technology fonts OpenType fonts just as they do TrueType or they’re replacing. PostScript fonts, whether for installation, “ You can’t go wrong screen display, sharing of documents, or print- OpenType fonts raise type to a new level with Caslon.” ing. You’ll never have to buy a separate Mac by wedding the typographical traditions of Sean and PC version of a font again. the past to the technologies of tomorrow. It’s a beautiful marriage. “ Does Hobo have Who’s savvy now? an expert set?” All major current operating systems can Learn more about OpenType Terry now handle OpenType fonts, making them available to applications just as they do with Visit the Adobe Type Library PostScript and TrueType fonts. But it’s up to
14 Scoop (*What are the propeller heads at Adobe up to these days?) [+] FEEDBACK MAI N What are the propeller heads at Adobe up to these days, you wonder? Say hello to DNG. The latest innovation from the company that gave you Photoshop may just usher in a new era in digital photography. On September 27, 2004, Adobe announced the Digital Negative, a publicly documented format for the raw files generated by digital cameras. The new format, with the file extension DNG, was developed to address the lack of an open standard for the proprietary and unique raw files created by each digital camera. “Professional photographers and other creative professionals love working with raw camera files because of the outstanding creative control they get over digital images,” says Bryan Lamkin, who heads Adobe’s Digital Imaging and Digital Video business unit. “However, clients and publishers have difficulty working with disparate raw file formats and nobody can be sure that today’s raw formats will be supported ten years from now. Adobe customers asked us to work on a unified, open format for raw files and that’s what we’re delivering with the new Digital Negative specification and the DNG file format.” “DNG is something that really needs to happen for the long term good of the photographic community,” adds Thomas Knoll, the computer scientist behind Photoshop 1.0. Image-rich publications are also likely to benefit. “Now that raw is emerging as the quality standard for digital photography, we are creating systems that can allow us to integrate raw images into our editorial and production workflow,” says Dennis Dimick, a senior editor at National Geographic Magazine. “We applaud Adobe for proposing an open universal raw file format, and hope that digital camera manufacturers will adopt this format standard as an option into their cameras, just as they have already adopted the Adobe (‘98) standard for color space camera presets.” In conjunction with the publication of the Digital Negative specification, Adobe also released the Adobe DNG Converter, a free utility that converts files from more than 65 cameras to DNG. Adobe also released Photoshop CS Camera Raw Update 2.3, which supports DNG. The Digital Negative specification is freely available on Adobe.com.
15 Schoolin’ (*You have been putting this off for too long already) [+] FEEDBACK MAI N Presenting with style How you convey your ideas is important. All it takes is Adobe InDesign, Adobe Acrobat, and a few simple rules to create a slide presentation that’s painless, persuasive, and engaging. How your slide presentation looks will leave an impression on your audience, Adobe Studio is a special Web site designed to meet the regardless of how you verbally communicate your message. A few rules of needs of creative professionals. We’ve loaded it up with good design and legibility, which apply across different cultures and continents, step-by-step and video tutorials covering the latest features will help you create effective, memorable presentations. With slides, especially, in all your favorite Adobe programs. Adobe Studio also it’s crucial that you follow these simple guidelines: includes Adobe Studio Exchange, a shareware bazaar where you can download thousands of free actions, plug-ins, and • Reduce excessive content to a short bulleted list of key messages. helper ﬁles, or upload ﬁles you’ve created yourself. There • Tables shouldn’t have more than seven rows and columns. are also listings of new books, training options, and events. Check it out • Leave ample margins between graphic and text elements. • Use the same typefaces throughout, and position titles and logos consistently. Consistency makes information easier to absorb. • Use animation and slide transition effects sparingly. They quickly become boring, and they detract from your message. • Make your opening and closing strong. These rules, and a few key effects, are all you need to make your presentation successful.
16 Schoolin’ [+] FEEDBACK MAI N Using InDesign for your presentation Setting up your document When I present my design work to a client or an audience, it’s vitally important that You will start by creating a master page for your slides. my slides be convincing in both look and content. A well-designed presentation demonstrates the pride I take in my work. That’s one of the reasons I use InDesign. 1 Create a new document in InDesign by choosing File > New > Document. It’s a mystery to me why other presentation applications don’t yet support good 2 In the New Document dialog box set the page size to 1,024 points for Width typography. The most obvious shortcoming is the lack of kerning. In letter combi- and 768 points for Height. To start, set up 20 pages for the presentation. nations like Ta, Va, and Wa, the second glyph needs to be placed closer to the first glyph to look truly professional. Font designers spend a lot of time putting what are called kerning tables into their font files to improve the fonts’ readability, yet some programs continue to ignore kerning. The letters in the second line are kerned, which increases the consistency of spacing within a word. Here the letter combinations Wo and Ty look much better because they have been kerned. InDesign not only kerns text properly, it also gives you access to all the advanced typographic features in OpenType fonts. When working with graphics, you can relyI really like on InDesign software’s seamless integration with Photoshop and Illustrator.tutorials! If you know the resolution in which you’ll present your slide show, you can create Setting up a custom page size to match the screen size. a document with that exact width and height in pixels. That way, no text or images will get scaled and possibly distorted. When presenting to only one or two people, In the master page you can design and place elements that you want to appear on for example, I prefer to present directly on my PowerBook screen, with its wide, every slide of your presentation, such as color bars or a logo. The master page is elegant horizontal format. In that case my presentation will be 1,152 x 768 pixels. If also where you’ll define text frames for the headline and the main text area. it’s necessary to use a projector, this resolution won’t normally be supported, so I’d set up the document for 1,024 x 768 pixels.
17 Schoolin’ [+] FEEDBACK MAI N 3 To select the master page for editing, double-click the A-Master page icon in the Pages palette. The Angle value in the Gradient palette determines the direction in which the color changes. Note that the midpoint of the gradient has been adjusted from its default. Now it’s time to place a logo in the blue gradient image. 7 Using the Rectangle frame tool, draw a square slightly smaller than 150 pixels wide on top of the blue area of the image’s lower left corner. 8 Choose File > Place and select the graphic file you want to use as a logo on every slide.I learned how to Items added to the master page will be visible on every page this master is applied to. 9 Choose Object > Fitting > Fit Content Proportionally to scale the image to theswim that way... required size. A blank white sheet just looks too, well...blank and white. So let’s dress up the mas- ter page a little. On the left side, you’ll draw a rectangle with a color gradient from blue to white. The company logo will be placed in the lower left corner. 4 Using the Rectangle tool, draw a rectangle the height of the page and 150 points wide. 5 With the frame still selected, open the Gradient palette either by choosing Win- dow > Gradient or by clicking the Gradient tab, which by default is nicely tucked away on the right side of your screen. 6 Click the color ramp, and then select the starting color stop box on the left side underneath the gradient bar. Choose a light blue color from the Color palette. You want the rectangle to start with white at the top, and gradually shift to blue on the bottom. To achieve this effect, go back to the Gradient palette, change the black Our company logo placed and reduced in size. box to white, and set the Angle for the gradient to 90 degrees.
18 Schoolin’ [+] FEEDBACK MAI N Setting up type styles Now that the graphic appearance is set for the presentation, you can move on to Now you want to make this font your official Title style. the text. 3 With the word Title (in the correct typeface and size) selected, choose New 1 First, create the slide headers and slide main text. You’ll need two text frames— Style from the Paragraph Styles palette menu. In the New Paragraph Style dialog one for the headers and one for the main text. With the Type tool draw one frame box give the new style a descriptive name like Title Style and click OK. in the top third of the slide, leaving some space between it and the blue gradient image. The second text frame sits just below and slightly separated from the head- line text frame. With the control palette, which is content sensitive, the position and size of the frames can easily be adjusted. Creating new paragraph styles based on the currently selected text. Setting up levels Creating the type styles was easy. Setting up the different levels in the main textGo to Adobe Studio frame is a bit trickier, but once it’s done it’s a snap to use.for a pool of greattutorials. 1 With the Type tool selected, click the main text frame and type a bullet point Master page with two text frames. (Alt+0149 in Windows or Option+8 in Mac OS) followed by a tab. Then type Level 1. This is just placeholder text, which you’ll overwrite in each slide you create. The last thing you need to do on the master page is to set up paragraph styles for the headline text and for the default style of a bullet point list. 2 Select the text you just typed, choose a smaller point size in the same font as that of the title, and choose New Style from the Paragraph Styles palatte. Call this 2 With the Type tool selected, click the text frame for the headline. Type Title, Bullet Level 1, but don’t click OK yet. There are more paragraph styles you can set to which will serve as dummy copy; select the entire word; and chose a typeface and achieve sophisticated results. point size. A good choice is a bold sans serif typeface like Adobe Myriad® Bold or Semibold, which come bundled with Adobe Creative Suite in a size of 50 points. For slides it is general practice to use a flush-left paragraph style.
19 Schoolin’ [+] FEEDBACK MAI N 3 It is preferable to have text that’s longer than one line align with the beginning of the first word (in this case Level) rather than with the bullet point itself. To make this happen, set up tab stops and format the paragraph to left align on the first tab stop, with the first line—that’s the line with the bullet point-hanging out to the left. Setting tab stops. Tip: Serif typefaces are preferable for readability in lengthy texts, but for bullet lists— which are usually short, one-line sentences-a sans serif face is often more effective. 5 Now select the Indents and Spacing panel, set the left indent to 36 point and the first-line indent to -36 point. To add extra space at the end of each paragraph, type 10 point in the Space After field. Click OK. First line of each paragraph (the bullet-pointed item) hanging out to the left. Tip: The Align palette offers various options to align frames with on another; in this case you would want to align the two text frames on the left side. 4 Select the Tabs panel and click above the ruler to set the first tab stop at 36 point. Click Repeat to set more tab stops with the same spacing.Nothing beats agood slideshow. Playing with the Indents and Spacing settings.
21 Ask A. Pixel (*He’s nice but a little square) [+] FEEDBACK MAI N A It always seems to happen: just as you To edit text using the TouchUp Text tool: complete a document, you receive a 1. Choose Tools > Advanced Editing > last-minute change or you discover a small TouchUp Text Tool, or click the TouchUp mistake that slipped through. If you don’t Text tool on the Advanced Editing toolbar. want to go back to the original application, make changes, and then create an entirely 2. Click in the text you want to edit. A new PDF document, you can handle bounding box outlines the selectable text. small corrections using the TouchUp Text 3. Select text: tool in Adobe Acrobat Professional or • Choose Edit > Select All to select all the Acrobat Standard. text in the bounding box. • Drag to select characters, spaces, words, The TouchUp Text tool is perfect for fixing a or a line. spelling error or an errant word, or for minor adjustments to the font, font size, or word 4. Edit, copy, delete, or add text to a text spacing. If you have major revisions to make, selection: you’re better off working in the original • Enter new text to replace the application. (You wouldn’t repaint your entire selected text. house with a touchup brush, would you?) • Press Delete or Choose Edit > Cut to remove the text. • Choose Edit > Copy to copy theME ET A. PI X EL, selected text.the friendly, knowledgeable, • Click anywhere outside the selectionanthropomorphic Adobe support specialist. How do I edit text in an to remove the highlighting and start over.In each issue, A. Pixel answers questionsand provides troubleshooting advice on Adobe Adobe PDF document?software. A. Pixel loves e-mail. Send your Just like that, you’re done and you’requestions to firstname.lastname@example.org. everyone’s hero. Just don’t let them know how easy it was to do!Adobe Expert SupportThis information appears courtesy of Adobe Expert Support.To purchase or learn more about Adobe Expert Support,visit www.adobe.com/expertsupport or call 866-MYADOBE (866-692-3623)
22 Ask A. Pixel [+] FEEDBACK MAI N A Sometimes great photos are ruined by an unwanted wash of color, called a color cast. Your once normal images can become a bizarro world of green skies Color management tip! For consistent color management, Adobe recommends that you and yellow clouds. calibrate your monitor. Once the monitor is How can I remove a calibrated, a profile is created that describes color cast from an image Such color casts can occur at any phase in the color behavior of the monitor—what colors creating the photo, from shooting, develop- can or can’t be displayed on the monitor and in Adobe Photoshop? ing, enlarging, or scanning the image. how color values must be converted so that colors are displayed accurately. To calibrate Regardless of the source of the color cast, and profile a monitor, use visual calibrators like you can quickly correct the color imbalance Adobe Gamma (Windows) or Monitor by using the Auto Color command, or by Calibrator (Mac OS), or use third-party software and measuring devices. adjusting the color cast yourself.Featured plug-ins To remove a color cast from an image by If Auto Color doesn’t produce the desired using the Auto Color command: results, adjust the color cast yourself:Feeling like you need more power under the hood?A number of third-party software companies develop plug-ins 1 Open the image in Photoshop. 1 Choose Image > Adjustments > Levels.that add features to Adobe programs. Here are two popularplug-ins for Adobe Photoshop and Adobe Acrobat. 2 In the Layers palette, select the layer con- 2 Select the Set Grey Point eyedropper and taining the image you want to change. click an area that represents the midtone of the dominant color (the color cast).Image Doctor 1.0 3 Choose Image > Adjustments > Auto Color.Image Doctor 1.0 by Alien Skin Software is a set of powerful Photoshop adjusts the contrast and color of 3 If you’re still dissatisfied, try adjusting theimage-correction ﬁlters for Photoshop. Remove blemishes and the image. lightness and darkness of the image using thedefects, repair over-compressed JPEGs, and eliminate unwanted input level sliders in the Levels dialog box.details and objects quickly and easily. US$129.99Quite ImposingTake the mystery out of imposition with Quite Imposing 1.6 byQuite Software. Quite Imposing offers the ﬁrst WYSIWYG imposi-tion tools for Adobe Acrobat software, allowing you to split ormerge even and odd pages, combine pages for booklet buildingand more. US$299.Visit the new Adobe Store Plug-in Finder!
23 Spotlight (*Check it out) [+] FEEDBACK MAI N Spotlight: Training. Keeping up with new technologies and programs is important. But what’s the best way to get up to speed? Total Training oﬀers video-based training for virtually all Adobe professional software. From in-depth series covering Adobe’s motion graphics software, to InDesign CS for QuarkXPress users, to a three-CD series on Adobe Creative Suite, expert presenters take you from the basics through advanced techniques. Get a taste of Total Training in the sneak peek20% training movie embedded below. If you like what you see, take a look in your Adobeoff any training software box—many Adobe programs ship with a free Total Training Videoproduct in the Workshop CD—or order training through the Adobe Store.Adobe Store!Save 20% on anytraining productavailable in thetraining and supportcenter in the AdobeStore. Get video-based training fromTotal Training, orchoose Element Konline training. It’sa great time to honeyour software skills!To take advantage Total Training sneak peekof your 20% savings Directions: Click on the image above for a lessonin the Adobe Store, on importing native Photoshop files in InDesign CS.just include coupon Click once to start the movie. Double-click to pause and play again once the movie has started.code a5f840d atcheckout. See CouponRedemption Instructionsand Terms and Conditionson next page.
Mouth off (*Vol. 1, No. 1) MAI NThank you for your time in providing Adobe yourfeedback about the new Proxy magazine. Please rateeach magazine section on the following scale: ++ Very useful or relevant to me to –– Not useful or relevant to me Happenin’s ++ + +– – –– Feature Story (Spark by AdamsMorioka) ++ + +– – –– Download it Now ++ + +– – –– What’s your Type ++ + +– – –– Scoop ++ + +– – –– Schoolin’ ++ + +– – –– Ask A. Pixel ++ + +– – –– Spotlight ++ + +– – –– Please provide some comments/ suggestions in the space below:Please rate Proxy magazine’s overall design andnavigation on the following scale: ++ Very engaging and/or easy to use Overall Magazine Design to ++ + +– – –– –– Not engaging and/or difficult to use Magazine Navigation ++ + +– – –– Submit