®

Volume 13 Number 10

Mmm, mmm, good!Here’s a creamy caramel text effect so good you’ll want to eat it!

PhotoshopPixel-Perfect Digital Imaging For Creative Professionals

Inside™

It’s a matter of perspectiveYour digital camera may be distorting your images — here’s help!

What’s the point?Here’s the scoop on when to enable

Black Point Compensation

Colorful crayon creations spark some fun

Inside™

Pixel-Perfect Digital Imaging For Creative Professionals

Whimsical art Whimsical art

I ns i d e Ph otos h o p� w w w. e l i j o u r n a ls . co m

At A

GlA

nce Just any ol’ text won’t do for your fun harvest designs; you need something

with seasonal flair. We have just what you’re looking for—creamy caramel text that’s as drippy as you want it. Looks so good you’ll want to take a bite!

To create creamy, drippy caramel text, we’ll:

• Prepare the document and set the type in preparation for this effect.

• Liquify the text to perfect drippiness.

• Add just the right layer styles to give the text a caramel look.

Application: AdobePhotoshopCS/CS2/CS3/CS4Operating Systems: Macintosh,MicrosoftWindows

Enhance your harvest designs with drippy caramel text by Amy Palermo

As you walk through stores this time of year, you probably have a hard time escaping pumpkin décor, cornucopias, and other harvest items — albeit mingled in with the holiday decorations! Well, there’s no reason why you can’t jump on the bandwagon and add a fall festive flair to your designs with this caramel text effect, shown in Figure A.

Set the foundationBefore you get into the fun you have to create a new document and type some text. Follow along with our steps to produce the text shown in Figure A.

To set up the document and add some text:

1. Press D to set the foreground and background colors to their black

and white defaults, and then press X to swap the colors so white is the foreground and black is the background color.

2. Create a new document with the settings shown in Figure B and click OK. You should wind up with a new 4” wide, 2.5” high, 300 ppi, RGB document with a black background.

3. Set the foreground color to a yellow hue. We set ours to R:236, G:208, B:51.

4. Select the Horizontal Type tool from the Tools panel.

5. Set your type options on the tool Options bar. A thick, rounded font works best for this technique. We used 65 pt. Arial Rounded MT Bold.

6. Click on the canvas and type caramel, as shown in Figure C. Adjust the font size and reposition the text as necessary.

Make it drippyCaramel is sticky and gooey, and you want to give your text the same look. So next, you’ll liquify the text and add as much—or as little — drip as you want.

To make the text look drippy:

1. Duplicate the text layer to preserve it in case you want to go back to it later; you’ll rasterize a copy of this layer.

2. Turn off the visibility for the original caramel type layer by clicking the eye icon to the left of the layer thumbnail.

A B

�Call 1-800-223-8720 to subscribe Vo l u m e 13 N u m b e r 10

3. Select the caramel copy layer and choose Filter > Liquify. Click OK in the resulting Adobe Photoshop dialog box asking if you want to rasterize the type.

4. In the resulting Liquify dialog box, select the Zoom tool, and then zoom in on the first letter.

5. Select the Forward Warp tool, which is the first tool on the top of the toolbox on the left side of the dialog box.

D E

C

F

I ns i d e Ph otos h o p� w w w. e l i j o u r n a ls . co m

6. On the right side of the dialog box in the Tool Options panel, set the brush Size to 25, the Brush Density to 50, and the Brush Pressure to 75. You will have to adjust the brush size if you made your text a different size than ours.

7. Click and drag at the base of the first letter in different places to add a few drips, as shown in Figure D. Tip: Don’t like your drip? Reconstruct it! Just select the Reconstruct tool (the second tool in the toolbox) and, in the Tool Options section, select Revert from the Reconstruct pop-up menu. Then just paint over your drip and Photoshop reverts that portion of your text to normal.

8. Continue adding drips to your text. Add drips to the top portions of the letters as well as the sides, and click OK. You can see our results in Figure E.

Caramelize it!The final step is to add some layer styles to give our text a deep caramel look.

To add layer styles:

1. Click on the Add A Layer Style button at the base of the Layers panel and select Inner Shadow from the pop-up menu.

2. Enter the settings shown in Figure F. We set the shadow color swatch to R:126, G:18, B:19.

3. Select Inner Glow on the Styles panel and enter the setting shown in Figure G. We set the glow color swatch to R:135, G:90, B:25.

4. Select Bevel And Emboss on the Styles panel and enter the settings shown in Figure H.

5. Select Satin on the Styles panel and enter the settings shown in Figure I. We set the effect color swatch to R:126, G:18, B:19.

6. Click OK. You can see our results in Figure A.

G

H

I

�Call 1-800-223-8720 to subscribe Vo l u m e 13 N u m b e r 10

Add some fun and flair to your art with a colorful crayon creation by Renée Dustman

Just because you’re an adult doesn’t mean you can’t crave an occasional crayon creation. Creating a loosely sketched waxy crayon drawing in Photoshop is so easy that you’ll wish all of your art was this fun!

To create a crayon masterpiece in Photoshop, we’ll:

• Convert an image into outlines to mimic a coloring page.

• Adjust the tone of the raster drawing to clean up and darken the outlines.

• Use the original image and the Art History Brush tool to colorize the drawing.

Application: AdobePhotoshopCS/CS2/CS3/CS4Operating Systems: Macintosh,MicrosoftWindowsDownload: http://download.elijournals.com/

photoshop/200910/art_history.zipAt A

GlA

nce

If you’ve sprawled out on the living room floor with your big box of 64 crayons lately, you’re probably in the minority. But crayon art projects offer such an elusive, fun, free feeling that it’s a shame to let them fade from your portfolio permanently. Well,

here’s a way you can bring back some of that whimsy into your work. We’ll show you how, with Photoshop’s Art History Brush tool, you can create a fun and impressionistic piece of art, as illustrated in Figure A.

Choose your subjectThe first step for producing any type of artwork is choosing a subject. A suitable image for this technique is one with a simple subject that has well-defined lines and is full of color, such as the original

I ns i d e Ph otos h o p� w w w. e l i j o u r n a ls . co m

image of the hot air balloon, shown in Figure A.

Download: To work along with us , download our sample image balloon.jpg from the URL listed at the beginning of this article. (Images provided by PhotoSpin. Some images modified for educational purposes.)

Create an outlineOnce you select an image, you can begin to transform it into an outline drawing ready for coloring. You’ll start by rendering a sketch of the image. Luckily, you don’t have to really draw it. Instead, you’ll use the Find Edges filter in Photoshop to convert the image into outlines. Then, you’ll use Levels to refine them.

Important: Before you open the image you’ve selected to use for this technique, launch Photoshop, choose History Options in the History panel’s pop-up menu, and make sure the Automatically Create First Snapshot check box is selected. Click OK and continue.

To convert a photo into a line drawing:

1. Open the image in Photoshop.

2. Choose Filter > Stylize > Find Edges. Photoshop creates a border around

the dark and light transitions of color and removes all other data.

3. Select Image > Adjustments > Desaturate or press [command][shift]U ([Ctrl][Shift]U in Windows) to strip the remaining color from the outlines, as shown in Figure B.

4. Choose Image > Adjustments > Levels or press [command]L ([Ctrl]L in Windows) to open the Levels dialog box.

5. Drag the black input slider to the right and the white input slider to the left to force gray midtone shades to black or white, respectively. You can see the Input Level settings for our working image in Figure C. Click OK when you’re done.

As shown in Figure D, this cleans up your sketch considerably. Your image is now ready for color.

Layer it onIf you were to paint directly on the background layer, you would cover up the lines you just created. The use of multiple layers and blending allows you to preserve the black outlines on the Background layer as you paint on an underlying layer.

To create a new layer below the Background layer:

1. Choose Window > Layers, if necessary, to show the Layers panel.

2. Double-click on the Background layer to open the New Layer dialog box.

3. Enter Outlines in the Name text box, and then choose Multiply from the

A Original

B

C

D

�Call 1-800-223-8720 to subscribe Vo l u m e 13 N u m b e r 10

Mode pop-up menu. Click OK to apply the change. In doing so, you’ve accomplished two things: You’ve unlocked the Background layer, and you’ve changed its blending mode. This enables you to see the color you’ll add to the underlying layer you’re about to create.

4. [command][option]-click ([Ctrl][Alt]-click in Windows) on the Create A New Layer button at the base of the Layers panel.

5. Enter Paint in the Name text box, and then click OK to create a new layer below the Outlines layer, as shown in Figure E.

Paint from historyThere are many ways you can color in your line drawing. We like using the Art History Brush tool because it makes quick work of a great effect. It grants you access to all of the same great brush presets as the Brush tool, but you paint with pixels from a history state of your original image, rather than try to come up with a new palette of color. The resulting image is as colorful as the original, but with an entirely fresh and exciting look.

How history states workEach time you do something to an image, whether it’s painting a stroke, erasing a few pixels, or drawing a path, Photoshop creates a state of what you’ve completed.

Each state is a separate copy of each action you’ve done as your work progresses. The History panel stores the progression of states. Choose Window > History to show the History panel and you’ll see that, as shown in Figure F, your image already has quite a history.

The world is your canvasAt this point, you can begin coloring your artwork on the Paint layer. The color on the Paint layer shows through the upper-most Outlines layer because of the blending mode you set for it.

To color your picture:

1. Select the Art History Brush tool from the History Brush tool fly-out menu in the Tools panel, or press Y and then [shift]Y to toggle between the two tools.

2. Click on the Brush pop-up menu on the tool Options bar to open the Brush Preset Picker, and then click on the triangle in the upper-right corner to display a pop-up menu. Choose Dry Media Brushes and click Append in the resulting dialog box to load the collection of brush presets.

3. Scroll down to the end of the list of brushes until you see the Heavy Smear Wax Crayon brush and select it.

4. Increase the Master Diameter to about 135 px. The smaller the brush size, the more accurate the paint application—even if you set the Area value for much more.

5. Set the remaining tool options shown in Figure G to get the same results as us, or experiment with the

E

F

Control the Art History Brush tool’s performanceWhen you select the Art History Brush tool, the tool Options bar displays the Art History Brush tool options, as shown in Figure G. The following options enable you to control the tool’s performance as well as your artwork’s result:

• Brush. Click the Brush thumbnail to access the Brush Preset Picker. From here, you can select a brush tip and set its diameter and hardness.

• Mode. Choose a blending mode to determine how the color you’re painting with interacts with color on underlying layers.

• Opacity. Set the level of opacity for the paint. At 100%, the paint is completely opaque. Lower the opacity if you want the paint to appear semi-transparent.

• Style. There are a variety of stroke styles from which you can choose—from a tight, short stroke to a long, loose curl, and everything in between.

• Area. Set the size of the area you want a single stroke to cover. The higher the value, the greater the area a single stroke covers.

• Tolerance. Increasing the Tolerance value limits coverage of your strokes. A 0% Tolerance value ensures 100% coverage.

G

I ns i d e Ph otos h o p� w w w. e l i j o u r n a ls . co m

settings to come up with your own version. Read the info box “Control the performance of the Art History Brush tool” to learn how these options affect the tool.

Note: If you have more than one snapshot in your History panel, you have to set the source for the Art History Brush tool before you begin to paint. To do this, click the left column of the state or snapshot. In our example, you don’t need to set the source because you only have one–the snapshot of the original image Photoshop created as soon as you opened the file.

6. Color in your artwork with wide strokes.

As shown in Figure H, the color of your strokes constantly changes to reflect the corresponding image area from the selected source data.

Possibly the hardest part of this technique is narrowing down your collection of photos to pick one to use. But who says you can only do one?

H

Get a better action view in Button Mode (CS/CS2/ CS3/CS4)

Qu

ick

tips

Actions are great for automating repetitive tasks or applying a pre-recorded technique quickly. But all that saved time isn’t worth a dime if you’re lost in the Actions panel’s clutter and can’t find the action you need.

As shown in Figure A, when your Actions panel grows long it’s

sometimes confusing to scroll through and find the one you want. The good news is that you can ease the pain with one minor change: Set the panel to preview in Button Mode.

Simply open the Actions panel, click on the Actions panel’s pop-up menu, and select Button Mode

to enable this feature. Voila! Your actions display as buttons, as shown in Figure B. Now it’s easy to find the action you want.

One word of caution: If you want to record or edit an action you’ll need to disable Button Mode by selecting it again.

A B

�Call 1-800-223-8720 to subscribe Vo l u m e 13 N u m b e r 10

Put your images into perspective: Part 1by Jim Whitcomb

What you see isn’t always what you photograph, especially when it comes to image perspective. Digital cameras can cause architectural elements to look distorted in the final photos. But with a little foresight and planning you can keep it all in perspective.

To shoot great digital photos that remain in perspective, we’ll:

• Explore the dynamics of image perspective.

• Look at the factors that produce perspective problems when shooting with a digital camera.

• Show you a few easy ways to correct perspective problems while shooting.

At A

GlA

nce

Perspective is the representation in an image of the spatial relationship of objects as we view them. Objects of the same size in an image appear proportionately smaller the farther they are from the camera, as shown in Figure A. Unfortunately, because digital cameras are susceptible to perspective problems due to their relatively compact lenses, you may end up with perspective issues in your images. We’ll look at perspective problems and how to correct them before you even take your images into Photoshop.

Coming up: In next month’s issue we’ll explore how to use Photoshop to correct image distortion caused from your digital camera.

Perspective historyAlthough perspective may seem like an obvious design element today, there was a time when it wasn’t well understood. Because early artists didn’t fully comprehend the visual relationships between foreground and background objects, they had difficulty representing them. So, instead of creating drawings in which objects appeared to naturally recess into the distance, they tended to make drawings in which they placed all of the primary objects in the foreground, and located only a few secondary objects in the background.

As a result, such drawings tend to give the impression of more one-dimensional

cuts-outs than three-dimensional natural representations, as shown in Figure B. It wasn’t until about the 15th century, when artists became fixated with the representation of reality in drawings, that they studied and eventually worked out the techniques of how to draw perspective accurately.

The artists who conquered perspective discovered that not only did same-size objects appear to become progressively smaller the farther they are from the viewer, but that they also diminish in size in an orderly and predictable way. This is especially noticeable in objects that contain parallel lines. The farther away from a viewer a point on a set of parallel

lines is, the closer the distance between the parallel lines appears.

At infinity, horizontal parallel lines seem to disappear into what’s called a vanishing point on the horizon. A road, for example, has one horizontal vanishing point, whereas a rectangular building, when viewed so two sides are visible, has two horizontal vanishing points.

Problems in perspective paradiseWith the aid of a drawing device known as the camera obscura, artists also discovered at about this time that such objects possess a third vertical vanishing point. This means that the lines on the sides of a

A

I ns i d e Ph otos h o p10 w w w. e l i j o u r n a ls . co m

building not only vanish into the horizon, but into the azimuth as well, as shown in Figure C.

Note: An azimuth is an arc measured from the horizon to a point in the sky.

But when artists began to incorporate the third vanishing point into their works, they came upon another discovery: A rectangular building when drawn using three vanishing points, though accurate, appears to fall in on itself. What they didn’t know then is that when we look up at a tall object, we tend to mentally correct the third perspective and fool ourselves into believing that the lines are parallel, when they actually are not.

To correct for this phenomenon, artists rarely used the third perspective point in their drawings (then as now). This was an easy problem to correct, and the issue wasn’t a big deal until the arrival of photography. Since the photographic camera descends from the camera obscura—hence the name camera—the third-point-perspective problem returned, and with it came a number of ingenious solutions.

Perspective solutionsThe earliest cameras were solid boxes, which meant that the fronts and back were unmovable. After the turn of the 20th century, camera manufacturers began to produce cameras with movable fronts and backs that allowed for tilt-and-swing adjustments. These adjustments corrected for focus as well as perspective problems.

At about this time, darkroom equipment manufacturers began to produce the first photo enlargers. Soon after that, darkroom users discovered that by tilting their photographic paper easels, akin to the same type of tilt-and–swing

adjustments they made with their cameras, they could correct perspective problems.

Between the development of the first cameras in the mid-19th century and the later 20th century tilt-and-swing models, there was little a photographer could do to correct perspective problems with hardware. But there were a few techniques he could use to avoid severe perspective problems; we still use such techniques today with digital cameras.

Because most digital camera manufacturers use fixed lenses and CCD sensors, photographers can solve perspective problems using not only an onboard Perspective mode, but also by using traditional methods. Sometimes, old techniques prove as useful as new technology.

Aim highWhenever possible, avoid shooting a tall subject from a low angle at close range, as shown in Figure D. Instead, move away from your subject, use a telephoto lens or telephoto mode and position yourself from a high location so you’re viewing your subject from as level a position as possible, as shown in Figure E.

B

D

C

11Call 1-800-223-8720 to subscribe Vo l u m e 13 N u m b e r 10

Narrow your focusAvoid using a wide-angle lens or wide-angle mode. The wider the lens angle, the more exaggerated the perspective problem becomes, as shown in Figure F and Figure G.

Use perspective modeAnother way you can get your images back into perspective is to use your digital camera’s Perspective mode, if it’s equipped with one. Generally, this

is available in the playback mode. Once you’ve taken an image, you then select the Perspective feature and apply the amount of perspective correction you wish. When you save your image, you save it as an additional image, so you can compare your original with your edited

photo, as shown in Figure H and Figure I. Because you’re digitally stretching a part of your photo, be careful not to frame your original so tight that you lose important information when you apply this perspective correction.

E

F

G

H

I

I ns i d e Ph otos h o p1� w w w. e l i j o u r n a ls . co m

Reader Forum

Know when to enable Black Point Compensation — and when not toby Amy Palermo

Application: PhotoshopCS/CS2/CS3/CS4Operating System: Macintosh,MicrosoftWindows

What is black point compensation? I read an article that mentioned it and how you should have it enabled when you convert images from RGB to CMYK. Is this true, and where do I even find this setting?

If you’re familiar with gamuts, then you know that not every output device is capable of producing the same amount of colors. The same holds true with black; not every output device can achieve the same darkest level, so the Black Point Compensation setting in Photoshop compensates for that discrepancy upon image conversion.

Keep it on!Yes, you should enable the Black Point Compensation setting when you convert your image from RGB to CMYK. By doing so, you’re ensuring that the conversion uses the entire dynamic range of the output profile.

To access the Black Point Compensation setting for color conversions:

1. Choose Edit > Color Settings to display the Color Settings dialog box. (CS Mac users choose Photoshop > Color Settings.)

2. Click the More Options button to display the Conversion Options, as shown in Figure A. (CS users select the Advance Mode check box at the top of the dialog box, as shown in Figure B.)

Depending on the Working Spaces option you choose, Black Point Compensation may be enabled by default, as shown in Figure A. Once you’ve made

the settings appropriate for your project, click OK to close the dialog box.

Turn it off!There are times, however, when you should disable the Black Point Compensation setting. For example, turn it off when converting from one RGB profile to another RGB profile. Depending on the profiles you’re converting to and from, enabling Black Point Conversion could result in washed-out blacks. But as with anything in the color management area, every image and every situation is different so we recommend you test it both ways.

Another time when you should disable the Black Point Compensation setting is when you’re viewing separations on your monitor, also known as softproofing. The reason is that your monitor’s blackest

A

B

1�Call 1-800-223-8720 to subscribe Vo l u m e 13 N u m b e r 10

black won’t come close to a rich black printed from a Sheetfed press, which will produce darker blacks than your monitor can display. In this instance, you won’t get an accurate preview with the feature turned on anyway. Also, if you’re printing on newsprint or uncoated stock, your blacks will print relatively flat and dull anyway so you’ll want to disable this feature to get an accurate preview of those blacks on your monitor.

To turn off Black Point Compensation for proofing:

1. Choose View > Proof Setup > Custom to view the Customize Proof Condition dialog box.

2. Choose an option from the Device To Simulate pop-up menu.

3. Deselect the Black Point Compensation option, as shown in Figure C.

4. Set the Display Options (On-Screen) as they pertain to your job and click OK.

5. Choose View > Proof Colors.

C

Reader Forum

Save yourself some time and manage clipping paths from InDesignby Amy Palermo

Once in a while when I place images into my InDesign document the Photoshop clipping paths hide content in InDesign. Is this an incompatibility issue or is there a setting I need to turn on or off to make the whole image show—and print — from InDesign?

InDesign applies embedded Photoshop clipping paths by default. As you place each image into your document, InDesign uses the embedded clipping path to mask its background, which causes InDesign to mask your images. To display your images fully, you need to prevent InDesign from applying the embedded clipping path.

To place an image into InDesign without embedded clipping paths:

1. In InDesign, choose File > Place to display the Place dialog box and select an image file to import.

2. Select the Show Import Options check box, as shown in Figure A.

3. Click Open to display the Image Import Options dialog box.

Application: AdobePhotoshopCS/CS2/CS3/CS4,

AdobeInDesignCS/CS2/CS3/CS4Operating System: Macintosh,MicrosoftWindows

4. Deselect the Apply Photoshop Clipping Path check box on the Image panel, as shown in Figure B. Then, click OK to import the file.

5. Click the loaded icon on the page to place the image.

Of course, what if you’ve already placed the file in InDesign and lost part

A

I ns i d e Ph otos h o p1� w w w. e l i j o u r n a ls . co m

of your image due to clipping, as shown in Figure C? You may not want to re-import the file, and that’s okay—you don’t have to. Instead, just hide the embedded clipping path after you place an image.

To hide an embedded clipping path after you place the image:

1. Select the image with the Selection tool.

2. Choose Object > Clipping Path.

3. In the resulting Clipping Path dialog box, as shown in Figure B, choose None from the Type pop-up menu.

4. Click OK. Our results are shown in Figure E.

I want to hear from you!Your satisfaction with Inside Photoshop is important to me, and that’s why I want to hear from you. Got a gripe about our publication? Let me know why. Do you look forward to our publication arriving each month? That’s music to my ears! Are you excited about the new free images we’re offering you each month? Tell me! Are you struggling with a Photoshop-related problem? Ask me!

Feedback from subscribers like you helps keep me on track and make sure I’m delivering the quality newsletter you need. Please send all of your Inside Photoshop questions and feedback to ips_editor@elijournals.com. I can’t wait to hear from you!

Amy Palermo

Editor in Chief, Inside Photoshop

B

C E

D

1�Call 1-800-223-8720 to subscribe Vo l u m e 13 N u m b e r 10

PhotoshopInside™PhotoshopInside Photoshop (ISSN 1094-0774 print 1539-0306 Online) is published by Eli Journals, Inc., a subsidiary of Eli Research, 2222 Sedwick Road, Durham, NC 27713.

Customer Relations & Subscription ServicesSubscriber Services Dept. 1380 Denver, CO 80291-1380 Email: service@medville.comU.S. toll-free . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (800) 223-8720 Outside U.S. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (239) 280-2383 Fax . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (800) 508-2592

EditorialEditor in Chief . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Amy Palermo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Email: ips_editor@elijournals.com . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Toll-free: (866) 614-8711

Contributing Editors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Renée Dustman

Jim Whitcomb Graphic Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Sushil Pathak Managing Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kara Hiltz

Publishing & SalesPublisher . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sunil Tinani

Bulk Sales. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Pam Franklin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (239) 280-4202 Customer Service Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Bill Streight

PostmasterPostmaster: Send address changes to

Inside PhotoshopP.O. Box 413006Naples, FL 34101-3006

PriceDomestic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $157/yr.Outside the U.S. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $167/yr.

GST #: 889037958. PM #: 40031405.

Back IssuesTo order a back issue, call Customer Service at (800) 874-9180. You can pay with Master-Card, VISA, Discover, or American Express.

Copyright© 2009 Eli Journals. This work is an independently produced publication of Eli Research, the Content of which is the property of Eli Research or its affiliates or third-party licensors and which is protected by copyright law in the United States and elsewhere. The right to copy and publish the Content is reserved, even for Content made available for free, such as sample articles, tips, and graphics, none of which may be copied in whole or in part or further distributed in any form or medium without the express written permission of Eli Research. Requests for permission to copy or republish any content may be directed to Bill Streight (239) 280-2343 or via email at bills@eliresearch.com.

Inside Photoshop is a trademark of Eli Journals. All product names or services identi-fied throughout this journal are trademarks or registered trademarks of their respective companies.

Have information on copyright violations? Call us! We’ll share 25% of the net pro-ceeds of all awards related to copyright infringement that you bring to our attention. Direct your confidential inquiry to Bill Streight (239) 280-2343.

Printed in the U.S.A.

Are you moving?If you’ve moved recently or you’re planning to move, you can guarantee uninterrupted ser-vice on your subscription by calling us at (800) 223-8720 and giving us your new address. Or you can fax us your label with the appropriate changes at (585) 789-3560. Our Cus-tomer Relations department is also available at http://www.eliresearch.com/contact.htm.

To see a list of our products, visit our websites at www.elijournals.com and www.eliresearch.com.

®

Time to visit our website and pick up your 5 new high-resolution PhotoSpin® images!

To access your high-resolution images:

1. Go to http://www.elijournals.com/free-for-ips.

2. Enter your username and password in the Subscriber Solution Center to log in. If you don’t know your username and password, call customer service at (800) 223-8720.

3. Once you’re logged in, click the “Get Your Free Images Here” link to access your 5 free, high-resolution images.

It’s harvest time …

Come pick yours!

Missing download URL from August 2009 issueWe apologize; in the August 2009 issue of Inside Photoshop, on page 13, we forgot to include the download link that complements the article “Say goodbye to image colorcasts”. You can download colorcast.zip at http://download.elijournals.com/photoshop/200908/colorcast.zip.

I ns i d e Ph otos h o p1� w w w. e l i j o u r n a ls . co m

Please include account number from label with any correspondence.

2141

Enhance your Inside Photoshop subscription for just $2!We’ve been working hard to bring more value to your Inside Photoshop subscription. And we’re excited about this offer we have for you today! We have an exciting new resource: The Photoshop Society, which is packed with tutorials and freebies. What’s even more exciting is that as an Inside Photoshop subscriber, you’re eligible to sign up for this resource for only $2!

What is the Photoshop Society? Point your browser to www.photo shopsociety.org and check it out. Here are a few things you’ll find on PhotoshopSociety.com:

• Free tutorials

• Free actions

• Free shapes

• Free images

• Back issues of Inside Photoshop

• And much more!

So, what’s the deal?We’re so excited about this promotion—it’s unlike any we’ve ever offered. Actually, we have two deals for you to choose from: the Guru Pack and the SuperGuru Pack. Point your browser to www.photoshopsociety.org/subscribe.php to check out what each of these packs include. And remember — the most you’ll spend is $2 to enhance your subscription with this great resource!

For just $1:

• You will receive a Photoshop Society Guru Pack Membership, valid for the

remainder of your Inside Photoshop subscription or one year, whichever is less.

• We’ll place your account on recurring debit so when your account expires, we’ll auto-renew you at $99.

For just $�:

• You will receive a Photoshop Society SuperGuru Pack Membership, valid for the remainder of your Inside Photoshop subscription or one year, whichever is less.

• We’ll place your account on recurring debit so when your account expires, we’ll auto-renew you at $129.

That means no more annoying renewal notices!

Call today!Don’t wait! Call today to take advantage of this fantastic offer.

To sign up:

1. Contact Subscriber Services at 1-800-472-0148 or 1-800-223-8720.

2. Tell the sales rep that you wish to upgrade your Inside Photoshop subscription for $1 for the Photoshop Society Guru Pack or for $2 for the SuperGuru Pack.

3. Use promo coupon PSO89004 when you place your order for either of these deals.