proxy vol 1 number 1
TRANSCRIPT
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November 2004Vol. 1 No. 1
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Printing: To print this issue,
click this button and select
“Fit to paper” in the Print dialog.
Welcome to Proxy What are we doing here? Quite simply, Proxy’s purpose is to serve yourinterests—to help you in your work, be it through an inspirational nudge orwith a software tip to get you over that technical hurdle. This is a magazineby designers for designers, and anyone else in the business of communi-cating ideas. For this initial issue, Beverly Hills design firm AdamsMoriokareveals its process and pays special attention to the singular moment oridea—the “spark,” as Noreen Morioka calls it—that marks a critical turningpoint in any creative project. We hope you enjoy issue No. 1. Walk through the front door intoAdamsMorioka’s studio and tag along as they redefine USC’s admissions kit.Bone up on creating presentations with Adobe® InDesign® CS andAcrobat® 6.0 Professional software. Find out why OpenType® is the next
great advance in digital type technology. And, most of all, let us knowwhat you think. Ultimately, as the name implies, Proxy will be more aboutyou than us.
The Creative Team at Adobe
Mouth off: Have your say. Tell us
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Contents
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AIGA 50 Books/50 Covers of 2003 Exhibition
September 23–November 24, 2004
AIGA National Design Center, New York City
Since 1923, the AIGA 50 Books/50 Covers
competition has recognized excellence in book
design and production. For this year’s competition,
a jury of distinguished designers selected
outstanding examples of book and book cover
design from more than 820 entries. The winningentries are mounted as a public exhibition in
the AIGA National Design Center.
Digital Video Expo West
December 8–10, 2004
Los Angeles Convention Center,
Los Angeles
Macworld Conference & Expo
January 10–14, 2005
Moscone Center, San Francisco
Featured
Event
Migrating from QuarkXPress
to InDesign CS
November 1–17, 2004
Touring event
Geek Cruises
Photoshop® Fling II February 5–12, 2005
Southwestern Caribbean
Events
Adobe events
and seminars
See demos of new
products at a locationnear you.
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Photoshop A C T I O N
B&B Set of effects by Panos EfstathiadisGive your digital photographs the look of
old-time snapshots. This set of effects lets you
manipulate your images to simulate the curled
edges and depth (concave and convex) seen in
traditional printed snapshots.
InDesign S C R I P T
InDesignPhotoshopActions
by Richard Ronnback This script lets you call Photoshop actions from
within InDesign. Actions can either be run on a
selected image or on all PSD files placed in an
InDesign document.
Adobe Studio® Exchange is a resourcewithin Adobe Studio for sharing add-ons
for Adobe software. Download one of the
thousands of plug-ins, actions, filters,
brushes, and scripts hosted on the site, or
upload one of your own for others to enjoy.
It’s all free!
Photoshop P L U G I N
Harry’s filters 3 by Harald HeimChoose 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 painteffects and can simulate natural phenomena like
tornados, lightning, and flames.
Photoshop A C T I O N
Velvia effects by Paul Bleicher This simple action reproduces the selective color,
contrast, and saturation boost of Fujichrome Velvia
film. The effect is fully adjustable from minimum to
maximum gain. All steps are done on a copy of t he
original photo.
Behind the action
The author of some of the most downloaded files
in Adobe Studio Exchange hails from Greece. Panos
Efstathiadis has uploaded 8 action sets (including the
ever-popular “B&B Filmstrip”), 2 tutorials, and a set of
brushes. They’ve been roundly praised by other users.
“A good action is more than a recorded sequence of
steps,” he says. “It is a filing of Photoshop knowledge.”
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Creative sparkAll design firms provide visual solutions for their clients’ particular needs.
The alchemy that occurs in these relationships is often a mystery to thepeople 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 designersthemselves. 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.
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AdamsMorioka was asked by the University of Southern California (USC) Office of Admission to develop a marketing plan
and create the admission materials for the undergraduate program. USC, which is located in the heart of Los Angeles, had
a successful program of materials, but wanted to refine its messaging by refreshing the visuals, directing the audience to
www.ucs.edu, and effectively competing with other universities for outstanding students.
Case study
University of Southern California undergraduate admission materials
Since none of us attended USC, we took achance and passed out 100 disposable camerasto students and faculty to show us the REALUSC experience.
The images were not only used in the collateral,but served as the inspiration for creating anauthentic voice of USC.
“ Authenticvoices”
“ Senseof place”
“ Academicquality”
“Clarity”
“ Cohesivevisual system”
“ Present public perception
of USC is ‘school of the rich,’
located in negative LA”
Provide integrated print/online branding •Communicate the unique benefits of a USC
education • Beat the competition for the best
students • Spotlight LA • Make it easy to get
the facts and follow admission procedures
J.Michael ThompsonVice Provost, Dean of Admission USC
“Viva Technology!”
VOLKER
CYNTHIA
NOREEN
TERRY
SEAN
CLIENT
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Search letter
Broadside
Once USC has heard back from a prospective
student, the Office of Admission sends this piece,
which gives a real sense of both Los Angeles and USC.
The broadside provides some quick facts about the
university along with lots of photos. Inside is a reply
card for the student to request a viewbook.
This letter goes to USC’s prime
candidates—honors students all
over the United States. If they’re
interested in USC, the student goes
online or sends back an enclosed
reply card to get more information.Receiving more mailings from USC
requires a prospective student to
interact with the Office of
Admission. Marketing is now a
targeted and focused activity.
Broadside structure
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Viewbook
The viewbook functions as a travel guide to USC, complete with
maps of LA and at-a-glance charts about the student population,
entrance requirements, academics, financial aid, and other
information. It provides specifics about faculty, undergrad majors,and courses of study in text, student testimonials and photos.
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.
College fair brochure
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of ligatures alone; before OpenType, the aver-
age PostScript or TrueType font gave you two.
OpenType takes the compromise out of fine
typography, giving you the choice to use just
the characters you need.
In an OpenType font, a single character—a 2 or an E , for example—can be represented
by several glyphs, or representations of that
character. When simple lining numerals aren’t
enough, you can have proportional numer-
als, or old-style numerals, or proportional
old-style numerals. There’s no need to suf-
fer computer-generated small capitals when
you can have the real thing, crafted by a type
designer’s hand. Ordinals such as nd and th
can be built right into the font, as can
typeface-specific math and scientific symbols.
You can even have access to multiple charac-
ter designs that reflect the needs of type set
at different sizes.
OpenType makes it easy for font vendors
to expand the character sets available in their
fonts, even for typefaces that may currently
lack a wide variety of alternate characters, all
of those typographic niceties—and necessi-
ties—that were squeezed out in older tech-
nologies. International characters such as theeuro (€), estimated (℮), and liter (l) symbols
are now standard parts of OpenType fonts
from Adobe.
Smart fontsOpenType fonts don’t just see these charac-
ters as little bits of artwork that are placed
one after another to create text. These fonts
see type as language. For an OpenType font,
an ffi ligature isn’t merely a logotype withthree letters jammed into it; it is a
representation of an f , f , and i . OpenType
savvy applications can see it as such—not
as an abstract symbol—and understand its
meaning during spell checks and searches.
Likewise, ligatures are no longer an
obstacle to proper hyphenation, because
applications can see that they represent a
string of characters, and they can replace
them with those individual characters
when and where needed. Smart fonts make
type easier to compose well, because
proper hyphenation yields better, more
consistent spacing.
OpenType fonts can also enable applica-
tions to automatically build perfect fractions.
An OpenType font can contain a full set of
properly proportioned and positioned
numerals for numerators and denominators,
so when you type 99/100, your program
can automatically convert it to the properfraction as seen in the example below.
Leaping the language barrierNaturally, the characters that can be in an
OpenType font don’t all have to be in the
same language, and indeed they shouldn’t
be. You don’t have to change fonts to change
language anymore. The trend among Western font vendors
is to build into OpenType fonts the full set of
characters and accents needed to set all of the
languages that use the Latin alphabet. Many
also include Greek and Cyrillic. A single font
can serve the entire European and Western
community, making international collabora-
tions much easier.
OpenType fonts can also contain sophis-
ticated justification information to ensure
that lines of multilingual type—say, a Hebrew
phrase amid English text—will compose well.
The key to this progress is Unicode, an
international, platform-independent standard
that assigns characters to specific, universally
recognized numbers. This system lies at the
heart of OpenType fonts, as well as most
operating systems.
Better type through Unicode
Unicode also has some very practical benefitsfor everyday typesetting. First, it can help
ensure that the type you create on your Mac
appears as you intended when it’s viewed
on a Windows® or UNIX® computer, and vice
versa. No more disappearing quotation marks
or em dashes.
Computer-generated
fraction
OpenType fraction
99⁄100
“ Never, ever
stretch type!”
“ Typefaces are a bit
like clothing;
Hobo: Bell bottoms
Trade Gothic™: Jeans
and white t-shirt
Garamond: Black dress
Sauna™
: Mini Skirtand boots
Cochin™: Plaid
Trixie®: Flannel shirts”
“ For that ‘smart’ look,
use typographer’s quotes!”
“Gill Sans®, blecchh!”
“ Univers™ is great;it’s so clean!”
Volker
Terry
Noreen
Sean
Cynthia
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And although substituting alternate glyphs
for particular characters may change their
typographic qualities, Unicode continues to
regard them essentially as numerals or
letters, so if your document ends up on a
computer that doesn’t have the same fonts,the text will still be recognizable and correct.
On non-Unicode systems, such substitutions
generally create an illegible mess.
One for all, and all in oneOpenType fonts are far easier to manage. They
combine the best of the TrueType and Post-
Script® standards into a single font file with
a logical, comprehensible name. Goodbye
PBO____.pfb, hello Palatino. OpenType fonts
“feel” just like the fonts you’re used to, and
they work with your existing programs. You
can even use them alongside Type 1 fonts in
the same document.
This one-font-fits-all approach is a bless-
ing for workgroups using different kinds of
computers, because the same font file works
on Mac and Windows. Both systems treat
OpenType fonts just as th ey do TrueType or
PostScript fonts, whether for installation,
screen display, sharing of documents, or print-ing. You’ll never have to buy a separate Mac
and PC version of a font again.
Who’s savv y now?All major current operating systems can
now handle OpenType fonts, making them
available to applications just as they do with
PostScript and TrueType fonts. But i t’s up to
individual programs to tap into OpenType
“layout features,” such as automatic glyph
substitution. Adobe InDesign® CS and
Illustrator® CS software lead the way in this
respect. Other major graphic arts and publish-
ing application vendors are following suit.Both Windows and Mac OS X utility
programs such as Notepad and TextEdit do
so today. And the Windows 2000, Windows
NT, and Windows XP Character Map and the
Windows 2000, Windows NT, and Windows XP
Character palette allow you to sift through an
OpenType font’s extensive character sets to
find the letters, numbers, symbols, and
ornaments you need, so you can copy them
into almost any program.
Future, meet the pastOpenType fonts are compatible with current
printers and imagesetters, and they can be
embedded easily into PDF files. They work
side-by-side with the fonts in your existing
library. And character for character, they’re
less expensive than the old-technology fonts
they’re replacing.
OpenType fonts raise type to a new levelby wedding the typographical traditions of
the past to the technologies of tomorrow.
It’s a beautiful marriage.
Learn more about OpenType
Visit the Adobe Type Library
“ But, Gill Sans® inall caps is quitebeautiful.”
“ You can’t go wrong
with Caslon.”
“ A widow has apast but no future;an orphan has a
future but no past.”
“ Rivers are nice— just not within a
paragraph!”
“ Does Hobo havean expert set?”
Volker
Terry
Noreen
Sean
Cynthia
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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 fi le 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.
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Presenting with style
How you convey your ideas is important. All it takes is Adobe InDesign,
Adobe Acrobat, and a few simple rules to create a slide presentation that’s
painless, persuasive, and engaging.
How your slide presentation looks will leave an impression on your audience,regardless of how you verbally communicate your message. A few rules of
good design and legibility, which apply across different cultures and continents,
will help you create effective, memorable presentations. With slides, especially,
it’s crucial that you follow these simple guidelines:
• Reduce excessive content to a short bulleted list of key messages.
• Tables shouldn’t have more than seven rows and columns.
• Leave ample margins between graphic and text elements.
• Use the same typefaces throughout, and position titles and logos consistently.Consistency makes information easier to absorb.
• Use animation and slide transition effects sparingly. They quickly become boring,
and they detract from your message.
• Make your opening and closing strong.
These rules, and a few key effects, are all you need to make your presentation successful.
Adobe Studio is a special Web site designed to meet theneeds of creative professionals. We’ve loaded it up withstep-by-step and video tutorials covering the latest featuresin all your favorite Adobe programs. Adobe Studio alsoincludes Adobe Studio Exchange, a shareware bazaar whereyou can download thousands of free actions, plug-ins, andhelper files, or upload files you’ve created yourself. Thereare also listings of new books, training options, and events.Check it out
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Using InDesign for your presentation
When I present my design work to a client or an audience, it’s vitally important that
my slides be convincing in both look and content. A well-designed presentation
demonstrates the pride I take in my work. That’s one of the reasons I use InDesign.
It’s a mystery to me why other presentation applications don’t yet support good
typography. The most obvious shortcoming is the lack of kerning. In letter combi-
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 ti me 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 becausethey 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 rely
on InDesign sof tware’s seamless integration with Photoshop and Illustrator.
If you know the resolution in which you’ll present your slide show, you can create
a document with that exact width and height in pixels. That way, no text or images
will get scaled and possibly distorted. When presenting to only one or two people,
for example, I prefer to present directly on my PowerBook screen, with its wide,
elegant horizontal format. In that case my presentation will be 1,152 x 768 pixels. If
it’s necessary to use a projector, this resolution won’t normally be supported, so I’d
set up the document for 1,024 x 768 pixels.
Setting up your document
You will start by creating a master page for your slides.
1 Create a new document in InDesign by choosing File > New > Document.
2 In the New Document dialog box set the page size to 1,024 points for Width
and 768 points for Height. To start, set up 20 pages for the presentation.
Setting up a custom page size to match the screen size.
In the master page you can design and place elements that you want to appear on
every slide of your presentation, such as color bars or a logo. The master page is
also where you’ll define text frames for the headline and the main text area.
I really liketutorials!
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3 To select the master page for editing, double- click the A-Master page icon in
the Pages palette.
Items added to the master page will be visible on every page this master is applied to.
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 selec ted, 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
box to white, and set the Angle for the gradient to 90 degrees.
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.
9 Choose Object > Fitting > Fit Content Proportionally to scale the image to the
required size.
Our company logo placed and reduced in size.
I learned how toswim that way...
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Setting up type styles
Now that the graphic appearance is set for the presentation, you can move on to
the text.
1 First, create the slide headers and slide main text. You’ll need two text frames—
one for the headers and one for the main text. With the Type tool draw one frame
in the top third of the slide, leaving some space between it and the blue gradient
image. The second text frame sits just below and slightly separated from the head-
line text frame. With the control palette, which is content sensitive, the position
and size of the frames can easily be adjusted.
Master page with two text frames.
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 With the Type tool selected, click the text frame for the headline. Type Title,
which will serve as dummy copy; select the entire word; and chose a typeface and
point size. A good choice is a bold sans serif typeface like Adobe Myriad® Bold or
Semibold, which come bundled with Adobe Creative Suite in a size of 50 points.
For slides it is gene ral practice to use a flush-left paragraph style.
Now you want to make this font your official Title style.
3 With the word Title (in the correct typeface and size) selected, choose New
Style from the Paragraph Styles palette menu. In the New Paragraph Style dialog
box give the new style a descriptive name like Title Style and click OK.
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 text
frame is a bit trick ier, but once it’s done it’s a snap to use.
1 With the Type tool selected, click the main text frame and type a bullet point(Alt+0149 in Windows or Option+8 in Mac OS) followed by a tab. Then type Level 1.
This is just placeholder text, which you’ll overwrite in each slide you create.
2 Select the text you just typed, choose a smaller point size in the same font as
that of the title, and choose New Style from the Paragraph Styles palatte. Call this
Bullet Level 1, but don’t click OK yet. There are more paragraph styles you can set to
achieve sophisticated results.
Go to Adobe Studiofor a pool of greattutorials.
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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.
Playing with the Indents and Spacing settings.
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 t ab 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.
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.
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One more paragraph style, just to make sure you get the idea. In this case, you’ll
create a second level of bullets, for a list within a list.
6 Make a copy of the o Level 1 text and copy it into a new line. Change the text
to o Level 2.
7 Select the whole line and choose New Style from the Paragraph Styles palette.
Name this new style Bullet Level 2. While still in the General pane of the dialog box,
make sure that the Based On pop-up menu is set to Bullet Level 1.
8 For the level 2 text you want a regular (not bold) weight typeface and a smaller
size. You can make these adjustments in the New Style dialog box in the Basic
Character Formats panel.
Setting Basic Paragraph Formats in the New Paragraph Style dialog.
9 Go to the Indents and Spacing panel and set the left indent to 72 point (2 times
36 points), and set the first-line indent to -36 point. Since this setting is based on
Bullet Level 1, reduce the Space After slightly. Click OK.
10 With the cursor positioned anywhere in the level 2 text, click the newly defined
Bullet Level 2 style in the Paragraph Styles palette, and you’ll see how the format-
ting is applied to the bullet item text. The text is indented, and the typeface size is
reduced. These paragraph styles let you easily change the hierarchy of information.
Changing text from Bullet Level 1 to Bullet Level 2 style.
Completing your presentation
Now you can go to page 1 of your presentation and overwrite the placeholder text
with your own presentation material.
1 Ctrl-Shift-click (Windows) or Command-Shift-click (Mac OS) the text frame.
Every page based on the master page will have the same format and display the
same dummy text. To change the dummy text on each page, Ctrl-Shift-click/Com-
mand-Shift-click each text frame to break the connection to the master page.
Select the Type tool, delete the dummy text, and type .
2 When you’re finished, export your pages as a PDF document into your work-
ing directory. In the Advanced pane of the Export PDF dialog box choose the RGB
color mode from the color menu.
3 Open the exported PDF file i n Acrobat and press Ctrl+L (Windows) or
Command+L (Mac OS) to see your slides full screen. You can move back and forthbetween the pages with the arrow keys (or move forward with each mouse click).
Press Ctrl+L/Command+L again or press Esc to get out of full-screen mode. In the
normal mode you have all the usual navigation tools available to quickly find the
page you’re looking for.
Excerpted from
“Adobe Creative S uite Idea
Kit,” copyright © 2004 by
Katrin Straub, published by
Adobe Press. Used with thepermission of Adobe Press
and Peachpit Press.
To buy this book,
visit www.peachpit.com.
Oh, my skin is
all wrinkled.
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To edit text using the TouchUp Text tool:
1. Choose Tools > Advanced Editing >
TouchUp Text Tool, or cli ck the TouchUp
Text tool on the Advanced Editing toolbar.
2. Click in the text you want to edit. Abounding box outlines the selectable text.
3. Select text:
• Choose Edit > Select All to select all the
text in the bounding box.
• Drag to select characters, spaces, words,
or a line.
4. Edit, copy, delete, or add text to a text
selection:
• Enter new text to replace the
selected text.• Press Delete or Choose Edit >
Cut to remove the text.
• Choose Edit > Copy to copy the
selected text.
• Click anywhere outside the selection
to remove the highlighting and start over.
Just like that, you’re done and you’re
everyone’s hero. Just don’t let them know
how easy it was to do!
Adobe Expert Support
This information appears courtesy of Adobe Expert Support.To purchase or learn more about Adobe Expert Support,visit www.adobe.com/expertsupport or call 866-MYADOBE (866-692-3623)
How do I edit text in an
Adobe PDF document?
A It always seems to happen: just as you
complete a document, you receive a
last-minute change or you discover a small
mistake that slipped through. If you don’t
want to go back to the original application,
make changes, and then create an entirelynew PDF document, you can handle
small corrections using the TouchUp Text
tool in Adobe Acrobat Professional or
Acrobat Standard.
The TouchUp Text tool is perfect for fixing a
spelling error or an errant word, or for minor
adjustments to the font, font size, or word
spacing. If you have major revisions to make,
you’re better off working in the original
application. (You wouldn’t repaint your entirehouse with a touchup brush, would you?)
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If Auto Color doesn’t produce the desired
results, adjust the color cast yourself:
1 Choose Image > Adjustments > Levels.
2 Select the Set Grey Point eyedropper and
click an area that represents the midtone of
the dominant color (the color cast).
3 If you’re still dissatisfied, try adjusting the
lightness and darkness of the image using the
input level sliders in the Levels dialog box.
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Visit the new Adobe Store Plug-in Finder!
How can I remove acolor cast from an image
in Adobe Photoshop?
Feeling like you need more power under the hood? A number of third-party software companies develop plug-insthat add features to Adobe programs. Here are two popularplug-ins for Adobe Photoshop and Adobe Acrobat.
Featured plug-ins
A Sometimes great photos are ruined
by an unwanted wash of color, called a
color cast. Your once normal images can
become a bizarro world of green skies
and yellow clouds.
Such color casts can occur at any phase in
creating the photo, from shooting, develop-
ing, enlarging, or scanning the image.
Regardless of the source of the color cast,
you can quickly correct the color imbalance
by using the Auto Color command, or by
adjusting the color cast yourself.
To remove a color cast from an image by
using the Auto Color command:
1 Open the image in Photoshop.
2 In the Layers palette, select the layer con-
taining the image you want to change.
3 Choose Image > Adjustments > Auto Color.
Photoshop adjusts the contrast and color of
the image.
Color management tip! For consistent colormanagement, Adobe recommends that youcalibrate your monitor. Once the monitor is
calibrated, a profile is created that describesthe color behavior of the monitor—what colorscan or can’t be displayed on the monitor andhow color values must be converted so thatcolors are di splayed accurately. To calibrateand profile a monitor, use visual calibrators likeAdobe Gamma (Windows) or MonitorCalibrator (Mac OS), or use third-party softwareand measuring devices.
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Total Training sneak peek Directions: Click on the i mage above for a lesson
on importing native Photoshop files in InDesign CS.
Click once to start the movie. Double-click to pause
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training movie embedded below. If you like what you see, take a look in your Adobe
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Adobe Magazinewas produced
in Adobe PDF with Adobe
software, including Adobe
Acrobat 6.0 Professional, Adobe
InDesign CS, Adobe Illustrator CS,
and Adobe Photoshop CS.
The text is set in Myriad® Pro,
Minion® Pro, Trajan® Pro, Adobe
Garamond®, FF Unit, and ITC
Officina® Serif. The Spotlight
page features an embedded
QuickTime movie. All work was
done on an Apple Dual 2GHz
PowerPC G5 computer, running
Mac OSX 10.3.5, and a 23-inch
Apple Cinema HD Display.
Design by AdamsMorioka,
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Adobe, the Adobe logo, Acrobat,
Adobe Garamond, Illustrator, InDesign,
Minion, Myriad, Photoshop, PostScript,
and Trajan are either registered
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Systems Incorporated, in the United
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Computer, Inc., registered in the
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registered trademarks or trademarks
of Microsoft Corporation in the United
States and/or other countries. UNIX is
a registered trademark of The Open
Group. Gill Sans is a trademark of The
Monotype Corporation registered in
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and may be registered in certain
other jurisdictions. Cochin, Trade
Gothic, and Univers are trademarks
of Heidelberger Druckmaschinen AG
exclusively licensed through Linotype
Library GmbH, and may be registered
in certain jurisdictions. FF Trixie and FF
Unit are trademarks of FSI Fonts und
Software GmbH. Sauna is a trademark
of Underware. ITC Officina Serif is a
trademark of International Typeface
Corporatation. All other trademarks
are the property of their respectiveowners. The names referred to in the
sample artwork are fictional and not
intended to refer to any actual event
or organization.
©2004
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