Layers 2010-09-10

SEPTEMBER/OCTOBER
2010
W W W. L AY E R S M A G A Z I N E . C O M
COMMON LOGO
DESIGN MISTAKES
COLOR SEPARATION BASICS:
PRINTING SPOT COLORS
ADOBE ILLUSTRATOR
SPECIAL EFFECTS
The
Dos
&
Donts
of Portfolio Presentations
DISPLAY UNTIL NOVEMBER 16, 2010
Scan: worldmags & avaxhome
CONTENTS]
] SEPTEMBER/OCTOBER 2010
] VOL. 6, NO. 5
] WWW.LAYERSMAGAZINE.COM
[ T U T O R I A L S ]
42 ] Digital Photography:
HDR Pro in Photoshop CS5Sen Duggan
48 ] Adobe Photoshop CS5:

Creating Color SeparationsDave Cross
54 ] Adobe Illustrator CS5:

Dramatic Shadow EffectCorey Barker
60 ] Adobe InDesign CS5:

Creating iBooks (EPUBs)Terry White
66 ] Adobe Dreamweaver CS5:

Editing CSS LayoutsJanine Warner
72 ] Adobe Flash CS5 Professional:
LEE CALDERON
ActionScript Made EasyPaul Trani
[ C O V E R
S T O R Y ]
18
www.layersmagazine.com
30 ] Portfolio Review
Have questions about your professional portfolio? Layers to the

rescue! This month we talked with three creative directors to get
the gist of what should be included when sending, delivering, or
presenting your professional portfolio. Being employees from SeventhStreet, Sketchers Footwear, and Century LLC, these guys know
their stuff. Theyve seen it allfrom the good to the badand after
reading their advice, youll surely know how to organize your portfolio.
Hey, with the awesome recommendations in this article, you may even
land that dream job youve always wanted.
[ F E A T U R E ]
38 ] Broken Logos
Bad logo design, step aside. Here we discuss 12 common logo
mistakes for you to avoid while creating a name for your clients. You
wouldnt want to be labeled as an amateur, would you? Better turn
the page.Jacob Cass
04
Page 30
05
LAYERS MAGAZINE ][ sept / oct 2010
[ D E P A RT M E N T S ]
8 ] Letter from the Editor
12 ] Layers News
18 ] Designer Spotlight
20 ] The Digital Canvas
84 ] Tips & Tricks
86 ] Creative Suite Q&A
98 ] The Back Page
Page 20
[ C O L U M N S ]
22 ] Design Makeover:
For Arts SakeJake Widman
28 ] Artistic Expressions:
Align LayersBert Monroy
58 ] The Art of Type:

Changing the RulesJames Felici
[ O N
T H E
C O V E R ]
With clients such as Jose Cuervo International, Hallmark, and Fisher-Price,
Lee Calderon is a visual mastermind
of design. His artwork is portrayed
through an array of different venues
and always leaves a lasting impression.
Look through this issue of Layers to see
more of Lees artwork.
[Lee Calderon]
[ R E V I E W S ]
78 ] Poser Pro 2010Bruce Bicknell
79 ] FxFactory 2Marcus Geduld
79 ] SWF & FLV Toolbox 4Cyndy Cashman
80 ] Toon Boom Animate 2Marcus Geduld
80 ] Package CentralDavid Creamer
82 ] Olympus PEN E-P2Steve Baczewski
Whenever you see this symbol at the end of an article, it means theres either additional material or a download
for that story at www.layersmagazine.com. So be sure to visit the website and check it out.
78
[ON
THE WEB]
] SEPTEMBER/OCTOBER 2010
] VOL. 6, NO. 5
] WWW.LAYERSMAGAZINE.COM
[TU TORIALS]
Were always adding new tutorials to the Layers website,
so be sure to visit often. And dont forget to sign up for our
graphics tip of the day and to keep an eye out for the
latest episode of Layers TV. Heres a small sampling of
some of the tutorials that you can find at the site now:
[PHOTOSHOP]
www.layersmagazine.com/category/photoshop
Screened Photo Effect in Photoshop (Video): Learn how to
create an interesting screen effect in Photoshop through
smart objects and a dened pattern. Dave even shows how
to apply this effect from one image to another, directly in
Photoshop.Dave Cross
[ILLUSTRATOR]
www.layersmagazine.com/category/illustrator
Adding Order to Effects (Video): According to Jeff, the
Appearance panel is like the Layers panel for appearance
attributes of objects; its a timesaver, its consistent, and
you have lots of room to change object order, visibility,
and much more.Jeff Witchel
LEE CALDERON
[INDESIGN]
[ LAYERS
TV ]
18
www.layersmagazine.com/category/indesign
Changing Defaults in InDesign (Video): Having trouble
with a few InDesign defaults? Jeff to the rescue! Learn
how to change the color of different objects without the
interference of the default color swatch, how to disable
a default text wrap in the Options Bar, a new custom
tracking shortcut, and a tip concerning default vector
graphics.Jeff Witchel
Get Interactive with InDesign CS5, Part 1 of 2 (Video):
In this two-part series, Tom teaches about the InDesign
interactive features through the Interactive panels with
slide shows, fly-in text, animation, and exporting; but
he clearly explains these features arent substitute for
Flash, which is explained in Part 2.Tom Green
Hosted by Corey Barker and Rafael RC Concepcion

www.layersmagazine.com/layerstv
Be sure to join Corey and RC for another season of Layers TV. This weekly video
podcast offers killer tips and tricks to full-blown tutorials, and it covers all of
your favorite print, Web, and video apps from Adobe.
[FIREWORKS]
[ S O C I A L
[LIGHTROOM]
N E T W O R K ]
http://twitter.com/LayersMagazine
www.facebook.com/LayersMagazine
Want to stay up to date on everything happening at Layers? Of course you
do. Just follow @LayersMagazine on Twitter and be sure to join our Facebook
fan page, as well.
06
www.layersmagazine.com/category/reworks
Fireworks CS5 with Device Central (Video): Watch
how you can preview prototype interfaces on various
mobile devices in Fireworks CS5.Tom Green
www.layersmagazine.com/category/lightroom
Using Web Subdirectories in Lightroom 3 (Video):
Learn why the Server Path is so important when
creating Web subdirectory structures for exporting
images in Lightroom 3.Rafael RC Concepcion
FROM THE EDITOR]

C H R I S
M A I N
portfolio success
putting your best foot forward will get you
one step closer to that dream job
Looking for a new job can be very stressful, especially in todays economy. For many people, it ranks
right up there with marriage (or divorce), buying a new home, or having children. The best way to lessen
the stress of looking for a job is to be as prepared as you possibly can before walking into a prospective
employers ofce for that dreaded interview. And for creatives, that means having a kick-butt portfolio
and presentation ready to go. So for this issues cover story, Portfolio Review, were giving you the
information that you need to make that killer portfolio (p. 30).
And who better to give you that advice than three people that look at portfolios on a daily basis. These are the people
that can tell you what grabs their attention, and what makes them mentally say next before they even reach the end of a
designers portfolio. Mike Campau is the director of SeventhStreet, a studio in Michigan that creates dynamic imagery for
the advertising community, including Chevrolet, Ford, Minute Maid, Quaker State, and Nescaf. Fred Machuca is the Art
Director for the In-House Advertising/Art Department at Skechers Footwear located in California. And Neal Hettinger is the
Creative Director for Century, LLC, which designs the branding, packaging, advertising, catalogs, and Web landing pages
[And for creatives,
for UFC equipment, TapouT equipment, adidas boxing equipment, Century Martial Arts, and
maSuccess magazine. Together, these three have years of experience looking at portfolios, and
they know what works and what doesnt.
that means having

a kick-butt portfolio
In our next feature, Broken Logos, Jacob Cass gives some awesome advice on how to avoid
being labeled an amateur when it comes to logo design (p. 38). From typographic chaos to providing the right les to the client, Jacob breaks it down into 12 easily digestible bite-size chunks.
After reading this article youll be creating logos that youll be proud to include in your portfolio.
In The Art of Type on page 56, James Felici shows us how to use paragraph rules and
and presentation
ready to go.]
underline options to add style to our InDesign layouts. In Artistic Expressions on page 28, our
long-time friend, Bert Monroy, teaches how to use Auto-Align Layers and masks in Photoshop
to realistically combine images. Corey Barker uses the perspective tools in Illustrator to create
a really cool text effect; Paul Trani shows how easy it is to work with ActionScript using the Code
Snippets panel in Flash CS5; Janine Warner reveals how to customize the new CSS layouts in
Dreamweaver CS5; and the learning goes on and on.

But Layers magazine is much more than just showing how to use Adobe CS5 apps; its about creativity and inspiration.
One of our most popular columns is The Design Makeover. This issue, three designers give a facelift to the website for the
Community Arts Center in Danville, Kentucky (p. 22). Seeing how experienced designers approach a project can be invaluable
to other up-and-coming designers. As for inspiration, just check out the work of Lee Calderon throughout this issue of the
magazine. His work is featured on the cover, and you can learn more about Lee and his incredible artistic style on page 18.
Well, thats about it for this issue. But dont forget that once you devour the content in this issue, theres always www
www.l ayer smagazine.com
.layersmagazine.com to satisfy your hunger. Until next time, keep on keepin creative.
08
All my best,
Chris Main
Editor-at-Large
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COVER DESIGN
Cover image courtesy

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COLOPHON
Produced using Adobe InDesign

CS5, Adobe Photoshop CS5, and
Adobe Illustrator CS5. Body copy
is set in Avenir. Headlines are set
in Solex. How yall are? Hoooooo, I
garontee yall gonna did like dis issue and
dere aint nuttin you can did bout it.
So sit right on back dere and dont lost
your discourage if ya dont find sometin
in dis issue for yall. I garontee you find
sometin what went in here for ya. But
if you dont, I just cant stood dat. Cuz
dis here is one mighty fine magazine and
I look to see if you can find one more
betta right now. Now I gots to go before
I find myself to hell on a bobsled. Yall
come on back now, hoooo weeee.
All contents COPYRIGHT 2010 Kelby Media Group, Inc. All rights reserved. Any
use of the contents of this publication without the express written permission of the
publisher is strictly prohibited. Layers magazine is an independent journal not affiliated with Adobe Systems, Inc. Adobe, the Adobe logo, Acrobat, Adobe Premiere, After
Effects, Dreamweaver, Flash, Illustrator, InDesign, Lightroom, and Photoshop are
either registered trademarks or trademarks of Adobe Systems Incorporated in
the United States and/or other countries. All other trademarks are the property of
their respective owners. Some of the views expressed by contributors may not be the
representative views of the Publisher. ISSN 1554-415X
[layers news]
graphics design news new products digital video news other stuff
Adobe releases Flash 10.1

to mobile platform developers
In an attempt to bring the full Web to mobile devices, Adobe Systems Incorporated (www.adobe.com) has redesigned Flash Player for mobile
from the ground up, adding better performance and features specic to mobile screens. A couple of the new features include accelerometer support so Flash content can be viewed in either landscape or portrait mode, and Smart Zooming so content can be scaled to full screen.
Adobe has also incorporated a few tricks for making more efcient use of CPUs and improved battery performance. For example, the
new Smart Rendering feature makes sure that Flash content is only running when its visible onscreen; when a device enters screen saver
mode, Flash Player automatically enters Sleep Mode; and Flash Player will pause with incoming phone calls or switching to another app.
The nal production release of 10.1 for mobile should be available at the same time that Android 2.2 Froyo is available to users. Adobe
also released the latest Flash Player to platform partners that support BlackBerry, webOS, future versions of Windows Phone, LiMo, MeeGo,
and Symbian OS.
Flash Player gets augmented

by Total Immersion
If we had to make an educated guess, wed say that most of you have
heard of augmented reality (or AR) by now. Basically, you hold an
image or marker up to your webcam on your computer or camera
on your smartphone to launch graphics that are overlaid on the live
video feed. Weve seen all kinds of uses for AR, from directions to the
nearest ATM, hotel, restaurant, etc. based on the scene in front your
smartphones camera to playing rock, paper, scissors with a creepy
hand that sticks out of your T-shirt (www.t-post.se/past-issues/item/
root/higher-education-or-just-plain-high).
Typically, you have to download and install a specic AR plug-in
for these experiences, but Total Immersion has just announced DFusion for Adobe Flash Player. Since 99% of Internet-enabled desktops have
Flash Player already installed, additional plug-ins wont be needed for AR applications that are developed using ActionScript in Flash. And
with Marker Less Tracking Lite (MLT) technology, printed material and product packaging wont require a specic marker thats designed to
launch the AR experienceDFusion will be able to recognize existing 2D or 3D material. For more information, visit www.t-immersion.com.
Audition
www.LAYERSMAGAZINE.COM
for the Mac
12
No, this isnt a new program where you have to take a screen test in order to use a Mac. It simply means
that the next version of Adobe Audition will be available for the Mac. Audition is Adobes solution for
editing audio from ne-tuning single les to creating multitrack mixes. It also offers restoration tools for dealing with that problem recording thats been giving you ulcers.
A beta of the Mac version should be available on Adobe Labs (http://labs.adobe.com) in the winter
of 2010. New innovations in Adobe Audition for Mac include native multichannel support for 5.1 surround sound, noise reduction and restoration capabilities, and new audio effects, including de-hummer,
de-esser, and volume leveler. Adobe Audition 3 is currently available for Windows for around $349. For
more info visit www.adobe.com.
New Cybershots let you capture 3D

with a single-lens system
Sony has revealed two compact, single-lens, 12.2-megapixel cameras for creating 3D panoramas: the
Cybershot DSC-TX9 and DSC-WX5. Both models offer a 3D Sweep Panorama feature. Just press-andhold the shutter release and move the camera in a sweeping motion. The cameras use a high-speed
burst to create a series of frames that are automatically stitched together. The nal image can be
viewed in either 2D or 3D. To see the images in
3D, however, youre going to need a 3D-compatible television and 3D glasses (which are obviously
sold separately).
With Sweep Multi Angle mode, you can tilt
the camera back and forth and it will capture
15 images at different angles that are compiled
into a single image, creating a 3D-like effect directly on the cameras LCD display. Other new features include Background Defocus for simulating depth-of-eld effects, and Superior Auto mode,
which takes multiple shots that are combined to reduce image noise and extend dynamic range.
The TX9 should be available for around $400 and the WX5 for around $300. For more information, visit www.sonystyle.com.
Web Watch
[more cool sites for creatives]
www.adobe.com/products/
illustrator/howto
Adobe Illustrator CS5 how-tos
created by leading designers
Adobe Illustrator
to go
Code Line has released version 2 of Art Files, their standalone utility that collects Illustrator documents, linked images, and fonts with drag-and-drop simplicity. This makes it quick and easy to
prepare les for archiving or sending them to others for editing or printing.
Built for Mac OS X 10.5, the new version of Art Files incorporates some OS X technology. With
Cover Flow, you can ip through thumbnails to easily see documents, images, and fonts. It also supports Quick Look so you can quickly preview a document without opening it. And a new Locate feature uses Spotlight to help users nd missing linked images. And, of course, it works in Illustrator CS5.
Art Files 2 retails for $49.95. An upgrade will run you $24.95. For more info, or to download a
demo, visit www.code-line.com.
www.dripbook.com
Promotional tools for creatives, and a
place for clients to nd creative talent
Machine wash, tumble until

super cool
Mister Retro, creators of the Machine Wash
texture effects for Photoshop, has introduced
Machine Wash Deluxe. According to the plugin maker, they have started from scratch and
redesigned Machine Wash from the ground up
for creating the most realistic and amazing
texture, aging, and weathering effects they
could imagine. There are four different texture sets available for Machine Wash Deluxe,
each with 60 filters for $99, or you can buy the entire bundle (240 textures) for $349.95.
One really cool new feature in the Deluxe version is the Texture Effect Picker with Live Preview
that allows you to quickly browse your texture library and see how your image will look in real-time
before you apply an effect. Other new features include the ability to apply the effects to an image mask
layer so you can manipulate the effect without changing the original image, surface effects with lighting
and color control, an effect multiplier, and the ability to apply and adjust natural and realistic-looking
3D textured depth perspective.
For more information and to download a demo, visit www.misterretro.com.
http://dailydesignadvice.com
Daily design advice to kick-start
your creativity
http://kelbytv.com/dtowntv
A fresh approach to teaching photographic techniques by Scott Kelby
and Matt Kloskowski
Upcoming Events
PHOTOSHOP CS5 CREATIVITY TOUR
Miami, FL (August 16, 2010)
Charlotte, NC (September 27, 2010)
www.kelbytraininglive.com
PHOTOSHOP CS5 FOR

PHOTOGRAPHERS TOUR
Virginia Beach, VA (August 30, 2010)
Indianapolis, IN (September 20, 2010)
LOCATION LIGHTING
TECHNIQUES TOUR
September 15, 2010
Connecticut Convention Center
Hartford, CT
PHOTOSHOP CS5 DOWN & DIRTY

TRICKS TOUR
Nashville, TN (August 6, 2010)
Austin, TX (August 18, 2010)
Kansas City, MO (August 25, 2010)
St. Louis, MO (August 27, 2010)
Covington, KY (September 17, 2010)
Pittsburgh, PA (September 22, 2010)
MAXIMUM PHOTOSHOP CS5 TOUR

San Jose, CA (August 23, 2010)
Cleveland, OH (September 13, 2010)
PHOTOSHOP WORLD CONFERENCE

& EXPO
September 13, 2010
Mandalay Bay Convention Center
Las Vegas, NV
www.photoshopworld.com
AN EVENT APART
September 1618, 2010
Washington Hilton
Washington, DC
http://aneventapart.com
ADOBE MAX 2010

October 2327, 2010
Los Angeles Convention Center
Los Angeles, CA
http://max.adobe.com
n e ws
Get your
geek on!
Are you a professor, scientist, engineer, or technical writer? Then this InDesign plug-in is for you.
MathMagic Pro Edition 7 for Mac OS X is an award-winning, professional-level, math-equation
editor. This means that you can create and edit all kinds of equations, mathematical expressions, and symbols directly in InDesign CSCS5.
Version 7 adds two layers of background color support for more beautiful equations (yes,
equations can be beautiful, too!), more Dene Spacing options for better controls over equation
shapes, improved hyphens and dashes, and better ionic expressions in chemical equations.
MathMagic reads and writes various industry standard equation formats, such as MathML,
AMS LaTex, LaTex, Plain TeX, MathType(okay, I have to stop there because my head is
starting to hurt). MathMagic Pro Edition 7 is available now for $499 ($299 for Academic). For
more info, visit www.mathmagic.com.
Create your own

planetary fun
Have you ever wanted to create your very
own planets? Well, now you can with Cosmic
Pack 2 from Digital Heavens. This updated
set of actions has all you need to build your
own 2D worlds in Adobe Photoshopno
brushing required.
Cosmic Pack 2 contains actions for creating planets, planet rings, moons, and gas
giants. It comes with base textures to get
users started and advanced actions for creating planet textures and city lights. And all
textures are now 5,000x5,000 pixels at 300
dpi. The set also includes new star brushes
for creating larger stars, as well as star eld
and nebula images for use as backgrounds.
Cosmic Pack 2 is available now for 19.95
for both Adobe Photoshop and Photoshop
Elements. For more information, visit www
.digitalheavens.co.uk.
And now introducing

more HDR software
Photography is all about lightthe more control you have over the light the better the image
(usually). Oloneo is claiming that PhotoEngine for Windows, their new HDR software, can give
photographers full control over light and exposure in real-time, as if they were still behind
the lens. (Their website says that PhotoEngine is the worlds fastest HDR engine, so were
guessing thats what the real-time reference is all about.) Oloneo then goes on to state that
you can turn on and off light sources and deeply re-expose pictures in full 32-bit per channel
without compromising details and color appearance. (If youd like to see just how true these
claims are, Oloneo is offering PhotoEngine as a beta so you can try it out yourself.)
Once PhotoEngine merges your RAW or JPEG les into a single image, it offers control
over white balance, brightness, temperature, tint, and color for each light source. The high
dynamic re-exposure module includes four tone-mapping engines, auto-exposure correction
with ne-tuning, auto-contrast, and more. It also includes an image noise and grain reduction
tool and a RAW photo-processing module. For more information, visit www.oloneo.com.
DESIGNER SPOTLIGHT]
C H R I S
M A I N
Lee Calderon
was born in Southern California, where he lived, dreamt up designs, and created art,
until moving to colorful Colorado about four years ago. His creative journey began, perhaps like most budding artists, closely surrounded by
a stack of papers and loads of crayons. In fact, even to this day, those he encounters swear he smells like a box of crayonsor, at least, to his
kids anyway. Shortly after studying architecture, Lees passion for Gothic arches and ying buttresses gave way to his undeniable artistic urges
and designful nature. It was also about this time that he swapped out his jars of cobalt blue and cadmium red for pixels and vector art.
Over the years, Lee has created original digital artwork for various venues, such as greeting cards, magazine publications, posters, ad
campaigns, gameboards, childrens picture books, and more. Aside from his artwork, he has created designs for many forms of visual communication, such as logos, brochures, corporate identities, brand designs, ad campaigns, in-store graphics, and how-to books. Lees long list of clients
includes Jose Cuervo International, Hallmark, Fisher-Price, Parents Magazine, and Random House/Tricycle Press.
www.LAYERSMAGAZINE.com
Layers: You earned a Bachelor of Architecture degree from Cal Poly

Pomona in California. What drew you to an education in architecture, and what was it about illustration and design that pulled you
away from architecture after earning a ve-year degree?
Calderon: My father was an architect and I have fond memories of
when I was very young drawing under his drawing table at home,
while he was drawing houses, treesthings like that. I guess it was
a natural progression to eventually go on to study architecture. After
a brief stint working as an architect, I soon felt that my canvas was
not as colorful, conceptual, or creatively challenging as I had hoped.
It was about then that a eld trip to Art Center College of Design in
18
Pasadena, California, changed my life. It was going to be all about art

and design from now on.
Layers: How would you describe your illustrative style? How did
your style evolve? Were you influenced by any famous artists?
Calderon: I love color, patterns, lines, and shapes. I like to think of these
fundamental elements as my palette. When I think about it, I sometimes
feel as though my initial passion for architecture never fully left me. My
work has an architectural sense about itplaying with scale, harmony,
layers, spaces, structure, contrast, balance, energy, and of course, some
random playfulness. Ive come to think of my artwork as a celebration
19
lAYERS MAGAZINE ][ sept / oct 2010
of the architecture of things. I am quite fascinated by the process of

constantly interpreting the things around me, which is probably why one
of my most favorite quotes is one by Pablo Picasso: I do not paint what
I see. I paint what I know.
Layers: Youre currently working on two wall-size graphics for the Loveland Public Library? Have you ever, literally, worked on a project this
large before? What are some of the challenges for creating graphics
that will be output at such a large size?
Calderon: This is the rst time working on something of this physical
size. The main thing to consider is the scale of the various elements
throughout the pieceline weights, focal points, hierarchy, proportionsthings like that. I really hope to continue creating many more
large-scale pieces for public spaces.
Layers: Your website features some of your incredible design work.
Do you prefer illustration to design, or do you like a balance between
the two?
Layers: Which applications do you use for both your illustration

and design work?
Calderon: My artwork is primarily vector-based, so I work in
Adobe Illustrator CS4. Occasionally, Ill mix in some Photoshop
for additional masking, textures, etc. For my design work, I pretty
much stick with InDesign, Illustrator, and Photoshop CS4. As
for CS5, Ive seen some of the promotional videos and am
fully convinced that magic is real.
Calderon: I really do enjoy the balance of both disciplines. I think one

feeds off the other. I just love the challenge and contrast of creatively
balancing structure and freedom in both my artwork and design. I really
think the journey is about getting to know who you are, who youve
always been, listening to your inner voice, and of course, the clients
outer voice.
[CONTACT] Lee Calderon www.leecalderon.com
ALL IMAGES BY LEE CALDERON
the digital canvas
gallery]
showcasing the design work of our readers
www.l ayer smagazine.com
Photography: Beau Rivage Village

] [ Client: Carimo, Real Estate, St. Martin FWI ] [ Photographer: Thierry Dehove ] [ Software: Adobe Lightroom ] [ www.thierrydehove.com
Design: The Reaper ] [ Client: Drawlines ] [ Designer: Nelson Malta ] [ Software: Adobe Photoshop ] [ www.drawlines.net
20
21
l AY E R S M A G A Z I N E ][ s e p t / oc t 2010
Design: Jimi Hendrix

] [ Client: Personal Work ] [ Designer: Tony Merrithew
] [ Software: Adobe Photoshop CS4
] [ www.tonymerrithew.com
Photography: Black Feathers

] [ Photographer: Adam Webster ] [ Designer/Retoucher: Stephanie Hart
] [ Software: Adobe Photoshop CS5
] [ www.awebsterphoto.com & www.stephaniehart.com
The staff at Layers magazine

appreciates the time and effort
involved in the creative process,
no matter how large or small the
project. With this in mind, we offer you the opportunity to display
your work on The Digital Canvas.
Please submit your print, Web,
or packaging design (jpeg or eps
format) to: letters@layersmagazine.com. Please include name of
piece, client name (if applicable),
applications used, and any website where our readers can view
more of your work.
Design: Cultural Industry ] [ Client: Personal Work ] [ Designer: Carol Lantis

] [ Software: Adobe Photoshop CS4 and Adobe Illustrator CS4 ] [ www.virb.com/carollantis
DESIGN MAKEOVER]
J A K E
W I D M A N
client:
Community Arts Center] [www.communityartscenter.net
before
for arts sake
T
he Community Arts Center in Danville, Kentucky, serves the

artistic community from the surrounding Bluegrass region
by providing music and art lessons, exhibiting local and international
artwork, and hosting artist receptions and lectures. We target all
demographics, says Mary Beth Touchstone, the Centers Executive
Director. Our mission is to cultivate and support the arts for the
benet of our community. We teach the fundamentals, and most of
our activities and lessons are free or low cost.
The Arts Centers website was designed about ve years ago by
their Web developer, who just wanted to get something up quickly.
Touchstone and the Center staff like some aspects of the sites functionality, such as the way visitors can download registration forms for
the classes and events right from the homepage. But they wish there
was a Donate button too, since the Center is a nonprot organization
and relies on donations. They also think the site is too plain for an arts
center and has a lot of wasted space on the sides.
The latest marketing brochures from the Center have a more
sophisticated look, with lots of evocative black-and-white photos
and a blue, tan, and black color scheme. Touchstone would like the
website to look more sophisticated as well, but remain engaging.
The brochures are part of a fundraising campaign that gets sent to
the Centers patrons and supporters, for whom an upscale, polished
design is appropriate. But participants in the Centers activities
come from a wider demographic; furthermore, current participants
are mostly families and seniors, and the Center would like to attract
more 20- and 30-somethings, and students from the local college.
The website needs to appeal to all those audiences without putting
off any of them.
We want to be seen as accessible and inviting, says Touchstone.
Were in the central part of a small town, and were the place to go
for all sorts of arts activities. We asked three designers to help the
Center welcome all their constituencies with a revamped homepage.
The website needs to appeal to all those

audiences without putting off any of them.
Jake Widman is a writer and editor who lives in San Francisco. Hes been covering the intersection of computers and graphic design for about 20 years nowsince
back when it was all called desktop publishing.
makeover submissions
Were looking for product packaging or labels, print advertisements, websites, and magazine covers that are currently in the marketplace for
future Design Makeovers. So if you or someone you know has a design that youd like us to consider making over, or if youre a designer
and youd like to be considered for a future Design Makeover, drop us a line at letters@layersmagazine.com.
22
23
after
DESIGNER: Joel Glovier] [http://jagdesignideas.com
o me, the Community Arts Center homepage felt anticlimactic. This organization is doing really great things in the
community and apparently has a rich history behind it, but you
dont get that impression from their site.
I wanted to make the homepage engaging and full of content,
partly because Web industry stats show you really only have a
handful of seconds to make a rst impression with visitors before
they decide to either leave or keep browsing. I gave the header
plenty of breathing room, and this treatment would remain the
same site-wide. Also, reused on every page would be the footer,
which has important info that should appear on the entire site.
The new Featured Content slider could be used with up to ve
or six slides. (The Centers staff says they have the capability of
making slide shows.) Replacing a whole separate link in the navigation for the newsletter is now just a banner on the homepage to
sign up directly. Upcoming Events are big and bold, right under the
main content, and additional images and promotional items also
take a prominent place.
I intentionally restructured the navigation, trying to get each link
down to a single easily recognizable word, removing any unnecessary links. The number one rule in usability is dont make the user
think. So making the meaning of navigation links painfully obvious is
a big help in getting visitors to browse more pages of the site.
Stylistically, I built on aspects of the current design, reusing
key colors and sticking to a style thats relatively minimal. Most
design cues were typography based, and I made use of negative
space. I made some minor tweaks to the logo, using Garamond
Bold both there and in headings throughout the page. I incorporated as much imagery as I couldusing photos from the
Centers new brochuresto make the page feel more personal.
[ A B O U T
T H E
making the meaning of navigation

links painfully obvious is a big
help in getting visitors to browse
more pages of the site.
D E S I G N E R ]
Joel Glovier] [ http://jagdesignideas.com

Joel Glovier is the Web and graphic designer at CURE International (www.helpcurenow.org), where hes
been diligently working on a complete redesign of their website for several months. CURE is a nonprot
charity that provides surgery to disabled children in developing countries.
Joel also runs a freelance business, JAG Design Ideas, doing design work for mostly nonprot clients.
Hes been doing freelance design since graduating from Liberty University in 2004 with a degree in
communications. Although being a designer and quite visual by nature, he has come to greatly appreciate the balance that
coding HTML and CSS brings to his work. He feels theres something really energizing about building something he designed.
Joel says his driving focus in life is knowing Jesus Christ and doing all things to bring Him glory. He also enjoys breakdancing, skateboarding, his better half (Ashley), the Pittsburgh Steelers, and most recently, Iron Man 2.
APPLICATION USED: Adobe Photoshop CS4

[ des i gn make ov e r ]
after
DESIGNER: Chris Anderson

www.chrisanderson-designs.ca
he rst thing that came to mind when I viewed the Community

Arts Center website was that it was stark white and clinical looking. My objective was to ensure that the end user quickly recognized
that the Community Arts Center was a warm, fun, and accessible local
community environment.
I started with a small gallery of six expressive black-and-white photos taken from the brochures, showcasing a variety of artistic activities
enjoyed by all ages. I also added a secondary slide show using photos
already on the site for a quick look at all the activities and events.
For the Community Arts Center brand, I chose the Adobe serif
typeface Trajan Pro, which is popular for movie posters, book covers,
and branding. Its known for its stability and subtle sense of excitement.
It was important to keep consistency throughout the site. To do
this, I rst chose to use the humanist sans-serif typeface Trebuchet
MS for its bold, classy strength, and ease on the eyes. Its also a
standard for Web browsers going back as far as Internet Explorer 4.
Second, I added a bright red title banner wrapped around the topleft corner of each section.
With bluegrass music in mind, I used a soft woodgrain paneling
to span the background. I delineated each section using two shades
of red to help organize and prioritize the content. For a nice contrast,
I used gold for the gallery borders and for the navigational typeface.
These choices result in simple and clear navigation, with the primary
content (the main links and feature events) split across the top and
bottom of the header, and the secondary content in the footer in a
two-column stacked sitemap.
My objective was to ensure that the end user quickly recognized that the Community
Arts Center was a warm, fun, and accessible local community environment.
[ A B O U T
T H E
D E S I G N E R ]
Chris Anderson ] [ www.chrisanderson-designs.ca

Chris Anderson was born and raised in the heart of Muskoka cottage country in Ontario, Canada. From a
young age, Chris enjoyed illustrating anything and everything. This passion was carried onto the screen
using early visual manipulation programs such as LightWave, Modular, CorelDRAW, FreeHand, and then
moving quickly into everything Adobe.
After graduating from Cambrian College through the Arts and Technology Graphic Design program,
Chris spent time enjoying something else that he loves: working as an outdoor adventure instructor and guide leading whitewater canoe trips in and around Ontario and Quebec. Shortly thereafter, he joined an in-house design team in Toronto, but
looking for more design freedom and exibility, Chris decided to start his own design business. For the past two years he has
had the pleasure of working with all aspects of the design process from website design and development, custom management frameworks, and eLearning modules to branding, photography, illustration, company stationery, etc.
24
continued on p. 26
[ des i gn make ov e r ]
after
DESIGNER: Anita L. Elder

www.lolaludesign.com
y rst goals in redesigning the Danville Community Arts

Centers website were to create a site that was easy to
navigate and to showcase what the organization offers. I also wanted
to reinforce the brand message by coordinating it with the newly created
brochure and rack cards, in both color and the use of the Scriptina font.
I moved the main navigation near the top of the page so viewers
could easily nd it, and changed the background color of the relevant
tab on the navigation bar so they would know where they are within the
site. Because donations are critical to the Center, I included a call to
action, as well as easy navigation for site visitors wishing to offer other
kinds of support.
The Center hosts a variety of art events and activities, and many of
those images are in the main photo (which could be a slide show). The
organization is housed in a lovely old building easily recognized by
the local population, and I incorporated its image into the background,
where its visible but doesnt dominate the page. For site visitors not
familiar with the center or its location, I included the address and phone
number in the header where its easily found. I set the Centers name in
the classic California FB.
The Center staff edits the featured events list weekly, so the
process needs to be user-friendly; I stuck with a similar bulleted list
in the right sidebar. For the list and the body copy, I used Segoe UI,
familiar to any Windows user.
The homepages content concludes with larger text to emphasize that many of the Centers events are free. In addition to
the Facebook icon they currently use on their site, I added other
social media icons and recommended they use those services to
help promote the Center.
[ A B O U T
T H E
The organization is housed in a lovely

old building easily recognized by the
local population, and I incorporated
its image into the background
D E S I G N E R ]
Anita L. Elder] [ www.lolaludesign.com

Anita has spent the past fourteen years living in the Seattle area. She has always had creative tendencies
and started designing websites as a hobby in 1995. In 2000, Anita went back to school, receiving an AAS
in Multimedia Design and Production and a Bachelor of Fine Arts in Visual Communications. She worked
for Vulcan Inc. and the Seattle Times before venturing out as a successful freelance designer. Design
projects arent just a job, theyre her passion.
When not creating Web and print designs on the computer, Anita enjoys photography, cooking, and
traveling the world. She also volunteers her time teaching English as a second language to women refugees, answering phones
during KUOW public radio pledge drives, and doing pro bono print design for nonprot organizations.
Anita lives with her husband William and two cats, Rico and Lola.
26
t h e d i g i t a l s t u dio
ARTISTIC EXPRESSIONS]
B E R T
M O N R O Y
align layers
Ever have one of those times with your spouse or
friend where youd love to have a shot of the two
of you but theres no one around to take the shot,
and no place to set the camera for a timed exposure? My wife and I came across this very situation while visiting a
little town in Germany a while ago. It was early in the morning, so no
one was around to help us. The area in front of where we wanted to
be photographed was a large plaza and I didnt have a tripod at the
time. We wanted the whole scene, so one of those hold the camera
at arms length kind of shots wasnt going to work. With a little careful planning, and a few tricks in Photoshop, the problem was solved.
The planning part involves setting up the shot so things will
I M A GE S: I STO C K PH OTO I LLU STR ATI O N : TA F F Y C LI F F O R D
work once you make the composite. The Photoshop part comes
in with the use of align layers, a layer mask, and, if needed, a little
retouching. Heres a shot I took of my wife, Zosia, standing in front of
a quaint little hotel. To take the shot, I stood at a specic spot that
I marked on the ground, and then I took a shot of her. She then
came and stood on the exact same spot to take the shot of me. My
position was slightly to the left of where she was standing in front of
the hotel. We now had two separate shotsso much for the photography and planning stage. Not much work, just a little attention to
detail. Now comes the Photoshop part.
[I love telling people that

if you can imagine it, you
can create it in Photoshop.]
28
STEP ONE: In Photoshop, choose File>Open, navigate to the two

shots you wish to align together, and click Open. Select the Move
tool (V), press-and-hold the Shift key, and drag-and-drop one le
directly onto the other. (Using the Shift key ensures the photos are
centered.) The shot thats copied onto the other shot will be converted into a layer (Layer 1) while the Background layer will contain
the rst shot placed in Photoshop.
29
STEP FIVE: Once the mask is complete, the two images will work as
and choose Edit>Auto-Align Layers. In the Auto-Align Layers

dialog, choose any of the six methods for Projection that you think
will work best for your images. We put our trust in Photoshop and
chose Auto. After making your selection, click OK. Note: After clicking OK, the Background layer will automatically be converted into
a layer called Layer 0. To make things easy, name the two layers to
avoid any confusion that might arise while editing.
one. As mentioned at the beginning of this column, there might be

a need for some retouching. In the case of the image used for this
tutorial, there was a little retouching to be done. As you see here,
my legs are behind Zosias but they appear to be fully exposed to
the light in the scene. Based on the direction of the light source, she
should be casting a shadow over me.
STEP THREE: Unless the two people taking the shots hold the camera
in the exact, same position (my wife and I were in the same spot, but
we must have shifted a little), there will be a shift in the nal result.
Doing a simple crop with the Crop tool (C) will x any unwanted
edge artifacts. Press Return (PC: Enter) to commit the crop.
STEP FOUR: Now comes the fun part. Select the topmost layer in
the Layers panel and go to Layer>Layer Mask>Reveal All. A white
layer mask will be applied to the top layer. Then select the Brush
tool (B) and press D then X to set the Foreground color to black.
Start painting where your missing subject is supposed to be, and
youll start to see it appear where the mask is being painted. Zoom
in to really see the mask.
The beauty of doing this type of compositing through a mask is

that if you dont get it perfectly the way you want, all you need to
do is press X to switch the Foreground color to white and paint to
restore the unwanted masked areas.
We selected the bottom layer that contained the image of me

standing and selected the Burn tool (nested beneath the Dodge
tool [O]). With a soft-edged brush, we passed the tool over the
edges that fell directly behind my wifes gure to add the necessary
shadows to complete the scene.
The result is the two of us standing together in one shot that we

could then show all our friends. I love telling people that if you
can imagine it, you can create it in Photoshop. No matter what the
imaging problem, somewhere in Photoshop youll nd the answer.
Its a matter of understanding how the tools work. That understanding comes from sitting there and playing with Photoshop. Have fun,
and play to your hearts content.
Bert Monroy is considered one of the pioneers of digital art. His work has been seen in many magazines and scores of books. He has served on the faculty of many well-known
institutions, written many books, and appeared on hundreds of TV shows around the world.
ALL IMAGES BY BERT MONROY UNLESS OTHERWISE NOTED
STEP TWO: Shift-click each layer in the Layers panel to select them
UCA
ACH
DM
FRE
MIKE
D. NEAL
CAM
PAU
HETTINGE
AMPAU
MIKE C
31
The Dos and Donts

of Portfolio Presentations
D. Neal Hettinger
is the Creative Director for Century, LLC in Oklahoma City. Neal

tries to schedule one hour a week to review rsums and portfolios of potential full-time and freelance designers and photographers. His 16-member team creates and designs the branding, packaging, advertising, catalogs, and Web landing pages for UFC equipment, TapouT equipment, adidas
boxing equipment, Century Martial Arts, and maSuccess magazine. They also use a few freelancers
to help out with the workload.
Mike Campau is the Creative Director of SeventhStreet, a small studio in Birmingham, Michigan, that uses retouching and CGI to create dynamic imagery for the advertising community. He oversees
all creative production and marketing for the studio and one of his duties as Creative Director is to interview talent and hire new artists for full-time or freelance positions. Most of Mikes time is usually spent in
production but he tries to take a break at least once a day to review portfolios and online showcases.
Fred Machuca
is the Art Director for the In-House Advertising/Art Department at Skechers

Footwear located in Manhattan Beach, California. This department consists of a talented and diverse
group of designers. Together as a department, they create the diverse product range that consumers
are so excited about worldwide. As an Art Director, Fred oversees the creative process in action and
keeps the Skechers vision on track.
Images: iStockphoto.com Layout Design: Taffy Clifford
D. Neal T
Hettinger
Creative Director, Century, LLC
Neal Hettinger is the Creative Director at Century, LLC. Previously, he was the Vice President,
Creative at The Lead Pencil, an advertising design studio in Los Angeles. A few of his clients
were Nissan Motors, Universal Pictures, Technicolor, and YMI Jeans. Prior to The Lead Pencil,
he worked at ad agencies in Nashville and Birmingham. He earned his Master of Arts degree
in Advertising and Bachelor of Arts in Graphic Arts at the University of Alabama.
32
he rst step in submitting a portfolio is when designers send a rsum and samples in response to an ad or
after theyve made a cold call to a prospective employer.
At this point, a prospective employer will make the decision to
either look at more of the designers portfolio or le it.
In this crucial stage, designers shouldnt send in a plain
rsum; they need to show their knowledge of fonts, ability
to communicate, and layout skills. Unlike other professions,
this is the rst piece in your portfolio. You need to design the
rsum but dont overwork the layout so that its busy. Most
importantly, make sure there are no spelling mistakes in any
of your written correspondences and rsum. With spellcheck
available, typographical errors will portray you as careless.
33
The next pieces of your portfolio are the examples. When narrowing down your designs, keep in mind what the employer
has requested. Try to send pieces that are related to what
they want and also submit your favorite piece and a design
that others have told you is good.
Your full portfolio should start off strong, followed by work
that relates to the potential job, followed by designs that will
show you have other abilities and talents. Finally, nish with
your strongest piece. Leave your portfolio open to that piece
while you speak to the interviewers. You need to make sure
they remember your face and at least one design in your
portfolio when they make the nal decision.
Avoid these mistakes

An art director usually receives design portfolios from three
types of applicants: an artist just out of school, which may
include a little freelance work; a designer who has been
working for three to five years; and someone with more
than ve years experience. While all of these portfolios will
contain different types of work, the designers should try to
stay away from these common mistakes:
Leading off with personal designs, such as birthday party
invitations, club yers, and birth announcements
Poorly printed or worn samples
Numerous photographs of paintings
Numerous letterheads (unless thats what the ad is for)
More than 23 pieces if you have a lot of experience, and
11 pieces should be enough if youre just out of school
Bringing in a portfolio thats large in size
Accepting a cup of something to drink that may spill
Having nothing in the portfolio that remotely relates to
the position for which youre interviewing
Apologizing for the appearance of your portfolioyou
shouldnt be showing it if its not ready.
While these suggestions may seem obvious, youd be surprised how many portfolios and interviews Ive sat through
where designers didnt think about how they were presenting themselves or their portfolios. Every designer needs to
approach the interview as a project. The pieces should be
chosen carefully for that employer.
The leave-behind
The last stage of your portfolio is what you leave with the art
director. A number of schools have their students create books
with their designs that can be given to the art director. This
extra effort will put them ahead of someone with similar experience and portfolio level who only leaves a rsum.
Just because you have 15 years experience doesnt
mean you shouldnt leave behind something reminding
them of your work. In Los Angeles, an ad for a graphic
designer will bring around 600750 responses. After
art directors look at those rsums and then a number

of portfolios, the interviews become a blur. Help them
remember you and your designs by leaving something
that represents your portfolio.
Communication and creativity rule

A few years ago, we were looking for a designer with
ve years experience. Of course, we received a lot of
student rsums with three years of freelance. We were
undecided about the samples and lack of experience
of one artist but we included her in our interviews. She
communicated well with the art director and me, but what
we remembered was her leave-behind. The designer
gave us a handmade 3D brochure that showed a few of
her design projects but when you opened it, the center
top area popped up with her name and contact info.
That designer got the position even though she didnt
have the experience we wanted. The art director and I felt
she would bring a good work ethic and spark of creativity
to our agency. We were correct.
Be sure to
When designers look for work in large cities such as New

York, they may just drop off their portfolios and only interview if theres a call back. In other cities, artists may present
their portfolios. Designers need to be prepared for both
circumstances and follow these suggestions for a good
portfolio presentation:
Keep it clean and simple
Have a logical ow to your examples and group the pieces
so the art director can follow along easilydont show a
letterhead, then an ad, then two webpages, then another
letterhead, and then another ad
Rehearse your presentationthink of the questions youll
be asked
Have a number of portfolios, each geared toward different industries
If you think you have too many pieces, you do
If you have collaborative pieces, acknowledge them so you
can show youre a team player and willing to accept direction
If the interviewers seem interested in a project, talk
about ittell them the software you used, what the
client was like, how the piece exceeded expectations
If you have 3D designs, bring one or two to the interview
Be very critical of the pieces you choosethe prospective employer will.
A designers portfolio is a representation of his or her personality, abilities, and talent. Art directors will try to gure
out if the applicant can design, work with their team, bring
a new creative approach, and meet deadlines. A portfolio is
your one shot to show you can do the job. Dont choose the
designs you lovechoose the designs a client will love.
ALL IMAGES BY D. NEAL HETTINGER
What to include?
Mike
Campau
Creative Director, SevethStreet
Mike Campau has a background in graphic design and scientic illustration from the University of Michigan, and has been creating effective marketing imagery, through creative
retouching and CGI for more than 15 years. Mike lives in Commerce Township, Michigan,
with his wife, Krista, and 5 kids: Emmalyn, Nathan, Ansley, Tessa, and Cassidy.
34
35
but dont be afraid to get involved. The more good exposure

and activity behind your name shows that youre involved and
up to date with new media.
Beauty and the book

Sloppy presentation
Just like showing up to an interview in a T-shirt and jeans, a
poorly put together portfolio could cost you a job. Your portfolio should portray your personality, your professionalism,
and most of all your creativity. Bad laser prints in an ofce
supply store binder dont do your work justice. Get some
quality inkjet prints or even digital proofs; with the low print
prices these days, theres no excuse for poor print quality.
And just like you, dress it up in a nice outt. A quality book or
even a handmade case will start you off on the right foot.
Filler images
Dont try to ll your portfolio to make it look big. Your best
pieces should make your book and if you arent completely
excited to show it, it probably shouldnt be in there. One
subpar piece can leave questions about your ability and
can take away from your strong pieces. If youre young
and dont have quite the arsenal to select from, you still
shouldnt leave a bad impression with a mediocre piece.
Instead, show some of the process behind your better
pieces. This will not only add some size to your book, but
also give some great insight on your creative process and
problem-solving capabilities.
What do you do?

Jack of all trades, master of nonedont try to show everything
to everyone. If youre applying for a designer position, dont ll
your portfolio with photography. Its good to show that youre a
well-rounded artists, but keep the supporting pieces to a minimum or, better yet, separate your book into sections so that
the interviewer can look over what he or she is interested in.
In the end it really is about the work, so dont let your

portfolio case outshine your work or, even worse, distract the
viewer as he or she is trying to view your samples. An elaborate, overly complicated portfolio can be a real turn-off:
hard to turn the pages, binding that bends the prints, or just
awkward to handle.
Words and pictures

Were all visual people, but sometimes its nice to know the
story behind the images. Who was it for? How long of a timeline was there? What was your role in the image? Just leaving
images on a blank page with no information can leave one
with more questions than answers.
Going digital
If youre a digital artist or Web designer, an online portfolio is
a must. For online portfolios, dont get too clever for your own
good. Use common user interface practices and make it easy
and quick for someone to look through your work. Leave the
complicated scripting and magic in your samples. If people
have a hard time sifting through your work, theyre more likely
to move on to the next site. And just because you live in a digital world, theres something to be said for ink on paper and it
might be a good idea to put together a physical book to have
with you just in case.
Hooked
Online and on point
Some of the best portfolios that Ive seen over the years have
been handmade pieces of art: custom-wrapped boxes, jewelry
posts, hand-bound leather, and letter-pressed type, all very
tastefully done to give a great rst impression. But again, they
didnt get the job because of the portfolio alone, they still had
to have great work. But it did show they felt their work was
worthy of a case built with care and the overall design gave a
little bit of insight into their personality. No matter what you do
for your portfolio, buy it, make it, borrow it, just make sure it
represents your style and enhances your work.
One example of this was a portfolio book that concentrated
on shing and outdoor photography. The book cover was thin
leather bound by y shing line; all the photo prints were put
on the pages with antique photo corners; and the paper stock
was a thick, heavy, textured paper that really tied into the subject matter. This is a perfect example of how to enhance your
work and show a little bit of your personality.
This has less to do with your actual portfolio and more about
you as a brand. Make sure everything online represents who
you are and the type of work that you do. Yes, an online portfolio is a must these days, but so is what shows up in a Google
search. Guaranteed, if youre in the running for a position,
youre getting Googled. So always be careful what you post,
Finally, dont sweat the portfolio too much. Youre better

served to put your time and effort into improving yourself as a
designer and artist. Just keep it clean, personal, and put your
best work forward and you should be in good shape for your
next interview.
Disc, drive, disaster

Make it easy; otherwise, your portfolio might not get looked
at. Sending a disc or ash drive with a cover letter is more than
likely to get tossed because even the little effort of inserting a
disc is too much for some people. Plus, some places are a little
hesitant about inserting media into their computers for fear of
viruses and malicious intent. A better plan is to send a sampling
of your work along with a link to an online portfolio, then follow
up with an email that includes the link. That way its an easy and
safe click for your contact to nd out a little more about you.
ALL IMAGES BY MIKE CAMPAU
ouve submitted your portfolio and are waiting for that

call back, but you made some critical mistakes that will
leave you waiting. Hopefully, we can correct them and
help you get that position.
D
fred
machuca
ue to our success and tremendous growth in the marketplace, Im consistently meeting with new designers.
Lately, Ive been meeting with new designers anywhere
from ve to six times a week. I make sure that I take the time to
meet, discuss, and explain the vision we have here at Skechers.
After I meet with everyone, I put together the big picture of
which designer can adjust and adapt best to our world.
Art Director, Skechers Footwear

In-House Advertising/Art Department
Fred Machuca earned a BFA in Visual Communications, Graphic Design, and Advertising
from Cal State University, Long Beach, California, in 1992. Due to his interest in fashion
and sports (surf and skate), he began freelancing for Quiksilver, Billabong, and Mossimo.
Then he began working for skate and street wear brands, such as Freshjive, JNCO Jeans,
Vans, and Rusty. For the past eight years, he has worked for Skechers Footwear in Manhattan Beach, California, as Art Director for the In-House Advertising/Art Department.
The rsum
One major mistake that designers can make is the presentation and vision of their rsum. In the world of design, a
rsum is just as important as a portfolio because its the rst
impression. Often, Im handed a rsum before even having
a chance to review a designers portfolio. I then ask myself,
How much does this individual really care about design?
A creative person who lives and breathes design shouldnt
be handing out a rsum that was typed in Word using
default settings. That only shows me that he or she can
convey a message thats similar to an IRS form.
The rsum is an opportunity to show what you can do in
a tasteful manner. It needs to showcase your design skills by
adding visual elements, using a grid, playing with typography,
color choices, and so on; however, overdesigned rsums can
also be overlooked. In other words, whats most important is
to present your information with a solid layout and font choice
that will allow you to show your personal design style. Printing
on a stock that has a little weight and color tint is a nice touch.
What kind of portfolio?

The physical portfolio is another key component that can go
wrong, and the worst kind is a heavy, briefcase-style portfolio.
The portfolio should be clean, simple, and easy to maneuver.
Too much work in a portfolio is a common mistake. Most art
directors are pressed for time and dont want to feel obligated
to look through a 50-plus page book, especially if the work
isnt hitting the mark. A portfolio should only include the best
work and be closely related to the type of work that a client or
employer does and wants while showing that youre a versatile
and well-balanced designer. I only want to spend extra time
with a designer on my terms.
Keep it organized
36
Before an interview, you should look over your book and

keep it neat, clean, and organized. Opening a book with
loose artwork thats piled together randomly or missing
sleeved pages will only make the viewer question your attention to detail or how serious youre taking the interview. In
addition, when you have a portfolio with plastic sleeves, its
very important to make sure you dont see any smudges or
ngerprints, for obvious reasons.
Beware of conceptual/student work

Its important not to have too much conceptual work, especially if its only student work. An experienced designer
shouldnt have any past student work, no matter how good
37
The best portfolios have a variety of design and execution,

such as layout, typography, logos, and imagery. Not only do
I get the sense of talent, but the condence from the individual when seeing diversity in what he or she can do.
Viva variety
Keep it simple
When showing your portfolio of work to an employer, its

important to show a variety in both your style and the types
of projects youve created. Even though you may have a great
design style, it can really come across as limited in your creative thought process. For example, pushing a certain style is
better suited for an illustrator or a photographer. Even among
the pieces that focus on a specic area, offer a portfolio mix
that shows your skills working with photos, primarily text layouts, full-color work, modern, classic, cutting-edge styles, etc.
Outdated work is a negative because its just not relevant.
I think this is something that senior-level designers should really
be aware of because theres so much new talent out there.
Staying modern is extremely crucial. With older-looking pieces,
Ive found myself assuming this person will not be able to
produce fresh ideas.
Keeping your portfolio simple with a limited amount of

pages is important. You may have extra work that is relevant
but might just be too much for one book. There will be times
when I really get into a designers work and Im interested to
look at more. There have been times Ive asked designers to
bring smaller side books or a box of actual pieces that have
really added to the main portfolio. I have a personal mini
portfolio showcasing all my logos thats easy to go through.
Printed work can really add specialty nishes because
it shows great attention to detail. When designers show
physical pieces it takes things up a notch. The best way to
do this is to have the piece mounted to a board, but if its
something more substantial such as a booklet or folded
piece, its best to keep it separate. Having those pieces in a
box or some kind of sleeve that matches the main portfolio
is impressive.
No cheating
I tend to stay away from online portfolios except to get a
quick peek before I meet with a designer. The face-to-face
with a portfolio is what really matters. Not long ago, I met
with a designer who pulled out his 15" laptop and began
showing me his portfolio. I realized it was the same exact PDF
le he emailed me right before we met. I felt cheated and was
expecting more of a reason to meet with other than to see
what he looked like. At this point in time, viewing a designers
portfolio from a computer screen when meeting face to face
should only apply to Web designers.
Highlight your skills

Even though having too much conceptual or personal
work can ruin a portfolio, just a few pieces are a great way
to improve your book. This can help show what you can
do when given full creative freedom. I believe the best
pieces are those that highlight your skills in Photoshop and
Illustrator. When designers point out these pieces, it gives
me a chance to start a conversation about their abilities and
interests regarding their designs.
Chronological order rules

The portfolio
The portfolio itself should be clean and contemporary. Black
is classic but keep it neutral in color. Ive seen many custom
portfolios with covers made of metal or wood. I remember
one designer who made furniture as a hobby and created a
nice wooden case to contain his work. Something like this
makes it exciting to see what is inside.
Another positive thing to see in a portfolio is mounted
work. Unmatted work is impressive because the individual
pieces arent bound together and can easily be picked up
and looked at individually. This makes it possible to really
focus and concentrate on detail of the individual piece.
Tailored FIT
Its a smart idea to tailor your portfolio for each position youre
applying for. You might need to take out, rearrange, or even
add pieces that you feel will hit the mark for that studio or
business. For example, focus on advertising design pieces for
an advertising department. When a designers portfolio ts
our style, I think to myself that this person has done his or her
research and really wants to be here.
Organizing your work and how it ows is really important

but in my opinion theres no right way to do this except the
usual suggestion of showing one of your best pieces rst
and nishing off with an equally strong piece. I get a better
sense of the designer and his or her background experience
when the work is organized in somewhat of a chronological order, grouped by place of business or work history. For
example, a senior-level designer put his book together this
way and it gave me a clear understanding of what he was
capable of doing.
The book wins

One of the most creative portfolios Ive seen was one where
the designer printed his work on a high-quality stock and
bound it as a book with a custom but simple cover. Each
spread had the work on the right page and two lines of
copy about the work centered on the left page. The work
consisted of booklets, posters, music, art, logos, and type
treatments. I enjoyed it because I got a strong sense of
creative design from the various visual treatments, as well as
a good understanding of his capabilities on the computer.
ALL IMAGES BY FRED MACHUCA
it might be. If the designer just recently graduated, student

work is obviously necessary. However, this is why an internship
during school is important. It can really give you the advantage
over someone whos just out of school and had no internship.
By Jacob Cass
How to avoid common

logo design mistakes
One of the easiest ways to distinguish a company is by having
a unique and memorable logo; however, creating a unique
and memorable logo is not as easy as it sounds. Here are 12
common logo design mistakes that amateur logo designers
often fall victim to.
39
Typography in logo design can make or break a design, so

its vital you know your typographic ABCs. A logo should be
kept as simple as possible while still portraying the intended
message, and for this to happen, one must consider all typographic aspects of the design.
Dont use too many fonts or weights (two maximum). Dont
use predictable, crazy, or ultrathin fonts. Pay close attention
to kerning, spacing, and sizing and most importantly, ensure
youve chosen the right font(s) for the project at hand.
Take note how this logo uses just one font family but with different styling. The italic letterforms convey speed while the bold emphasizes the
ease of the service.
Poor font choice

As touched on above, when it comes to creating a logo,
choosing the right font can make or break a design. Font
choice can often take as long as the creation of the logo mark
itself and it should not be done briskly.
Spend time researching all the various fonts that could
be used for the project, narrow them down further, and then
see how each one gels with the logo mark. Dont be afraid to
purchase a font, modify one, or create your own. Also, keep in
mind how the logos font could be used across the rest of the
brand identity in conjunction with other fonts and imagery.
All fonts have their own personality, so you should choose the right font
personality for the job at hand. The font chosen in this logo is much
more serious than, say, a hand-drawn font, which would convey very
different attributes.
Too complex, too abstract

Simple logos are more memorable as they allow for easier
recognition; however, for a logo to be memorable and stand
apart from the crowd, it must have something unique about it,
without being too overdrawn. Not only does simplicity make
a logo more memorable, but it also makes the logo more versatile, meaning it can work over more mediums. For example,
a logo should work on something the size of a postage stamp
and on something as large as a billboard. Dont make your
logo too abstract either.
Although this logo has gradients and color, if we took away these effects
it still has a strong form and concept.
Relying on special effects or color
Settling for a monogram
If a logo requires color or special effects to make it a strong

logo, its not a strong logo. To get around this, work in black
and white first and then add the special effects or color
later. This allows you to focus on the shape and concept
rather than the special effects. Dont use drop shadows,
embossing, or other layer styles to gloss up logosa good
logo will stand on its own.
One of the more common mistakes of the amateur logo

designer is trying to create a monogram out of the business
initials (e.g., Bobs Hardware would become a logo made
out of B and H). Although this sounds like a smart solution
at rst, its rather difcult to build credibility or convey an
intended message with just the initials of a company. You can
certainly explore this route, but dont settle on it unless you
can create an original, creative, and memorable solution that
reects the business goals.
Also, try not to shorten a business name into acronyms
until it has been around for a while. HP, FedEx, IBM, and GM
never started out as acronymsthey became this way after
many years of high-prole exposure.
Using raster images

A logo should be designed in a vector graphics program such
as Adobe Illustrator to ensure that the nal logo can be scaled
to any size, enabling the logo to be applied easily to other
media. A vector graphic is made up of mathematically precise
points, which ensures visual consistency across all mediums
and sizes. A raster image (made out of pixels, such as what
you would nd in Photoshop) cant be scaled to any size,
which means at large sizes, the logo would be unusable.
Using visual clichs

Light bulbs for creativity, speech bubbles for discussion, lightning strikes for electricity, swooshes for dynamism, etc. These
Typographic Chaos
ideas are often the rst things to pop into ones head when
brainstorming, and for the same reason should be the rst
ideas discarded. How is your design going to be unique when
so many other logos feature the same idea? Stay clear of these
visual clichs and come up with an original idea and design.
*op`ing stealing
or Iorro^ing design
Its sad that this has to be said, but its an all-too-common practice these days. A designer sees an idea that he likes, does a
quick mirror, color swap, or word change, and then calls the
idea his own. Not only is this unethical, illegal, and downright
stupid but youre also going to get caught sooner or later. Do
not use stock or clip art eitherthe point of a logo is to be
unique and original.
A pencil on its own would be a visual clich for any illustrator or designer;
however, if you use a clich in a creative and unique way, then your logo will
be much more memorable. Have a look for the hidden J, C, and D in the
logo shown here.
.etting too TucO client input

A client is paying you as a professional designer to come up
with a relevant design, so you should direct the client to the
best possible solution. The best way to do this is to offer your
expertise, not by letting them direct the project (entirely). If a
client asks for a misinformed change, explain why it may not
be such a good idea and offer a better alternative. If they still
refuse, try sending your own design decisions as well as their
design suggestions. They will often realize that their suggestions may not have been the best; however, you as a designer
should also realize that youre not always right, so try giving the
clients suggestions a gowho knows where it will lead.
7roviding too Tan` concepts

Loosely linked to the above point is providing the client with
too many options. This again means the client will have too
much say over the design direction of the project. If you
provide 10 concepts to a client, more often than not they will
choose what you consider the worst design. A good rule of
thumb is to only send one to three concepts that you personally could see working for their business. Of course, the number
of concepts you send can change from project to project, but
once you feel condent enough as a designer, these one to
three concepts should nail the project on the head every time.
Not cleaning up logo les

Logo les should be one of the cleanest les you ever deliver
a client. Node points should be kept to a minimum; curves
should be as smooth as possible and without overlap. Shapes
should be combined, and if your logo is symmetrical, it should
be perfectly symmetrical. Everything about the delivered
le should be perfect and as minimal as possible. Imagine if
the client needs to blow up the logo to put on the side of a
truck. If the logo has any mistakes, these will now be clearly
visible. Make it perfect.
40
Take note of the wave hidden in this logo design. As an example of cleaning
up les, this wave would have to be knocked out of the letters W and A
rather than simply having a white wave shape sitting on top of the letterforms.
Not delivering correct les to client

Delivering the right les to your client is one way to ensure
that your client never comes back asking for revisions or
different versions of a logo. It also ensures that the logo gets
displayed correctly in all circumstances, which should be
supported by a style guide.
You should give your client four high-quality les per logo
variationthis means providing a spot-color le, a pure CMYK
(no spot colors), a pure black le, and a pure white (knockout)
le. These should generally be in EPS, TIFF, and JPEG formats.
You can provide a favicon too, if youre feeling nice.
Hopefully, these ideas will help you build better logos and
deliver happier clients. Its important, however, to state that
although lists such as this are a good starting point, they
should not hold you backrules are made to be broken.
LEE CALDERON
[DIGITAL
PHOTOGRAPHY TUTORIAL]
S E N {
} D U G G A N
HDR Pro in Photoshop CS5

The new HDR Pro features in CS5 have greatly expanded the HDR capabilities in Photoshop. In addition to basic
exposure blending, you can now apply tone mapping effects similar to those found in stand-alone HDR software.
Well use a landscape image to take a closer look at HDR Pro, as well as apply HDR Toning to a single image.
[shooting for HDR]
f/11, 1/200
f/11, 1/400
f/11, 1/800
[HDR OVERVIEW]
42
[TRIPOD/AUTO EXPOSURE BRACKETING]
If youre new to High Dynamic Range (HDR), heres a quick overview:
Using a tripod will ensure the shots line up perfectly, but in some
The process makes use of multiple shots of the same scene exposed
cases you can carefully handhold the camera (or stabilize it by other
differently to cover the entire range of brightness in a scene. Its particu-
means) and use the Auto Exposure Bracketing mode (AEB) to quickly
larly useful for high-contrast scenes where you cant capture the entire
capture a range of shots at a specied exposure difference (the illus-
brightness range in a single exposure. Multiple shots should ideally be
tration here shows a one stop range on a Canon EOS 5D). Check
exposed one stop apart with the aperture consistent for each exposure.
your cameras manual for information on AEB. To get the most ben-
Use as many shots as needed to cover the contrast range (37 shots is
et from HDR Pro (or any HDR software), shoot in RAW to capture
common, but some situations may require more).
as much tonal information as possible.
[If youd like to download the images used in this tutorial to practice these techniques, visit www.layersmagazine.com and navigate to the Magazine section. All files are for personal use only.]
43
[HDR preight check]
[PRE-HDR ADJUSTMENTS TO RAW FILES]
[FIXING CHROMATIC ABERRATION]
Before beginning the HDR Pro process, open all the RAW les in
Identifying chromatic aberration is the rst step to xing it, and for-
Camera Raw or Lightroom and check for anything that needs xing.
tunately, xing it is pretty easy. Go to the Lens Corrections controls
This can include simple things such as white balance and dust spot-
in either Camera Raw 6 or Lightroom 3 and use the Fix Red/Cyan
ting, to more stealth issues like chromatic aberration. To check for
Fringe slider (its just called Red/Cyan in Lightroom) to remove the
the latter, zoom in to at least 100% and scroll to the outer edges of
problem. If youre unsure of which way to move the slider, just move
the image. Look for the telltale red and cyan fringing along high-con-
it drastically one way or the other and youll soon know which is the
trast edges. The image here does have chromatic aberration that can
correct direction (here, we moved it to 25).
be seen along the rooftops on either side of the image.
Synchronizing settings in Camera Raw
[using HDR Pro]
Synchronizing settings in Lightroom
[SYNCHRONIZING SETTINGS]
[GETTING IMAGES INTO HDR PRO]
Once youve made the changes to one le, you can apply the same
When youre ready to dive into HDR Pro, you can do so from Bridge
settings to the other les in the HDR sequence. In Camera Raw, click
by Command-clicking (PC: Ctrl-clicking) each thumbnail from the HDR
the Select All button at the top left and then click the Synchronize
sequence to select them and going to Tools>Photoshop>Merge to
button. In the Synchronize dialog click OK, and then click the Save
HDR Pro. You can also do the same thing using the Mini Bridge panel
Images button. Click the Done button to leave Camera Raw. In Light-
(File>Browse in Mini Bridge) in Photoshop CS5. The basic procedure
room, select the le you just adjusted and then Command-click (PC:
is the same: select each thumbnail you want to work with, click on the
Ctrl-click) on the others in the Filmstrip to select them. Click the Sync
Tools icon (rectangle with arrow), and choose Photoshop>Merge to
button in the lower-right corner of the Develop module and in the
HDR Pro. If working in Lightroom 3, select each thumbnail and choose
Synchronize Settings dialog, click Synchronize.
Photo>Edit In>Merge to HDR Pro in Photoshop.
[MERGE TO HDR PRO PRESETS]
[CHOOSE A STARTING PRESET]
Once the Merge to HDR Pro dialog appears, youll see the source
Set the Preset to Photorealistic. Though fairly unremarkable, its a
image thumbnails arranged below an initial preview of the merged
good place to start. In the two Mode drop-down menus, 16 Bit and
image. Before we get into the controls in detail, open the Preset drop-
Local Adaptation should be selected (if you select 32 Bit, the dialog
down menu and take some of these settings for a test drive. Most of
will look like earlier versions of Merge to HDR; you dont have all the
these are pretty useless without additional intervention and should
cool new creative controls, but its useful if you want to create a 32-bit
only be considered as a starting point for further explorations. What
merged le to import into other HDR applications, such as HDR-
theyre good for is seeing how the sliders are congured to achieve a
softs Photomatix).
certain type of look. This is information you can use to help you nd
the look you want.
In the Edge Glow section, move the Strength slider rst to the far
10
left and then to the far right and observe how this affects the halo
Exposure by moving each one in turn to opposite ends. Gamma
edge around contrast edges. Strength controls the level of contrast
adjusts the difference between highlights and shadows, while Expo-
in the glow effect. Set this slider to 1.00 and move the Radius slider
sure adjusts the overall image tone and brightness. The Gamma
back and forth to see how it affects the glow. Radius controls the size
slider is reversed in terms of how sliders normally work; moving it
of the glow effect. Set the Radius to 125. The Strength should still be
to the left results in higher values, while moving it right results in
set to 1.00.
lower values. Set both the Gamma and Exposure to 0.70.
[MODIFYING EDGE GLOW]
44
[SET GAMMA AND EXPOSURE]
As you did with the previous sliders, experiment with Gamma and
continued on p. 46
11
Detail sets the amount of contrast in the detail of the image. Low
12
values create a dreamy, diffuse look, while high values render a stark,
used to how they work in Camera Raw or Lightroom. Saturation
high-contrast effect. Set the Detail to 150%. Shadow and Highlight
affects all colors equally while Vibrance has a more rened approach,
adjust the luminance (brightness) of those regions. Set the Shadow
affecting less-saturated colors more and more-saturated colors less.
to 100% and the Highlight to 60%. Working with all of the sliders
Set both to 50% for this image. Next, click on the Curve tab (located
involves a lot of back and forth as theyre interdependent; changes
next to the Color tab).
[DETAIL, SHADOW, AND HIGHLIGHT]
[COLOR SETTINGS]
Vibrance and Saturation are fairly self-explanatory, especially if youre
to one may prompt you to make further renements to sliders youve

already set. Thats why getting a sense of exactly what each slider
does is so important.
The Curve is where you can have a great deal of control as to how
14
the image looks. If you know how curves work in Photoshop, then
work well on other images that are similar in overall tone and contrast
this will be familiar to you. Move the lower-left point on the curve
(i.e., landscape images), then its a good idea to save your settings
(the shadow point) to the bottom-right corner of the rst square in
as a preset so you dont have to start from scratch every time. Click
the grid. Then click on the curve three times to place three additional
the Preset Options icon just to the right of the Preset drop-down
points and adjust as shown here (to remove a point, simply drag it
menu and choose Save Preset. Name your preset and click Save.
to the left outside of the grid box). This curve lightens the shadows
Your new preset will now appear in the Preset drop-down menu.
13
[ADJUST THE CURVE]
but makes the highlights a bit too bright; change the Gamma setting to 0.50 to compensate for this.
46
[SAVE HDR PRESETS]
If youve created an HDR look that you like, and that you feel might
47
15
Before clicking OK in the Merge to HDR Pro dialog, be sure to zoom
16
in to 100% or more and scroll around the image to check the edges.
them, such as moving water or tree branches, enable the Remove
Some combinations of settings can create hard and jagged pixil-
Ghosts checkbox near the top of the dialog. HDR Pro will select the
ation along contrast edges. Low Strength settings are often to blame
source le thats best for the motion-affected areas in the image
for hard crackly edges, so if you see any, try increasing the value
(the thumbnail will be highlighted in green). You can also make your
of this setting. And, keep in mind that changes to Strength may
own choice simply by clicking on a thumbnail. After checking for
require slight modications to Radius, Detail, and other settings.
ghosts, now you can click OK.
[DOUBLE-CHECK EDGES AT 100%]
[REMOVE GHOSTS]
If your image contains elements that might have traces of motion in
After you click OK in the next step, inspect the edges again as
Photoshop provides a much better view than the low-resolution
preview in HDR Pro.
[HDR toning]
17
[CUSTOMIZE WITH ADJUSTMENT LAYERS]
18
[Tone mapping a single image]
One very important thing to remember is that simply running a series
Photoshop CS5 also has a great new HDR Toning feature that lets
of les through HDR Pro doesnt necessarily make a nished image.
you create an HDR look for a single exposure. This is great for those
At best, youll have a really good combination of all the source expo-
shots where you either dont have multiple exposures, or making
sures that gives you a solid platform on which to continue enhancing
them doesnt work for the subject (such as people). You can nd
the image. The use of additional adjustment layers with layer masks
this by going to Image>Adjustments>HDR Toning. The controls are
can greatly improve the overall look of the nal image. In this example,
exactly the same as those in HDR Pro, and you can even use saved
we adjusted the Levels for the buildings and bridge, added Curves for
HDR Pro Presets. Its not the same as real HDR, however; the tonal
more contrast in the sky, used Hue/Saturation to change the color of
range will be limited to the single exposure youre using.
the river, and nished with Vibrance to saturate the overall colors.
Sen Duggan is the co-author of The Creative Digital Darkroom and Real World Digital Photography. He teaches regular workshops on Photoshop and Lightroom for Photographers.
Sign up for his free newsletter at www.seanduggan.com.
ALL IMAGES BY SEN DUGGAN UNLESS OTHERWISE NOTED
LEE CALDERON
[P
HOTOSHOP TUTORIAL]
D A V E
C R O S S
creating color separations
ISTOCKPHOTO/MIGHTYISLAND
Youve made a great design for a client and now they need it printed on T-shirtsand they have asked you for
separations. Although talking to a T-shirt screen-printing company for advice is always a good idea, here are the
basics of making spot-color separations.
[THE BASICS OF SEPARATIONS]
[WORKING WITH EXISTING ARTWORK]
Before we go into a detailed description of creating separations in
When youre working with existing artwork in Photoshop and you
Photoshop, heres a quick primer. A two-color logo, in this example
dont have layers, you have to manually create the separations by
green and gold, requires two separations: one for each color. When
selecting each main color and creating spot color channels. Your
you look at the separated artwork, whatever is being printed at
job will be easier if you either have an image with a limited number
100% appears black while anything using less ink (to create a lighter
of colors, or you alter some colors to limit the total number of colors.
color) appears in shades of gray. Notice that some of the design is
To get started, open Photoshop and go to Window>Application
missing on the gold color artwork where the green text will print.
Frame to set up your canvas (youll need this for the next step). Then,
48
go to File>Open to open your existing artwork.
49
[CREATE A SECOND DOCUMENT]
[SELECT THE FIRST COLOR]
One of the simplest ways to create a spot color version of a docu-
In your original document, choose Select>Color Range to select your
ment is to create a second document the same size as the rst. To
rst color. (Choose a main color at 100% opacity, not a color thats at a
do this, go to File>New and in the New dialog, click the Preset
reduced opacity.) Make sure the Image radio button is active, and use
drop-down menu and choose your existing artwork document.
the Eyedropper tool in the dialog to select an area of your rst color
Click OK. This will create a new document the same size as your
(we chose the dark red color) in the dialogs preview section. After
original. To make things easier, go to Window>Arrange>Tile to
youve made your selection, activate the Selection radio button to
create a split screen of your two documents.
see your selection as a mask, with the white areas representing your
selection and the black areas indicating what isnt selected. Using this
option will help make your selection precise.
[FUZZINESS AND PREVIEW OPTIONS]
[ADD A SPOT CHANNEL]
Very often youll need to move the Fuzziness slider to include all
Click OK to accept the color range settings and press the M key to
the selected areas, but if you do, be careful not to go too far, or
select the Rectangle Marquee tool (or any marquee tool, it doesnt
similar colors will be selected. One way to help with this is to change
matter which one). Place your cursor on a portion of your selection
the Selection Preview from None to White Matte. This will show a
and your mouse will turn into a white arrow with a small selection
preview on your document with your selection in color and every-
box underneath. When this happens, click-and-drag your selection
thing else in white. In our example, the selection we made showed
into the second document, and then hold down the Shift key to
that some of the lighter red color was being selected, so we pulled
center it on the document. Then, in the Channels panel (Window>
back the Fuzziness slider slightly (well add the lighter colors later).
Channels), click the yout menu and choose New Spot Channel.
[CHOOSE THE SPOT COLOR AND FILL]
[ADD ADDITIONAL CHANNELS]
In the New Spot Channel dialog, name the channel and make sure
Create additional spot channels for each main color (shades of the
that the color swatch holds the color you want to use. Click OK.
main colorsreduced opacity colorswill come later). In the main
Depending on the advice you get from the screen printing company,
document, press Command-D (PC: Ctrl-D) to deselect your previous
you can either choose a Pantone color or any color that your
selection and follow Steps 4 through 7 to create new spot channels.
screen printer will replace with the actual colorthe important
(Note: After making each selection, click the color swatch at the bottom
thing here is separating the colors. Since you have a selection, the
of the Toolbox to note the color being selected; if you dont do this,
spot channel will automatically appear in color in your document,
Photoshop will use the last color selected when a new spot channel is
and black on white in the Channels panel.
created.) Eventually, youll have a spot channel for each main color, and
the image will look pretty good with only a few missing pieces.
Now go back to the main document and select the lighter, reduced
10
opacity version of the rst color (in this example, the lighter red
spot channel) is active in the Channels panel, and then go to Edit>
color). Again, use any marquee tool to drag-and-drop the selec-
Fill. Because we want this to print as a lighter version of our color,
tion into the second document, and press-and-hold the Shift key
select 50% Gray from the Use drop-down menu and click OK. On
to place the selection in the center of the document.
the document image, youll now see some lighter red areas while
[SELECT THE LIGHTER VERSION]
50
[FILL THE FIRST SPOT CHANNEL]
Make sure the appropriate spot channel (for our example, the red
on the spot channel in the Channels panel youll see 100% black
and 50% black.
continued on p. 52
11
[FILL/DELETE OTHER SPOT CHANNELS]
Repeat this operation for each of the lighter colors, clicking the
Black
Gold
Green
[VIEW EACH SPOT CHANNEL]
Just to make sure that everything worked the way you intended,
appropriate spot channel before lling. Once youre done lling
take a look at each spot channel, remembering that 100% black
the spot channels, you can delete the other default channels (RBG,
represents 100% of your color and the gray areas show where the
Red, Green, and Blue) by selecting them in the Channels panel
color will print lighter. To do this, click the Eye icons on and off
and clicking on the Delete Current Channel icon (trash can) at the
before each spot channel in the Channels panel. To view your rst
bottom of the panelleaving you with just the spot channels that
spot channel, turn off the other channels Eye icons, leaving the
you created.
rst channels icon on. Repeat for each channel.
13
14
[DO A TEST PRINT]
You can also do a test print to make sure that each color prints as a
52
12
Red
[SAVE THE FILE]
Before saving your le, check with your screen printing company
separation the way that you expect. Choose File>Print and in the Print
to see what format they require: they may be happy to get your
dialog, make sure Color Management is selected at the top right. Set
Photoshop document saved as a standard PSD, or may suggest
Color Handling to Separations. In our example, we chose Landscape
that you choose Photoshop DCS 2.0 as the format.
for orientation and enabled the Scale to Fit Media checkbox. We also
went back up to the Color Management menu and selected Output.
In the Printing Marks section, we enabled the Calibration Bars and
Registration Marks checkboxes. Now when you print, you should
get a separate piece of paper for each of your spot channels.
Dave Cross is Senior Developer, Education and Curriculum, for the National Association of Photoshop Professionals. He is the author of Photoshop Finishing Touches and The Photoshop CS2
Help Desk Book, and is featured on a series of Photoshop training DVDs and on Photoshop User TV.
LEE CALDERON
[I
LLUSTRATOR TUTORIAL]
C O R E Y
B A R K E R
dramatic shadow effect

Recently, I saw a trailer for a new movie called The Adjustment Bureau with Matt Damon and was intrigued by
the title art. Its an interesting reversed shadow effect that you can re-create simply by using the new Perspective
Grid feature in Illustrator CS5.
[CREATE DOCUMENT; SET TYPE]
[COPY, PASTE, FLIP]
Choose File>New and in the New Document dialog, set New Docu-
Switch to the Selection tool (V). Press Command-C (PC: Ctrl-C)
ment Prole to Basic RGB and click OK. Select the Type tool (T),
to copy the text to the clipboard, then press Command-V (PC:
then go to the Control panel and set the font to Arial and the size to
Ctrl-V) to paste a duplicate copy of the text object. Choose Object>
around 48 pt. Click on the artboard to set the text object, and type
Transform>Reect and in the dialog that appears, click the Horizon-
ADJUSTMENTLAYER without a space between the words. Using
tal setting in the Axis section, then click OK. This will ip the object
the Type tool, highlight just the word ADJUSTMENT and change
horizontally, giving you a mirror image.
the font to Arial Black. The different weight of the words will make it
easier to read. Plus it looks cool.
54
55
[ADD GRID; ADJUST PERSPECTIVE]
[SELECT PLANE; ADJUST TEXT]
Select the Perspective Grid tool (Shift-P). By default, Illustrator dis-
Now locate the Active Plane widget. (Note: A grid must be visible
plays a two-point perspective grid; however, for this effect we need a
in order to see the widget.) Click on the bottom plane of the cube;
one-point perspective grid. To change this, choose View>Perspective
it should turn green. This ensures youre working only on this plane
Grid>One Point Perspective>[1P-Normal View]. Use the control
of the grid. Choose the Perspective Selection tool (Shift-V), click on
handles (circled) to widen the grid area and push the ground plane
the mirrored text we created in Step 2, and drag it into the ground
up to get a lower angle.
plane of the perspective grid. Holding the Option key (PC: Alt key),
drag one of corner handles with the Perspective Selection tool and
scale the object so it covers a wide area of the ground plane, as
shown here.
[HIDE GRID; REPOSITION TEXT]
[DRAW SHAPE AROUND TEXT]
With the text scaled and positioned, choose View>Perspective
In the movie trailer, the shadow letters are actually inverted to the
Grid>Hide Grid. Even though the grid isnt visible, you can still
background, making the shadow appear white. Select the Pen tool (P)
move the text on the ground plane with the Perspective Selection
and in the Control panel, make sure the Fill is set to black with no
tool. Now, choose the Selection tool (V), select the original upright
Stroke. Draw a shape around the entire area of the perspective
text we created, and place it above the perspective text. Shift-click-
text. The shape should be just slightly larger than the perspective
and-drag a corner handle to scale it so that its bottom edges line up
text. (Tip: When using the Pen tool, press-and-hold the Shift key to
as close as possible to the top edges of the perspective text and the
ensure the horizontal lines are straight.) Click on the rst point you
perspective text appears to be a shadow. Remember, to make ad-
created to close the path. Once the shape is drawn out, choose
justments to the perspective text, use the Perspective Selection tool.
Object>Arrange>Send to Back.
[ENTER ISOLATION MODE; CHANGE COLOR]
[CHANGE TEXT COLOR]
Choose the Selection tool and click on the perspective text object
Now lets change the color of the upright text and the black back-
to select it. You may discover that you can select the object but not
ground shape. With the Selection tool, click-and-drag to select the
change the color. To change the color, you need to enter Isolation
upright text object and the background shape (it doesnt matter
mode, so double-click the object and it will screen out everything
if you also select the perspective text since you cant change its
except the object. The text is still editable, even though it appears
color unless youre in Isolation mode). Choose Window>Swatches
as paths in the grid. Select the text object or highlight it with the
and select a color ll for the objects. We chose a violet blue color,
Type tool, then change the Fill color to white in the Control panel.
which is similar to the original design. Feel free to experiment with
When done, click the left arrow in the gray bar at the top of the
other colors.
document to exit Isolation mode.
Now select only the perspective text and the shape behind it (leave
10
the upright text unselected). Go to the Effect menu, under the
of the graphic. This is going to frame the art, so make sure all
Photoshop Effects section, and choose Blur>Radial Blur. Set the
of the upright text is in the rectangle and let the perspective
Amount to 15, choose Zoom for the Blur Method, set the Quality
elements bleed outside the box a bit. Choose Select>All, then
to Best, and click OK. (Note: Raster effects are set to 72 dpi by
Object>Clipping Mask>Make. This will crop the graphic, making
default in Basic RGB documents, so the blur may look pixelated.
it only visible inside the box. Add some text to complete
You can go to Effect>Document Raster Effects Settings and change
the effect.
56
[ADD BLUR]
[MAKE CLIPPING MASK]
Choose the Rectangle tool (M) and draw a rectangle over most
the Resolution to High [300 ppi] for a high-quality effect, but we

wouldnt recommend changing it until youre ready for nal output.)
Corey Barker is an Education and Curriculum Developer for the National Association of Photoshop Professionals. His expertise in Adobe Photoshop and Adobe Illustrator has
earned him numerous awards in illustration, graphic design, and photography.
[ t y p o g r a phy ]
THE ART OF TYPE]

J A M E S
F E L I C I
changing the rules

Lines and rules arent the most scintillating aspects
of typography, but beneath their dull appearances
lurk some interesting graphic capabilities you might
not have considered. In this column, well look at
some useful tricks you can perform combining InDesign styles with its controls over paragraph rules and underscores.
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[you can create
a huge variety of
effects for use with
or without text.]
58
All of the color graphic elements in this example

are actually rules, created automatically with a single
mouse click, as part of paragraph and character styles.
Striking headings
The red headings in the figure here were created using a simple
paragraph style. The trick is to use one paragraph rule thats as
wide as the text and so fat that the type can sit right on top of it.
A second paragraph rule sits atop that one and extends the width
of the column. Heres how to build them in InDesign.
First, create a sample heading in the typeface, assigning the
Leading and Font Size in the Control panel. Place your cursor
somewhere in your heading text and open the Paragraph Styles
panel (Type>Paragraph Styles). Select New Paragraph Style from
the panels yout menu and give the new style a logical name in
the Style Name field. Then enable the Apply Style to Selection
checkbox, which causes your sample heading to be progressively
formatted as you build your style.
59
left. In the Indents and Spacing section, apply that Left Indent
value as a positive value in the Left Indent eld. Youll see your
text-width ruleand the text with itsnap into position along
the left frame edge, aligned with the column-width rule. Click
OK, and your paragraph styles are complete. If you want to make
changes laterto add Space Before Paragraph, for example,
or to tweak your rulesdouble-click on the style name in the
Paragraph Styles panel and edit away.
lAYERS MAGAZINE ][ Sept / oct 2010
From the list on the left side of the dialog, click on Paragraph
Rules. Then enable the Preview checkbox in the lower-left corner
of the dialog so you can have an interactive view of your settings
as you make and adjust them. The settings used to create the
headings in this example are shown in the screen shot here.
Highlighted run-in heads
Creating the green run-in heads uses a similar technique, but you
use a character style instead of a paragraph style. And instead
of using a paragraph rule, you use the InDesign underline controls,
which can be applied to individual characters.
In the Paragraph Rules section, select Rule Below from the

menu and enable the Rule On checkbox. You should now see a
rule appear on your sample heading. From the Color menu select
the color you want; any custom color you create in the Color panel
(Window>Color>Color) will also appear in this list.
In the Weight eld, use the up arrow on the left to increase the
thickness of the paragraph rule until its as heavy as you want it
to be. The rule will grow downward from the baseline; to move it
up to overlap your type, use the down arrow next to the Offset
eld. (This seems counterintuitive, but the down arrow creates
negative values, which in this case a rule below actually moves it
up.) Try different Offset and Weight values until the type appears
centered vertically in the colored bar.
In the Width menu, choose Text and the rule shrinks horizontally
to match the width of your heading. This probably leaves more
color above and below the type than to its left and right. To balance the color all around, use the down arrows next to the Left and
Right Indent elds to enlarge the width of the color bar. Dont worry
that the color on the left now extends beyond the left margin; well
tidy that up in a minute.
Now go back up to the top of the dialog, choose Rule Above,
and enable the Rule On checkbox. All the other values in the dialog
are now reset to their defaults, awaiting your formatting choices for
the upper rule. From the Width menu, choose Column and choose
a matching Color as well as a rule Weight of your liking. Then use
the Offset up arrow to move the top rule into position so that it
top aligns with the text-width rule.
Your last task is to get the text-width rule to align ush left, as
it should. Make a note of the Left Indent you applied to the Rule
Below, and then click on Indents and Spacing from the list on the
Start by selecting the text you want to convert into a run-in

heading, open the Character Styles panel (Type>Character
Styles), and choose New Character Style from the panels yout
menu. Again, give it a name and enable the Apply Style to Selection and Preview checkboxes. Now click Underline Options from
the list on the left. (You can also use Strikethrough Optionsit
doesnt matter.)
Enable the Underline On checkbox and select a Weight,
Offset, and Color as you did with the paragraph rules. When you
have what you want, click OK to create the character style. It can
be a little difcult to see what youre doing because of competition
from the text highlight onscreen, but its easy enough to make
adjustments by editing the style to get things just so.
Because the width of the colored zone youve created is
keyed to the width of the text, your only option for making the bar
wider is to add spaces before and after your heading text. Do this by
placing your cursor before your text and going to Type>Insert White
Space>Nonbreaking Space (Fixed Width), and then place your
cursor after your text and use the same command.
Unlimited variations
By tinkering with other options in these dialogsnotably the Line

Styles and the Gap Coloryou can create a huge variety of effects
for use with or without text. By assigning [None] as a text color, you
can create character- and paragraph-based rules that are strictly decorative and have no apparent relationship to any text around them.
Rules may be rules, but that doesnt mean you cant have fun
with them.
James Felici is the author of The Complete Manual of Typography (Adobe Press), former managing editor of Publish magazine, and contributor to The Seybold Report, Macworld magazine,
PDFZone.com, and Publish.com.
LEE CALDERON
INDESIGN TUTORIAL
T E R R Y
W H I T E
creating iBooks (EPUBs)
The Apple iPad is a successful product. One of the things I was most intrigued by was the format that Apple chose for
their eBooks (iBooks). The good news is that they went with the industry standard EPUB format, and the better news is
that InDesign exports EPUBs natively. I created my first iBook for iPad using InDesign CS5. Lets look at the workflow.
[CREATE A NEW DOCUMENT]
[ENABLE SMART TEXT REFLOW]
Although were creating an eBook that can be scaled and reowed
InDesign CS4 introduced Smart Text Reow, and this is a perfect time
to any size the device displays, its probably still a good idea to
to use it. As you type, InDesign will automatically add new pages as
create a document that more closely resembles a book. Therefore,
needed. Go to InDesign (PC: Edit)>Preferences>Type and enable the
go to File>New>Document to create a new 5.5x8.25" document.
Smart Text Reow, Limit to Master Text Frames, and Delete Empty
Enable the Facing Pages and Master Text Frame checkboxes in the
Pages checkboxes. Click OK.
New Document dialog, and click OK.
60
Because we enabled the Master Text Frame checkbox, your rst

page will have a text frame on it, but we dont need it. Hold down
Shift-Command (PC: Shift-Ctrl), click on the page to unlock this frame,
and press the Delete (PC: Backspace) key.
61
[DESIGN AND PLACE YOUR COVER IMAGE]
[CREATE HEADLINE PARAGRAPH STYLE]
Your rst page will actually be your book cover and has to be one
The creation of a headline paragraph style will be used to identify
piece. That means either you create the entire image in Photoshop
new chapters or sections in your Table of Contents (ToC), and it will
or Illustrator, or you create a separate InDesign document for your
also be used to dictate the beginning of a new page in the book.
cover, lay it out, and File>Place it on this rst page. After youve
Hold down Shift-Command (PC: Shift-Ctrl) and double-click to
inserted your cover, insert four new pages after the cover by click-
insert your cursor on page 5. Create the headline the way you want
ing the Create New Page icon at the bottom of the Pages panel
it to look and then add it as a style in the Paragraph Styles panel
(Window>Pages). Then delete the master text frames on pages 2
(Window>Styles>Paragraph Styles) by Option-clicking (PC: Alt-click-
through 4. Note: If a warning sign pops up regarding the master
ing) the New Style icon, naming your style Headline, and clicking
text frames, click OK, ignoring this dialog.
OK. You should also create a paragraph style for your body text.
[PLACE YOUR FIRST INLINE GRAPHIC]
[START TYPING OR PLACING TEXT]
Although InDesign allows you to place things anywhere you want,
Now comes the part where you actually write your book. Click
you need to keep everything inline after the ToC for your EPUB to
below the frame you created in the last step, press Return (PC:
work. Now, on page 5, place your cursor after the headline and go
Enter), and select your body text paragraph style in the Para-
to Object>Anchored Object>Insert. From the Content drop-down
graph Styles panel (if you dont type a return, your headline
menu, choose Graphic and specify a Height and Width in which you
at the top of the page will switch to your body text paragraph
want your graphic to abide by. From the Position drop-down menu,
style, as well). You can either start typing, or you can paste text
choose Inline or Above Line and click OK. Then you can place your
youve already written. If you get to the end of the page and
graphic (File>Place), or you can wait to place all your images at
need another page, InDesign will add more pages for you.
onceit doesnt really matter.
[ADD HYPERLINKS]
[CAN I INCLUDE MULTIMEDIA CONTENT?]
This isnt really a step, but its probably one of the top ve questions
To give people a way to nd out more about the things youre writing, use hyperlinks. This support will vary by device, but the iPad
can use mobile Safari to go to those links. Highlight the text in your
document that you want to create a hyperlink for, and then go to
the Hyperlinks panel (Window>Interactive>Hyperlinks). Click in the
URL eld, type your URL, and press Return (PC: Enter). If you see
a black rectangle around the text in your InDesign document,
you can make this invisible by going to Hyperlink Options in the
I get, and that is, Can you include multimedia content in your
EPUB, such as movies and animations? The technical answer is
yes; however, the problem is that youre at the mercy of the device
your EPUB will be seen on and what it supports. Although InDesign
supports placing video and Flash content, the iPad isnt currently
capable of playing back this content in the iBooks app. The same
goes for fonts. Although you can style your EPUB with CSS, its up
to the device to support it.
Hyperlinks yout menu, but it doesnt show in the EPUB, so you

can leave it as is.
With your text and images laid out as one continuous docu-
10
ment, its time to generate the ToC. Although the ToC will be
Author to the InDesign metadata. Do so by going to File>File Info
a page in your InDesign document, it wont actually be a page
and using the Description tab. Click OK. Next, go to File>Export
in your EPUBit will become the EPUB navigation. Choose
For>EPUB. Choose a location for your EPUB le and click Save.
Layout>Table of Contents, select your headline paragraph style
Youll see a Digital Editions Export Options dialog. In the Images
in the Other Styles list, and click the Add button to move it into
category, choose High for Image Quality in the JPEG Options sec-
the Include Paragraph Styles list. Select a paragraph style for
tion. In the Contents category, enable the Include InDesign TOC
the title of your contents as well as the Entry Style, and click OK.
Entries, Suppress Automatic Entries for Documents, and Use First
Now click-and-drag your ToC on page 3. (Note: It doesnt have
Level Entries as Chapter Breaks (new in CS5) checkboxes in the
to be inline and you can make the text as small as you want.)
Table of Contents section. Then click Export. Watch out, its fast!
[GENERATE YOUR TABLE OF CONTENTS]
[EXPORT YOUR EPUB]
Now were ready to export the EPUB. First, you need to add the
continued on p. 64
62
11
One of the things you can do to save yourself some time is to
12
download the free Adobe Digital Editions player (www.adobe
way to get it there manually is to sync it via iTunes. Open iTunes
.com/products/digitaleditions/?promoid=DNRHY). This will allow
(Mac or PC) and then drag your exported EPUB into the Books
you to test the look and feel of your EPUB, as well as the naviga-
section in the Library area on the left side.
[TEST IT IN ADOBE DIGITAL EDITIONS]
[DRAG IT INTO ITUNES]
If your EPUB is destined to go on your iPad, currently the only
tion, to make sure it does all that you want it to do before you
put it on your device.
13
[ADD A COVER IMAGE AND METADATA]
At this point your EPUB will work on your iPad; however, you
14
[DISTRIBUTE AND SYNC TO YOUR IPAD]
Your iBook (EPUB) is now ready for the world. You can, of course,
probably want to dress it up a bit. Unfortunately, you have to
sync your new iBook to your iPad and it will appear in the iBooks
do this part in iTunes. Select your EPUB and go to File>Get Info.
app. You can also go to File>Show in Finder to go to the folder
Here you can add your cover image in the Artwork section (use
containing your updated iBook (EPUB). This is the le that you can
the Add button) and you can add a better Title than the lename
distribute to others or submit to your publisher to be included in
in the Info section. Also, iTunes should have picked up the Author
the iBookstore or other electronic bookstores. You can download
from the InDesign document. Feel free to add any other info in
my 25 iPad Tips iBook for free at http://terrywhite.com/techblog/
the Info section and click OK.
archives/5179.
In his current role as Worldwide Creative Suite Design Evangelist for Adobe Systems, Inc., Terry White evangelizes the Creative Suite to customers around the world. Hes also the
author of Secrets of Adobe Bridge and co-author of InDesign CS/CS2 Killer Tips and The iPhone Book, 3rd edition. Check out his tech blog at http://terrywhite.com/techblog.
64
ALL IMAGES BY TERRY WHITE UNLESS OTHERWISE NOTED
LEE CALDERON
DREAMWEAVER TUTORIAL
J A N I N E
W A R N E R
editing CSS layouts

Dreamweaver CS5 includes a new collection of CSS layouts you can customize to create webpage designs.
These layouts are designed to work well in a variety of Web browsers, and they can help you avoid common
problems with CSS. This tutorial shows you how to edit these layouts to make them your own.
[CREATE A NEW PAGE]
[CHOOSE A FIXED OR LIQUID LAYOUT]
To use a CSS layout in Dreamweaver, create a new document by
Dreamweaver includes several layouts designed with two distinct
choosing File>New. Then, choose Blank Page from the left column
approaches to CSS. When you create a new page with one of these
and HTML from the Page Type column. Choose one of the more
layouts, the rst thing you must do is decide which type you want to
advanced optionssuch as ASP.NET, PHP, or ColdFusiononly if
use. Essentially, you have two options: Liquid layouts are designed to
youre working on a dynamic site. (If youre not familiar with these
expand and contract depending on the size of the browser window;
technologies, stick with HTML.) From the Layout column in the
xed layouts are centered within the browser and set to a width of
middle, click to select a CSS layout and a preview of the layout is
960 pixels. Although there are some advantages to the exibility of
displayed in the top right of the dialog.
liquid layouts, youll have more design control with xed layouts. We
66
chose the 2 Column Fixed, Left Sidebar, Header and Footer layout.
67
[SPECIFY HOW TO SAVE THE STYLES]
[SAVE THE NEW PAGE AND STYLES]
When you save a CSS layout, Dreamweaver generates all of the CSS
Click Create to open the page in the main workspace. If you chose
styles to create the layout as it creates the page. You can choose
to save the styles in an external style sheet, a dialog will rst prompt
to save the styles in an internal style sheet or an external one. The
you to save the style sheet separately. If the styles are contained in
Layout CSS drop-down menu includes three options: Add to Head
an internal style sheet, theyre saved automatically when you save
creates an internal style sheet with all of the styles saved in the
the page. With the new page open, choose File>Save to save the
Head area of the le; Create New File saves all of the styles in a
page and the corresponding styles at the same time. Its also good
new external style sheet linked to the page; and Link to Existing
practice to add a page title as soon as you create a new page so
File lets you add the styles to an existing external style sheet.
you dont forget to replace the words Untitled Document in the

Title eld.
[EDITING TEXT IN A CSS LAYOUT]
[EDIT STYLES IN CSS STYLES PANEL]
To add text, just click and start typing. You can replace any of the
When you work with CSS layouts, the style information is saved
text in the page or simply delete it. Just be careful as you delete
in an internal or external style sheet. Either way, you can edit the
and replace text that you dont remove the formatting unintention-
styles in the CSS Styles panel. Choose Window>CSS Styles to
ally. Keep in mind that there is code behind the Design view and
open the panel. Make sure you have the All button selected at
if you delete too much, you may turn a headline into plain text by
the top of the CSS Styles panel to view all of the styles. Click the
accident. If this happens, just use Undo (Command-Z [PC: Ctrl-Z])
triangle (PC: plus [+] sign) next to the style sheet name to open
to restore the formatting, or use any of the formatting features to
the style sheet and view the list of style names.
format the text as you prefer. You format text in these layouts as
you would format any other text on a page in Dreamweaver.
[CHANGING THE WIDTH OF A CSS LAYOUT]
[CLASS STYLES VS ID STYLES]
The CSS layouts in Dreamweaver follow a common practice of using
In versions CS3 and CS4, layouts in Dreamweaver used a combina-
<div> tags as dividers (or boxes) around each element on the page
tion of Class and ID styles, but the layouts in CS5 use only Class
and then using styles to describe how those boxes should be dis-
styles. All of these layouts follow the rules of CSS, but they were
played. Each layout includes a <div> tag with a class style named
created by different designers with different philosophies about
.container that surrounds everything else in the layout. To change
CSS. ID styles can only be used once per page and are commonly
the width of the overall design, click on .container and change the
used for the container, header, and footer styles in CSS layouts.
Width in the CSS Styles panel. The xed width of CSS layouts in
Class styles can be used multiple times per page so they are more
version CS5 is 960 pixels wide, which is the recommended width
versatile. The designers who created the CS5 layouts preferred
for most pages on the Web today.
this option for all of the styles in these layouts.
10
[REVIEW CSS STYLES]
If youre new to CSS, the layouts can be confusing at rst because

[EDIT PAGE-WIDE SETTINGS]
To edit page-wide settings, such as the background color of the
you cant just change the colors or sizes of elements in the design
page or the main font face, size, and color of the text used through-
area of Dreamweaver. You need to create new styles or edit the style
out the page, double-click on the style named body in the CSS Styles
thats already associated with an element to change the color, width,
panel. In the CSS Rule Denition dialog, select the Type category
or other formatting. A good way to start is simply by clicking on
from the left to change font settings. Select the Background cate-
each style in the CSS Styles panel to get familiar with the rules
gory and use the color well in the Background-Color eld to specify
dened in the style sheet. You can double-click on a style name in
a color for the entire background of the page. If you prefer, you can
the CSS Styles panel to edit it in the CSS Rule Denition dialog.
enter any hexadecimal color code in the Background-Color eld.
68
Click OK to save the changes.
continued on p. 70
11
[ADD AN IMAGE TO THE HEADER]
You can insert images into any section of a CSS layout just as you
[EDIT THE SIDEBAR]
You can change the color and width of the sidebar by editing the
would any other page in Dreamweaver. To add an image into the
style named .sidebar1. Double-click on .sidebar1 in the CSS Styles
header area, you should rst delete the placeholder image with
panel to open it in the CSS Rules Denition dialog. Click on the
the text Insert_logo (180 x 90). You can insert an image of any
Background category on the left to change the background color.
size into the header area of the page. First, click to place your cursor
To remove the background color, delete the hexadecimal color
in the header area, then choose Insert>Image and select any image
code from the Background eld and leave it blank. To change the
on your hard drive and click OK. If the Image Tag Accessibility
width, choose the Box category on the left, enter the width you
Attributes dialog opens, enter a brief text description in the Alter-
want in the Width eld, and choose a size option, such as pixels.
nate Text eld and click OK again.
Click Apply to preview the changes; click OK to save them.
13
14
[EDIT LINK STYLES]
The color, size, and style of the links in the left sidebar of the CSS
70
12
[ALIGN IMAGES AND OTHER ELEMENTS]
All of the CSS layouts that come with Dreamweaver CS5 include
layouts in Dreamweaver are controlled by three different style rules.
styles you can use to align images and other elements to the left
The top border and bottom margin are dened in the style ul.nav;
or right of the page. To use these styles to align an image, insert
the bottom border is dened in the style ul.nav li. The way the links
the image and then select it. With the image selected, the Pro-
appear in the page is dened in the style ul.nav a, ul.nav a:visited.
perties inspector at the bottom of the workspace changes to the
To change the rollover effect, edit the style name ul.nav a:hover,
image options. Click to open the Class drop-down menu and select
ul.nav a:active, ul.nav a:focus. Double-click the name in the CSS
trt (to align the selected image to the right using the oat right
Styles panel to open any of these styles in the CSS Rule Denition
style) or tlft (to align the selected image to the left using the
dialog to edit them.
oat left style).
Janine Warner has authored more than a dozen books about the Internet, including Dreamweaver CS5 for Dummies. Shes also the host of a growing collection of
training videos on Dreamweaver and CSS at KelbyTraining.com. To learn more about Janines books, videos, and speaking engagements, visit www.DigitalFamily.com.
ALL IMAGES BY JANINE WARNER UNLESS OTHERWISE NOTED
LEE CALDERON
[F
LASH PROFESSIONAL TUTORIAL]

P A U L
T R A N I
actionscript made easy

Lets face it, in the past new Flash users had to deal with a dauntingly empty Actions panel and advanced users had
to pillage previous projects to speed up development. Flash CS5 has changed all this with the introduction of the
surprisingly easy Code Snippets panel, advanced code hinting, and custom class introspection. Lets take a look.
[OPEN THE STARTER FILE]
72
[USE A CODE SNIPPET]
Download the exercise le for this tutorial from the Layers website
With the image_btn selected, open the Code Snippets panel
and unzip it onto your desktop or other location of your choosing.
(Window>Code Snippets). Youll see folders of ActionScript 3 code
Inside of the zip le youll nd a le named ImageGallery.a. Open
that can be applied to any ActionScript 3 projectfrom controlling
this file in Flash CS5. Its important to note that this file targets
the Timeline, opening webpages, playing video, and using custom
ActionScript 3, since the code were about to show you will only
cursors to generating random numbers. I encourage you to play
work when targeting ActionScript 3. Also, note that on the Stage
around with this code, but for our purpose we want to load an image
theres one button. Select the button with the Selection tool (V) and
when the image_btn is clicked. Click on the triangle to the left of the
notice in the Properties panel that the Instance Name is image_btn.
Load and Unload folder to twirl it open. Double-click on the Click to

Load/Unload SWF or Image snippet to add it to the button.
[If youd like to download the le used in this tutorial to practice these techniques, visit www.layersmagazine.com and navigate to the Magazine section. All les are for personal use only.]
73
[REVIEW THE CODE SNIPPET]
[ADD ACTIONSCRIPT]
When a code snippet is added to a project, Flash adds an Actions
This code snippet places images in the upper-left corner by default,
layer to the Timeline panel (Window>Timeline) and opens the
but wed like this image to be centered on the Stage. In order to do
Actions panel to reveal the ActionScript created. Comments (in
this, we need to use contentLoaderInfo to nd out when the image
gray) are also added to explain what the code does and how to
is completely loaded, then we can position the image accordingly.
modify it. In this case, the comments mention how to replace the
Type the lines in the image shown here in the Actions panel, which
image path with an image path of your own. This path can be on
includes a COMPLETE listener that calls a skeleton function called
the Internet or in a local folder (e.g., /Macintosh HD/images/myim-
imageLoaded. Once that function is called, the image will be
age1.jpg). Test the le (Control>Test Movie>Test) and click on the
added to the Stage using addChild(_Loader).
image_btn in the corresponding dialog. Notice how an image is

loaded and unloaded with each button click.
[CENTER HORIZONTALLY]
[CENTER VERTICALLY]
Before we can center the image, we need to determine where the
Centering the image vertically is done similarly to centering the
center of the Stage and image is. To determine the horizontal center
image horizontally. Get the Stage height and divide by two to get the
of the Stage, we need to get the Stage width and divide by two.
center. Then, get the height of the image and divide by two. Subtract
Apply this to the x position of the image and it will only put the left
the center of the Stage from the center of the image, then apply that
edge of the image in the center. So, we need to also get the center
to the images y position. Review the image here and add the circled
of the image and subtract that from the stageWidth. Then we can
line to center the image vertically.
apply it to the x position of the image. Add the line of code circled
above to the imageLoaded function.
[USE CUSTOM CLASSES]
[CUSTOM CODE HINTING]
Anytime a movie clip or button is being used were actually using
Before fading in this image using TweenMax, we need to set the
an object from the built-in movie clip class. In addition to built-in
alpha (transparency) of the image to zero. Do this by typing the rst
classes, custom classes can be used allowing for even quicker
line of code circled in the image above. Then, an instance of the
development and exibility. There are many custom classes avail-
TweenMax class needs to be created by typing var alpha
able, but for this tutorial well use the TweenMax class that allows
Tween:TweenMax on the next line in the Actions panel. Notice as
for easy animation of many properties. Go to www.greensock.com/
soon as the colon is typed, Flash displays code hinting not just for
tweenmax and download the AS3 le in the top-right corner of the
built-in classes but for custom classes recognized in the Com folder.
webpage (its free, but donations are encouraged). Unzip the le
Double-click the TweenMax code hint and Flash will complete the
and place the Com folder in the same location where you saved the
word, automatically adding the needed import statement in the
ImageGallery.a.
Actions panel.
Complete the code started in the last step by placing an alpha
10
tween inside the alphaTween variable. Do this by adding the
later or to share. To start, in the Actions panel, review the code
circled code above. This line takes the _Loader (which contains
thoroughly and add any additional comments necessary, such as a
the image), and within two seconds it animates the alpha to 1
note that the Com folder from www.greensock.com is needed in
(which is 100% and completely opaque). Test the le (Control>Test
the same folder as the FLA le. The more detail added, the easier
Movie>Test) and click on the image_btn to watch the image fade
it will be to reuse. Then, click-and-drag to select all the code in
in from the center. Note: This is just one example of a tweened
the Actions panel for the new snippet. Then, at the top-right of
propertyI encourage you to explore the many other options avail-
the Code Snippets panel, click on the Options menu and select
able on the GreenSock website and refer to the Getting Started
Create New Code Snippet.
[USING A CUSTOM CLASS]
[CREATE A NEW CODE SNIPPET]
Any ActionScript code can be saved as a new code snippet for use
page for additional help.
74
continued on p. 76
11
[FINISH THE CODE SNIPPET]
The rst step in creating a code snippet is to dene the Title and
12
[CREATE A NEW FILE]
Now that a custom code snippet has been created, it can be used
Tooltip as shown above. Then, click the Auto-ll button to paste
in any Flash le. First, select the button on the Stage and press
in the selected code. Next, enable the Automatically Replace In-
Command-C (PC: Ctrl-C) to copy it. Create a new le (File>New)
stance_Name_Here When Applying Code Snippet checkbox. Then,
and in the Type section, select ActionScript 3.0. Click OK. In
replace the image_btn reference with instance_name_here.
this new le, press Command-V (PC: Ctrl-V) to paste the copied
This will ensure that regardless of the instance name of the next
button and use the Selection tool to position it. Give the button a
button, the snippet applied to the code will change accordingly.
new Instance Name of new_btn in the Properties panel, and save
Click OK to make the snippet.
(File>Save As) this le with a different name in the same location as

the previous Flash le.
13
With the button still selected, open the Code Snippets panel. In
14
the Custom folder, double-click the Click to Load, Fade, Center
snippets by simply exporting. In the Code Snippets panel, click on
Image snippet to apply it to the button. Review the code in the
the Options menu and select Export Code Snippets XML. Give the
Actions panel and replace the lename of the image that youve
XML le a name and Save to the location of your choice. Con-
been loading in the code (not the gray instructions) to a different
versely, code snippets can be imported through that same menu.
lename using an image of a different size. Test the le and click on
Interested in more exibility? Through the same menu we can also
the new_btn to watch a new image fade in from the centereven
use Edit Code Snippets XML. This will open the XML le in Flash
though this is a new le with a different Stage size.
for further editing.
[APPLY YOUR CUSTOM CODE SNIPPET]
[EXPORTING CODE SNIPPETS]
Lastly, after all the hard work is done, we can easily share code
Paul Trani is a Flash Platform Evangelist at Adobe as well as an award-winning Interactive Designer, Certied Instructor, courseware developer, and Lynda.com trainer. He also
runs a Flash-related blog at www.paultrani.com and can be followed on twitter @paultrani.
76
ALL IMAGES BY PAUL TRANI UNLESS OTHERWISE NOTED
[layers reviews]
the straight scoop on all the latest graphics gear
Poser Pro 2010
TIMESAVING DESIGN AND ANIMATION PROGRAM

It feels like dj vu. As you may know, Ive been fortunate enough to
review Poser products for many versions now, and with each one I can
honestly say that the bar gets raised higher and higher. This one, my
friends, is no different, and without a doubt Smith Micro has hit it out
of the park with this version.
For those of you familiar with the Poser programs, you know that it
has always been a great tool for producing realistic human characters
and high-quality animation. This time around theyve taken it to a whole
new level. With a look and feel that combines amazing new models
with realistic textures, youll be creating everything from game characters to fantasy art in no time. All you have to do is take one look at
the website gallery to see the possibilities.
Poser Pro 2010 offers a ton of cool new features that include
64-bit application (Mac and Windows), full-body morphs, layered
action, a network rendering queue, searchable content library,
and cross application compatibilityto name only a few. The pro gram also gives you complete control over every detail of physical
structure, texture and motion, as well as the ability to create realistic skin, fluid physiques, detailed hair, and animated cloth at a
professional level.
As mentioned, Poser Pro is now 64-bit for both Mac and Windows.
If you do a lot of work in Poser, this alone is worth the upgrade. With
this addition you can use all of your machines memory to increase the
speed and performance, making rendering times faster and improving
the quality of the animation.
A newly redesigned user interface provides a much improved
work ow. With this new interface you have the ability to dock or oat
your palettes to maximize your workow and improve your efciency
in the program.
Another new feature is the ability to load OBJ les as full body
morphs. This allows you to bring your OBJ les into Poser Pro complete, without the need to break them up. The cool thing about this is
that once you save the le as a single full-body morph channel in the
Body parameter, you can create effects such as muscle bulges, horns,
and whatever else you can think of.
78
For those of you who love Photoshop, this next feature is awesome.
Poser Pro now has PSD layer rendering. This gives you the ability to
output additional information to a layered PSD le by checking each
additional data option that you want to carry into the PSD le on its own
layer. This is great for doing additional compositing in Photoshop.
As usual, theres never enough room in a review to go over all the
new features of a great program like this. The other new features that
you should check out are the improved joint rigging system, indirect
lighting, the new robust library (more than 2.5 GB of content), the
wxPython support, and much more.
Poser Pro 2010 is more than worth the money at $499.99 (upgrade
from Poser 4 or later for $199.99). It will be a great addition to your
workow for sure, and a welcomed one at that. The possibilities are
endless and my suggestion would be to go through the tutorials on
the website to get a jump start on your learning.Bruce Bicknell
Company: Smith Micro, Inc.
Price: $499.99 (Upgrade: $199.99)
Web: http://poser.smithmicro.com Rating:

Hot: 64-bit; interface; render quality; 2.5 GB of content
Not:
79
SWF & FLV Toolbox 4

FxFactory 2
PLUG-IN MANAGEMENT SYSTEM FOR MAC

FxFactory 2 may be the future of Adobe After Effects plug-ins. The
concept will be familiar to anyone who has tried the Apple iTunes Store.
First, you can download FxFactory for free. Its a plug-in store that, like
iTunes, has some free products and ones for purchase. You can try any
of the hundreds of plug-ins right in After Effects. This is both a blessing
and a curse. The curse is that after installing FxFactory, many plug-ins
you dont own wind up polluting your Effects menu. The blessing is
that youve many new toys to play with without spending a dime.
You can apply any of these effects whether you own them or not.
If you dont own the effects, youll be able to use them in a limited way
(e.g., with a watermark). To purchase (or get full access if its a free effect),
just click the Register button in the Effect Controls panel. This will launch
a desktop app that allows you to register and purchase plug-ins.
FxFactory also works in Final Cut Pro, Motion, and Final Cut Express.
Once you register a plug-in, you can use it in those programs too, without having to reregister (or repurchase) anything.
FxFactory Pro 2, the big brother of FxFactory, isnt free; its $399, but
ships with 150 plug-ins. (Note: These plug-ins were not tested for this
review.) This version also allows you to create your own plug-ins using
Quartz Composer, a visual programming editor developed by Apple.
FLASH-TO-VIDEO CONVERTER
SWF & FLV Toolbox 4 is a convenient, easy-to-use video tool that makes
converting interactive Adobe Flash (SWF) les to AVI simple. Additional
features include the ability to convert SWF and Flash Video (FLV) les
to GIF and JPEG images, convert FLV to SWF, generate screen savers
from a SWF or FLV, and create an EXE from a SWF or FLV.
The Toolbox interface is well designed and the user guide is well
written. I tested the convert to video output rst. While there are several
codecs to choose from, I left the default setting of Cinepak. I chose an
interactive training piece that included narration, animation, and relied
on shared SWF les. The SWF Interaction Video Capture window provides a preview of the SWF and enables you to control whether you
record from the beginning of the le or from a specic spot. The le
I used wasnt processor intensive and Toolbox quickly converted it to
an AVI. The quality was excellent. I also experimented with converting
an FLV to a SWF, and a SWF to images.
Again, the processing speed and quality was impressive. My nal
test was converting a SWF to an EXE. My Flash movie contained resources
such as shared libraries and externally loaded SWF les. Toolbox was
unable to gather all of the resources and package them in an EXE;
however, it was able to convert a self-contained SWF to an EXE.
Overall, I like Toolbox. To me, the most useful conversion tool is the
utility for converting interactive SWF les to video. When courting
prospective clients, the ability to quickly create video demos of interactive movies and games gives you a marketing edge. Currently,
Note the word Apple at the end of the last paragraph. The FxFactory
products are only available for the Mac. But if iTunes-like plug-in stores
really are the wave of the future, well soon be seeing FxFactoryor
Toolbox is only available for Windows.Cyndy Cashman
something like iton all platforms.Marcus Geduld
Company: Eltima Software
Price: $39.95
Web: www.eltima.com
Rating:
Company: Noise Industries, LLC Price: Free (FxFactory Pro 2: $399)

Web: www.noiseindustries.com Rating:
Hot: Convenient way to test plug-ins without buying them
Not: Mac only; clutters up your Effects menu
Hot: Easy to use; quick; affordable

Not: Windows only; doesnt support exporting linked SWF to EXE
reviews]
Package Central
Toon Boom Animate 2
FAST ANIMATION SOFTWARE
Toon Boom Animate 2 is the gold-standard tool for creating Flash

animations. As theres some confusion surrounding the word Flash,
you should know that its both a le format (used to display animations
and other kinds of multimedia presentationson the Web and other
platforms) and also a program used to create those les. The full name
of the Adobe Flash-file-creating program is Adobe Flash CS5. It
creates Flash animations but you can create Flash animations with
other programs, too.
While Adobe Flash CS5 gives you the basic tools you need to tween
images, it lacks many tools professional animators have come to expect
from higher-end animation apps. Animate 2 not only lls that gap, it also
includes much-needed features like Xsheets, advanced rigging (with
inverse kinematics), a rich set of drawing tools, TWAIN sup port for
in-app scanning, advanced color palettes, and virtual cameras.
If youve already been using Toon Boom Animate, what youll enjoy
most about this new version is its speed. The developers have made
more than 100 optimizations, using multithreading, disk caching, and
optimized OpenGL support. Animate 2 also includes goodies such
blend modes, velocity controls, and, thankfully, the ability to autodistribute individual parts of a drawing to multiple layers.
If youre an ActionScript programmer, or if youre creating simple
animations, you should probably stick with Adobe products. But if youre
creating a movie for the Cartoon Network, you owe it to yourself to
check out Toon Boom Animate 2.Marcus Geduld
Company: Toon Boom Animation Inc.
Price: $699.99
(Upgrade: $299.99)
Web: www.toonboom.com
Rating:
Hot: Speed; ability to auto-distribute individual drawing parts

Not:
80
AUTOMATED PACKAGING FOR ADOBE INDESIGN

Packaging InDesign les takes up valuable time and computer resources
simply put, Package Central ofoads the actual collection of the
graphic les to another system. The software is easy to set up and use:
Install the Package Central server and then install the User Components on the designers systems. The server software requires some
minor set up for designating hotfolders and the workow options, but
that only takes minutes.
As with all Zevrix software, its Mac centric. The actual server requires a
Mac system along with a single version of InDesign installed. Designers
may use either Mac or Windows systems. Mac users can use the Zevrix
menu to submit les to the server, while Windows users can submit via
the normal Package command without submitting the actual links.
Fonts are copied and activated, including Windows Type 1 fonts.
With the initial cost, a dedicated system, and a copy of InDesign
running, obviously this software isnt for small shops. One would
assume that output turnaround must be fast paced, the InDesign les
large with lots of links, or with large graphics les to make the total
cost of implementing Package Central worthwhile. In addition, since
the purpose of the software is to ofoad the actual collection of any
linked graphics les, it makes sense that the graphics have to be available on a server, preferably a separate one.
Package Central worked as expected. It would be nice if the Package
Central software could work with multiple versions of InDesign running
on the same server. Right now, all versions must be the same. The
manual could explain the system requirements and the overall set up
a little better.David Creamer
Company: Zevrix Solutions
Price: $499.95
Web: www.zevrix.com
Rating:
Hot: Offload packaging to another system

Not: Manual could be slightly more detailed
reviews]
Olympus PEN E-P2
COMPACT CAMERA WITH INTERCHANGABLE LENSES

On the heels of the E-P1, Olympus released its latest Micro Four-Thirds
camera, the Olympus PEN E-P2. Like the E-P1, the E-P2 is an homage
to their 1959 35mm lm rangender Pen camera series. The E-P2 uses
the same 12.3-megapixel Live MOS sensor and 3", 230,000-dot LCD
as the E-P1. And, like the E-P1, it has no prism or mirror assembly, so
light travels directly to the sensor. The result is a relatively light, compact camera that supports interchangeable lenses.
There are several new features, including two new art lters, antireection coating on the LCD, and the ability to automatically lock focus
and track your subject in both still and video. The key new improvement over the E-P1 is the addition of the accessory port under the hot
shoe. The port supports a newly designed Electronic Viewnder (EVF)
that helps to make the E-P2 a pleasure to use. The high-res EVF is
bright, sharp, covers 100% eld of view, displays all the pertinent data,
and is more practical for composing and viewing in bright outdoor light
than the E-P1s low-resolution LCD. The accessory port also supports
an optional external microphone.
The metal body feels solid and is light enough to carry around all
day. Visually, the relatively slim E-P2 looks similar to the E-P1 but now
sports a black body with a raised leather grip that helps to give the
camera a nice balance. Dust removal and image stabilization are built
into the camera and work well. The controls are well placed and
I especially like the accessible design of the mode dial at the top left
and the thumb wheel on the top right for selecting settings of menu
items. A super control panel allows quick access to frequently used
features. The EVFs design lets it articulate to a 90 angle for waist-level
shooting, and it has a large diopter ring thats much more practical
than the traditional minuscule adjustment wheel. My only criticism of
the new EVF is that its too bright with no option to adjust the color
level. Colors appear slightly washed out and theres a discrepancy
when compared to viewing your subject with the naked eye.
The E-P2 shoots continuously at 3 frames per second (fps) RAW and
up to 9 frames before the buffer is full. Autofocus in daylight seems
snappier on the E-P2 but remains slow in dim light and with low-contrast
subjects, often necessitating switching to manual focus and using the

7x magnication feature. The E-P2 has an ISO range of 1006400 with
noise becoming a factor at ISO 800.
The autofocus system now can track a subject across the viewing
area, whether you move or the subject moves. The tracking rectangle
jerks occasionally with rapid subject movement but generally works well.
The E-P2 captures in RAW, JPEG, standard video, and 720p
high-denition (HD) video. The manual video mode lets you control
exposure, enabling you to adjust both the shutter and aperture. The
82
video mode also lets you incorporate the zoom lens and any of the
eight art lters. The image quality of both the RAW stills and HD
video is good.
The two new art lters are Diorama (which makes your subjects look
like miniature models) and Cross Process (imitating effects of various
traditional lms). The art lters can be effective if used judiciously, but
overuse runs the risk of becoming gimmicky.
The cameras exposure system is accurate and shooting in RAW
resulted in accurate color rendition and a good dynamic range with
plenty of shadow and highlight detail. The bottom line is that the E-P2
is solid, a pleasure to use, and worth looking into. Steve Baczewski
Company: Olympus America, Inc.
Price: $1,099.99
(w/1442mm lens & viewfinder)
Web: www.olympusamerica.com Rating:

Hot: Image quality; new EVF
Not: No custom mode setting; no built-in flash
LEE CALDERON
TIPS & TRICKS]
more hot tips for the coolest applications

[Adobe Photoshop CS5]
[Adobe Illustrator CS5]
A V
CONTENT-AWARE SCALE
PERMANENT GAP DETECTION
When content-aware scale has a problem differentiating the

subject from the background, give it a hand by creating an
alpha channel. Make a selection of the subject, click the Save
Selection as Channel icon at the bottom of the Channels
panel (Window>Channels), press Command-D (PC: Ctrl-D)
to deselect, and choose Edit>Content-Aware Scale. In the
Options Bar, set the Protect drop-down menu to Alpha 1.
Click-and-drag one of the control handles on the bounding
box to scale the image and press Return (PC: Enter) to apply.
(Note: Double-click the Background layer to rename it before
selecting Content-Aware Scale.)
When using Gap Detection (Object>Live Paint>Gap Options)

in Live Paint, the settings are for the entire live paint image.
To use different gap settings and leave your previous art
unaffected, set your gap options and then click the Close
Gaps With Paths button in the Gap Options dialog. This
option inserts paths in detected gaps to close them, so
when you use a new gap setting the previously painted art
stays unaffected.
JPEG AND PNG OPTIONS
www.LAYERSMAGAZINE.COM
Photoshop CS5 offers JPEG and PNG as le format options

when using Edit>Save As with a 16-bit image. That doesnt
mean that the JPEG and PNG le formats have suddenly
been rewritten to support 16-bit color; it just means that
Photoshop will save a copy of the image in 8-bit color in the
selected le format. When closing the 16-bit original, youll
still be prompted to save any changes.
MAKING 3D TYPE
In Photoshop CS5 Extended, when the Type tool (T) is activated, remember to end a type editing session before trying
to use the 3D>Repouss command. Press Command-Return
(PC: Ctrl-Enter), switch to another tool in the Toolbox, or click
on the Commit Any Current Edits icon (checkmark) in the
Options Bar.
84
CHANGE OBJECT PERSPECTIVE

To switch from one perspective plane to another in Illustrator CS5, select the Perspective Grid tool (Shift-P) and press
1, 2, or 3depending on the type of Perspective Grid used.
To switch an object from one grid to another, select the
object with the Perspective Selection tool (Shift-V) and type
the desired grid plane as you move the object. The object
will switch to the new plane.
WIDTH TOOL SHORTCUTS

If you double-click on a path with the new Width tool (ShiftW) in CS5 you can adjust the width settings numerically in
the Width Point Edit dialog. If you hold down the Option
(PC: Alt) key you can change the width points independently, instead of having them move in unison. (Note: If you
hold down the Option [PC: Alt] key and click-and-drag the
actual point on the path, youll make a copy of the point.) If
you hold down the Shift key when adjusting a width point,
youll adjust all the width points on a path simultaneously.
85
[Adobe Acrobat 9 Pro]
A V
HYPHENATION CONTROL
A V
COMMENTS CLUTTER
Before adding a word to the user dictionary when using

Check Spelling (Edit>Spelling>Check Spelling), check
how InDesign is going to hyphenate it. When InDesign
ags an unknown word, click on the Dictionary button
(instead of the Add button) and then click on the Hyphenate button. Hyphenation points are shown as tildes (~),
with one tilde being the most desirable point, up to
three tildes as acceptable. Edit as necessary, and click
the Add button to add the word to the user dictionary.
Also, if youre going to share your le, merge your user
dictionary into the InDesign le. Choose InDesign (PC:
Edit)>Preferences>Dictionary and enable the Merge User
Dictionary Into Document checkbox.
If youre adding comments to another users comments,

rather than cluttering your PDF with more notes and
icons, use the Reply option. Choose Comments>Show
Comments List, select the comment you wish to comment on, and click on the Reply icon in the navigation
bar at the top of the Comments panel.
SAVE WEBPAGE AS A PDF

If using Windows, Right-click and choose Convert to
Adobe PDF on your browser to save the webpage as
a PDF. You can also append to an existing PDF to add
more pages from the same websitejust Right-click
and choose Append to Existing PDF. Unfortunately, on
the Mac, you have to Right-click and choose Print Page,
click on the PDF button at the bottom of the Print dialog,
select Save As PDF, save your le accordingly, and use
the File>Combine feature in Acrobat Pro.
DISCRETIONARY HYPHENS
Want to control the hyphenation of a word without editing it
in the user dictionary? Click between the letters where you
want the hyphen to appear, and choose Type>Insert Special
Character>Hyphens and Dashes>Discretionary Hyphen. Discretionary hyphens can be added in front of a word to stop
that one word from hyphenatinga handy trick if you dont
want to use a character style (Window>Styles>Character
Styles) set to No Break.
COMPARE DOCUMENTS
Choose Document>Compare Documents and choose
each le in the appropriate section (hopefully, youll
know which is the old and which is the new)then
choose the type of document in the Document Description section for better comparison. Click OK and youll
get a new PDF comparing the two documents with
changes notated and annotations.
EASILY FIND/CHANGE GLYPHS

Need to use the Find/Change command to replace a
glyph? In the Glyphs panel (Window>Type & Tables>
Glyphs), you can add glyphs directly to the Find/Change
dialog (Edit>Find/Change). It sure beats having to nd the
glyphs twice. Right-click on a glyph in the Glyph panel and
choose either Load Glyph in Find or Load Glyph in Change.
The Find/Change dialog will open and the glyph will be
added to the appropriate eld.
[Adobe Flash CS5 Professional]

B
WRITE TEMPLATE INSTRUCTIONS
[Adobe Dreamweaver CS5]

B Y
R A F A E L
R C
C O N C E P C I O N
CHANGE HEADINGS TAGS BEHAVIOR

There are times when youll need to change the behavior of the headings tags inside of an HTML document
without having to create a separate style sheet. Click on
Modify>Page Properties and navigate to the Headings
(CSS) category. There, you can change the overall size of
the tags. You can use common measurements including
pixels, points, and ems.
MAKE IT EASIER TO READ IN CODE VIEW

Sometimes your work takes you deep into lines of code
and the default text size in Code view doesnt make it easy
for you to nd what youre looking for. Go to Dreamweaver
(PC: Edit)>Preferences and navigate to the Fonts category.
In the Code View drop-down menus, you can change the
type and size of the fontand you dont even have to
restart Dreamweaver to see the changes!
When you create a template, write instructions for using the

template on a guide layer. In the Timeline panel, Right-click
on the new layer and choose Guide. Select the Text tool (T)
and type your instructions on the Stage. The instructions will
be visible in the Flash document, but not when exported with
the published SWF le.
LIP SYNC TEMPLATE

Use the Lip Sync template as a pattern to create your
own talking characters mouth. Choose File>New and
click on the Templates tab. In the Category list choose
Sample Files and in the Templates list choose Lip Sync.
Click OK. Open the Library panel and copy the Mouth
Shape Graphic Symbols folder into your Flash document.
Now you can use the symbols as they are, or edit them
to make them t your character.
COLOR PANEL
Use the Color panel (Window>Color) to select a color for a ll
or stroke. Click on the Stroke Color icon (pencil) and choose a
color to select a stroke color. Click on the Fill Color icon (paint
bucket) and choose a color to select a ll color.
[Adobe InDesign CS5]
LEE CALDERON
[CREATIVE SUITE Q & A]
sweet answers for suite questions

[Adobe PHOTOSHOP CS5]
B
[Q]
Im trying to install updates, but the Adobe Application Manager insists I need to quit Bridge, even
though its not running. How can I update?
In Bridge, choose Adobe Bridge CS5 (PC:Edit)>
Preferences and click on the Advanced category.
Deselect the Start Bridge At Login checkbox, restart
the computer, and check for updates.
www.L AYERSMAGA ZINE.COM
[Q]
How come I can see the cursors location in the

histogram when I click-and-drag in the image while
working with a Curves adjustment, but not with a
Curves adjustment layer?
When adding a Curves adjustment layer, select the
topmost tool in the Adjustments panel (Window>
Adjustments) and move (dont drag) the tool onto the
image. To add an anchor point at a specic point along
the curve, click on the image to place your anchor
point. Then drag the tool up and down on the image
to manipulate the curve (the cursor will change to
match the tools icon).
86
[Adobe Illustrator CS5]

B
[Q]
A V
I know I can use a layer mask and a gradient in Photoshop

to fade a photo out, but I cant gure out how to do it in
Illustrator. Can it be done?
Yesits similar, but you need to create the mask as a
regular object rst, and then ll it with a black-to-white
gradient. Note: It helps to put everything on its own layer,
so place your artwork on Layer 1, and then click on the
Create New Layer icon at the bottom of the Layers panel
(Window>Layers) to create a new layer for your mask.
Select the Rectangle tool (M) and draw an object
the size of your artwork. With your object selected,
choose a black-to-white gradient in the Gradient panel
(Window>Gradient) and press V to switch to the Selection tool. Place the mask on top of the artwork and
press Command-A (PC: Ctrl-A) to select all. Select
Make Opacity Mask from the Transparency panels
(Window>Transparency) yout menu and use the Transparency panel much like youd treat a layer mask on a
specic layer in Photoshop: Select the image thumbnail
to edit the art layer or the mask thumbnail to edit the
mask (using the Gradient tool [G] or to resize).
87
Yesafter you File>Place your art, select it (you might

want to group it rst by going to Object>Group) and
choose Object>Text Wrap>Make. Then the type will
wrap according to the type of imageif Illustrator can
determine the boundary, it will automatically do a contour wrap. If you need to adjust the text Offset, choose
Object>Text Wrap>Text Wrap Options. Also note that
your art has to be on a sublayer above the sublayer
containing your text for the wrap to work.
[Adobe Acrobat 9 Pro]

B
[Q]
A V
[Q]
I use text wrap to create a custom wrap around my

graphics, but how can I keep the text from creeping
into unwanted areas of the graphic?
I blocked some website links too quickly in Acrobat.

How can I reset the websites?
[Q]
Go to Acrobat (PC: Edit)>Preferences and scroll down

to the Trust Manager category. Once there, click on the
Change Settings button. There youll see a list of any websites you have allowed or blocked, and you can change
each site as desired or even delete from the list.
I need to create a complex grid with many rows and columns

using guides, but it makes the page look very busy. Any way
to make it less cluttered?
I can think of a couple of ways that might help. The rst

method is to use the Create Guides dialog (Layout>Create
Guides) to create the grid. Then, Shift-click each grid line
you want to soften and choose Layout>Ruler Guides.
In the Ruler Guides dialog, you can change the View
Threshold and the Color (you might have to use the
Custom option to make a lighter color). The rst setting
sets the guides so they only show at a given percentage.
For example, guides set to 200% will not show up at any
setting less than that viewing percentage.
The second method uses layers. Since guides are created on the active layer, create a new layer for each grid
setting. For example, if your goal is a 16x32 grid, you might
want to start with a 4x8 grid on its own layerthen lock
and hide the layer. To lock the layer, click on the box to
the left of the layer in the Layers panel (Window>Layers).
To hide the layer, click the second box to the left of the
You can do it a couple of ways. The rst way is to create a

button that clears only the radio buttons. Go to Forms>
Add or Edit Fields, use the Radio Button tool to draw a
radio button, and double-click the button to open the
Radio Button Properties dialog. In the Actions category,
choose Mouse Down from the Select Trigger drop-down
menu, and Reset a Form from the Select Action dropdown menu. Click the Add button and in the Reset a
Form dialog, select the names of the radio buttons you
want to reset and click OK.
The second option is to use checkboxes but set them
up as radio buttons. When using checkboxes, you need
to keep the button name the same for all options (in the
General category of the Check Box Properties dialog), but
the Export Value should be unique (instead of the usual
Yes) in the Options category. Select Circle for Check Box
Style in the Options category, as well. You can also change
the appearance of the checkboxes so they look more like
radio buttons.
There are two ways to control the text wrap (three if

you count an old Quark trick). In the Text Wrap panel
(Window>Text Wrap), under the Wrap Option section,
set the wrap to only occur to the left or right of the
image (or to the spine) by choosing accordingly from the
Wrap To drop-down menu. Another way to control the
text wrap is to create a separate alpha channel in Photoshop using the Channels panel (Window>Channels). To
use the alpha channel in InDesign, select the graphic,
choose the Wrap Around Object Shape option at the top
of the Text Wrap dialog, choose Alpha Channel from the
Type drop-down menu in the Contour Options section,
and then select your alpha channel from the Alpha dropdown menu. Lastly, you can create a pen path using the
Pen tool (P) with a Fill and Stroke of [None] and apply
the text wrap to that path rather than the actual image.
How can I allow all radio button selections to

be deselected?
[Q]
[Adobe INDESIGN CS5]

B Y
A V
[Adobe Flash CS5 Professional]

B
[Q]
Whats the difference between a tweening shape mask

and a motion mask?
A ll, stroke, or a combination of the two, are used to
create a shape mask. The advantage of tweening a shape
mask is it allows you to signicantly modify the mask from
the beginning to ending tween. For example, the beginning frame of a shape tween could contain the letter R. The
ending frame of the tween could be the shape of a rabbit.
In contrast, the motion mask is created using a symbol
instance. If the beginning frame of a tween contained a
symbol instance of the letter R, the ending frame would
have to contain the same instance. You would be limited to
scaling, rotating, and changing the location of the instance
on the Stage in the ending frame.
L AY E R S M A G A Z I N E ][ s e p t / oc t 2010
[Q]
layer. Create a new layer and create an 8x16 grid, and

then a layer with the nal 16x32 grid. Now you can turn
on and off the grids as necessary by using the corresponding layers visibility boxes.
Can I wrap text around art in Illustrator like I can

in InDesign?
89
4 Over, Inc.. . . . . . . . . . . . . . . . . . . . . . . . . .93

www.4over.com
48HourPrint.com . . . . . . . . . . . . . . . . . . . . .63
www.48hourprint.com
[A]
Adobe Photoshop Lightroom 3 Book
for Digital Photographers, The . . . . . . . . . .91
www.kelbytraining.com
Adorama Camera, Inc. . . . . . . . . . . . . . . . .11
www.adorama.com
Artistic Photo Canvas . . . . . . . . . . . . . . . . .71
www.artisticphotocanvas.com
[B]
B&H Photo. . . . . . . . . . . . . . . . . . . . . . . . . .97
www.bhphotovideo.com
Bay Photo. . . . . . . . . . . . . . . . . . . . . . . .1617
www.bayphoto.com
Berthold Direct . . . . . . . . . . . . . . . . . . . . . .51
www.bertholdtypes.com
Boss Logo . . . . . . . . . . . . . . . . . . . . . . . . . .95
www.bosslogo.com
[D]
Dahle North America . . . . . . . . . . . . . . . . .96
www.dahle.com
Digimarc. . . . . . . . . . . . . . . . . . . . . . . . . . . .41
www.digimarc.com/passion
[I]
[O]
iStockphoto.com . . . . . . . . . . . . . . . . . . IFC3
www.istockphoto.com
onOne Software . . . . . . . . . . . . . . . . . . . . . 9
www.ononesoftware.com
I.T. Supplies . . . . . . . . . . . . . . . . . . . . . . . . .10

www.itsupplies.com
[P]
[K]
Peachpit Publishing Group . . . . . . . . . . . . .53

www.peachpit.com
Kelby Training . . . . . . . . . . . . . . . . 81, 88, 90

www.kelbytraining.com
PhotoXpress. . . . . . . . . . . . . . . . . . . . . . . . BC
www.photoxpress.com
Kelby TV. . . . . . . . . . . . . . . . . . . . . . . . . . . .92

http://kelbytv.com
PrintforPros.com . . . . . . . . . . . . . . . . . . . . .75
www.printforpros.com
[L]
PrintRunner . . . . . . . . . . . . . . . . . . . . . . . . .94
www.printrunner.com
Layers TV . . . . . . . . . . . . . . . . . . . . . . . . . . .96
www.layersmagazine.com/layerstv
[R]
[M]
Really Right Stuff . . . . . . . . . . . . . . . . . . . . .45

www.reallyrightstuff.com
MacMall . . . . . . . . . . . . . . . . . . . . . . . . . . . .27
www.macmall.com
[S]
Media Graphix. . . . . . . . . . . . . . . . . . . . . . .69

www.mediagraphix.com
Media Lab, Inc . . . . . . . . . . . . . . . . . . . . . . . 7
www.medialab.com
Mpix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
www.mpix.com
[N]
[F]
National Association of
Photoshop Professionals . . . . . . . . . . . . . . .83
www.photoshopuser.com
Focal Press . . . . . . . . . . . . . . . . . . . . . . . . . .65

www.focalpress.com
Nik Software, Inc.. . . . . . . . . . . . . . . . . . . . .25

www.niksoftware.com
Every attempt has been made to make this listing as complete as possible. However, its accuracy cannot be guaranteed.
Shutterstock. . . . . . . . . . . . . . . . . . . . . . . IBC
www.shutterstock.com
[V]
Vistaprint . . . . . . . . . . . . . . . . . . . . . . . . . . 77
www.vistaprint.com
[W]
Wacom. . . . . . . . . . . . . . . . . . . . . . . . . . . . .57
www.wacom.com/americas
[Z]
Zoo Printing . . . . . . . . . . . . . . . . . . . . . . . . .96
www.zooprinting.com
For advertising information, please contact Kevin Agren,

VP, Sales at 813-433-2370 Fax: 813-433-5013
Email: kagren@kelbymediagroup.com
[THE BACK PAGE]

HERES YOUR CHANCE TO BE PUBLISHED IN THE
PAGES OF LAYERS MAGAZINE!!
Would you like the chance to get published in the pages
of Layers magazine? You would? Then all you have to do is
send us your artwork. Thats rightjust attach your favorite
piece to an email and click Send. And if we think its cool
too, well publish it in our Digital Canvas section. As weve
mentioned before here on the back page, we love showcasing the work of our readers, and we know our readers love
seeing their work in print. So whether it was work for a client,
or something you did in your spare time, send it. We like
illustrations, Web designs, magazine and book covers, product
designs, brochures, posters, and the list goes on and on.
As you know, it would be impossible for us to publish everyones
work, but that shouldnt stop you from taking the chance; it only
takes a few minutes to send us an email. And even though we cant
publish everything, we still appreciate viewing the incredible illustrations and designs that are being created by our readers.
Just send everything to letters@layersmagazine.com with a
subject of Digital Canvas. For each piece you submit, let us
know the title, clients name (or personal work), all the applications you used (including version numbers), and a website
where readers can see more of your work. Turn to page 20
of this issue to see exactly what we need and to admire the
work of other readers.
[ SUBMIT YOUR WORK TO

LETTERS@LAYERSMAGAZINE.COM ]
THE DESIGN MAKEOVER

By the way, were also always on the lookout for talented designers
for the Design Makeover. Every issue, we ask three designers to
create a fresh new look for a design currently in the marketplace.
Weve redesigned everything from logos to webpages to magazine covers to product labels.
This is our most popular column, and its the rst page most
of our readers turn to when they receive their latest copy of the
magazine. So if you want a chance to show your skills to the world,
just drop us a line at letters@layersmagazine.com with a subject of
Design Makeover.
98

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SEPTEMBER/OCTOBER

DISPLAY UNTIL NOVEMBER 16, 2010

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48 ] Adobe Photoshop CS5:

54 ] Adobe Illustrator CS5:

60 ] Adobe InDesign CS5:

66 ] Adobe Dreamweaver CS5:

72 ] Adobe Flash CS5 Professional:

ActionScript Made EasyPaul Trani

Have questions about your professional portfolio? Layers to the

58 ] The Art of Type:

Hosted by Corey Barker and Rafael RC Concepcion

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FROM THE EDITOR]

[And for creatives,

that means having

Dreamweaver CS5; and the learning goes on and on.

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Your Discount Imaging Source

FREE shipping on all orders over $99!

w w w .l ay er s mag azi n e.c o m

Steve Baczewski Corey Barker

Get 3 packs for

Full Line of Epson

(good till 6/30/10)

Ideal for Professional Photographers

Full Line of Supplies (Call for Catalog)

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Kevin Agren 813-433-2370

$29.95 (U.S.) Call (toll-free)

Cover image courtesy

Produced using Adobe InDesign

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Adobe releases Flash 10.1

Flash Player gets augmented

for the Mac

New Cybershots let you capture 3D

[more cool sites for creatives]

Machine wash, tumble until

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PHOTOSHOP CS5 FOR

PHOTOSHOP CS5 DOWN & DIRTY

MAXIMUM PHOTOSHOP CS5 TOUR

PHOTOSHOP WORLD CONFERENCE

ADOBE MAX 2010

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Create your own

And now introducing

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Layers: You earned a Bachelor of Architecture degree from Cal Poly

Pasadena, California, changed my life. It was going to be all about art

of the architecture of things. I am quite fascinated by the process of

Layers: Which applications do you use for both your illustration

Calderon: I really do enjoy the balance of both disciplines. I think one

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ALL IMAGES BY LEE CALDERON

the digital canvas

showcasing the design work of our readers

www.l ayer smagazine.com

Photography: Beau Rivage Village

Design: Jimi Hendrix