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Anthony Robinson tutoriat

Atessandro Bavari

Iypograplry f€ature

Jacey tutorial

Tips Piorr€-Paut frriseau Rod Ste€le tutorial


*
If'"-rt l l@
An abundance of top-qualtty Photoshop filters, add-ons and extras - aLL yours
to keep and on the cover CD...

CA Specrrl has teamed up wtth the company to briDg you some exctustve samples.. -

sone omFnies wirl podu.o a 9rturnopptug-in *ry My@c bu.iorrh. ar@srdp 6 Art lho ME. bdh Mac and rc phrbms snd tu[
'Eror
53 d-*o,r.ng.oukar sapphim rn@a ln$u.rioi innrudiom can beroui! tn ths READIT\E pdfJits which i! tn
.onh ly s'kiq on and nr€asi's f, @.r'optitb6 dnd !dd.e fi4 rrc lhe Foatured/S.pphiro 6drB ii elihor Maeorr or Paloii, dapanding on
bonoli.Llb rh. @son€d p6 and basimn arik€. tlu plrrroh. lfrhb lldt.noush SaDphtro ndotois h ofrbrtnq Co'Dd,/
Ihi. hont[ CMpudrns Sp6r,r hae @mod upv n 6..mp.rry ro ,.t Sra.irl @d.6. llvifg ot' 26 pd cel( d irs iBw c€di€fis Votho I
ting rlu .^ ei.blird sanprs or em or ib .l.ur ELrs tRruddd m (oudrol T$s! ca" br o,r zidjos@D-icr a*lwl**{$ppiG.
,oic@rcDare mir ror irr25 h.bdha2Scoibud t04(M 5h.@ h'mrionMoh. Jun ryp. CA Mda/ or add ! m1o id rho comm.nB ladton
,44 dispL.ohonr mapi 14lms.10 gEdi..ri 12 pdl@ r0 rih.6, ,n$ordentbgorrhodieou Atsmdlsty c6[[q0]1393424Oz
21 nyh! aid 10 rqru6 lhi. all add. up ro275 hu e{6 r.r yd,r copy or €m to 6ph CMDor rrx yofdgr.th b ltl 0207 373 3110.

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ri. sgLr r.Ltb Mrndds9tot.nd dd oF l,'. lig s.tc$d$.Sinp.fldF.iclxtUbrb r4.n rl. RCB v.tuo ol rh. tn$r

lrcldsd on your cN.C0.6l0itu szlpriE ln'MioBst nie Ois ftolEoFtrmd.dd$monrh3cmrcDcaib.@db rsr.yotrwguelsdk,


load.d i,no tboshor q d.s c.n t.@d b:.riffi $m@iriig sd v.it d tnn6 )b!r im.soe. AIL ikh-qurtfty,1h6lrmos c.i b. uluk€d mpytng ald t
€tf.d!. Ch.ck oulh6 Eadd ofa€rln ri. b@d rtoE. FiirEth, hmo onb a nd lrFr and dling {E Bl€idrn! mod. ro Muutply
55 high-quatity fitters for Mac and PC from Harak Heim of Ptugin Gataxylamo

foLlnrhe instucionsoif reei lq


HaraLd Heim whose name you\r recosnise rrcm rhe Prugii Gat iy (!hic[
db. !d.rr'rr s.,5lo! co-p {.. /,^ Macehteaturcd/Ha43plus insror@rfnobsroppLus insioLdeiytun
lictuded ii rha pLus-in h a bavy of hkh-qlariry image ri[38. alt zimed at rho0 riid rh8 m uidor rhe Phob3hop f men! I hese liLrsre are c ompaible
'lB,s
mrktns hag€-ad ing aid Foces
'€!rs Fitb6 aru rbl bdh l4ac and FC
Narry roi mo'e irro'nari@ on H y e nlre6 H leii 6alar and HaE Ld Heimt
WtidowE aid I O tu Md. To indau rh6 ttLr€^ on th€ FC limpty dici on y@r{drb lelMlh4rusinsiFmm

H.rryr flltrtr olhr I t@d ni$ ol.thct rnd lh.s.-tult(ns d(k.! ft. H..s r.prlLd !h. N.ll Adfld tin irr Notr. rub.rrqory h nD Hlryl
llLbtrrrpE!.'nrdh.ol nhb ...,t(lgh(ynnhh..doidrconm.*lrL nltr |tuftd.Ii: b. rlod rrn/. ol io* ri.lllbD cm b. o.d b .dd .

firnyt FlLrrn .bo ftt .! I gddt ni .dltlie lool. Akhowh nd a. .opft{L.rd rwhh H.nyl Rlbtr ri€B .F .on. sood roob ior cobln ht y.u. hr$r Thr s
r F obrrop! owi GEdr. Edrbi I i.! , LEo ahounr of pE!.l. .id h iELud. oe{on! ftr tvelft iidi}tdurl RGB v.[.! $ wU.! rh. o*ctiy.nd
b.\ghtu!! or$, mddd oloui
tcuch of
he surreal
How do we create a dream-like image with a
sense of photo-realism? By creating a layered
file in Photoshop 5, of course
o creale rhis lubnd image we adjustmeni Layers inscad of affecti^g
tmagery directty means ihat we avoid
features like parhs. channels. deterioralion Perhapsmoslimportanlty.
wewiLthavea v-"ryfleribte layeredlite
some lealorcs lile laye6 and laFr when comptebd so you can continua
masks which. alrhough noi eraclly brand mutaring the adjusimeni taye6 for as
n€q aE milestones in the wodd of inage Longasyou tike lsarning a few new
manipukrion. And linalty. ve incorpoEte tricks,and revealingsome hexpected
some nel teaiures like adjustment LayeB
:nd la)€r sers to rop n a[ otl.
vou {ittnorice, as you work through T A e,Fd,P'qd*b,kr s
rhe ruiorial thal this image is l-l ridtu&sElrF4@,edw@i
con*.ucted ro walk in a non-tinea.
manner By using layer maskin!
techniques we avoid e€sing. whi.h
opere up rh. possiliLity of reveating
n ore ot rhe elemenb tarer on using
@ i:,i""ii::il H:il: r"5*li.If :;, l, aden rh"-d.-' *"aBiAh*"/c-,"+ li! m*""r m,mv c-,.*a.l.L il"+r
rudu.ethe Lay., opa. iy cralcan.wlayo{t add.r mi*ro rherayereraoduselhscharDcrlo Layfli.oniidlilirher e.iiorwlh bi.l Dcserecl
and add the{ tuo raysi to t s€edA onth€ ridadna ci!$iin h !i u!. rlr MDV.1.o kr
brcrs rye. and (.py connaidiri.krhe&ck on5.1ihc ayo.! shiyrothc cri Adda ay.rmasl
Liyer .dn lom*Plse.ton ton I and bend oui uiwadcd c,sw$srad.nt

Fart 2: The surreal bowler hat


Using basic layer masking techniques, we prove that it is qurte possrble to grow an apple out of a hat

o 33:tl3i;1": :iifjlJlt'::1""fi i illi:,


rpoton lhc.ppewithromeor the rhters@i
(rob Hodrs
s I'ir;ff ,i:l r::iii';$si:ij:j1r,"",., E ;jl:.l::.1l:';i:: i;:1ll#i: [':xil5i ,,
varyins opa. ry docs a n dowo th.
oproirryw cixlt.yo! t +r'drr.,isipo r c'adcnt tmron thchyc.maskioscdlyiideoul shlikcywh cpc orm nsrradomironsro

Fart 3: lnside the figurc


Making use of various adjustment layers and multiple image layers with different Blending modes, we now
add some imagery into the figure shape

Es ih! .ae rh"o."r ao ch,m"ih" EF Mare thcdrd nca d'qppen by mD.'iE the !.E opan thar F.h d p\d in rhp.D u? rh! Pci
"-de,
modebhadghtds.netsfumbrcsl *i eh.m6trnhor rheLopndu rowrd5rh"
and poslton Add iltryermdr d$fuy pinroul ixht Hold dowo the oprioi Ler 10 a(e( the r Chi command. rrrhr Path .oi io male a se edlon
thehadedse al the bottom. Doubletli.kthe L.yn lideof rheriaiBleslid{aiddcgitabiiludhef io Usecommaf,d.Jto mrG a new laydr tom lhe
i.on to icce$ the Bleid ig o0t oiJ sele.ton.D,aglhs ryer ntolhewo nCre >
g lllll" lli l'.:illlil;i,l'i.:iilii,iii"lT'"
g :[l:: ff ,ifi lr.ltil;]ilf 'l[il';iJ::
s Rtllij,:li:liti,l $li*lf til[;::,:-" ic nod.lo ovriy i
3lcid .d!ft r!oll.ty

o ;,liiit:,:1";iTff ,i,:';i'"i|:;:,:[J:,
s ifi-i:ut l';1,fi1.i|.i,$::'iil?i''*
trrion r 3 e lismod.io
*, ,nro.rirdilJ L! nr';"
ulrgrce cha,srl c id.rtDo on [m ryd i:(10]icrdsomcor

,+r ope the rqnlra(5htut oi or rhe cD dd


iI. d,r(rhr ?veJ itorhe, ortmrir. R.,nrnd a= .i Dmind{kr thc 2Fr-
p4lonlheirgsn!fret''fdnchtrsels
3 end ns mode io ilp opa.ilyro
.o or dodsc and
€e *ed,o,h,,- r rhe;
lonrohdrea
snasrioth.
;i'j':iii'i l'"Hi:,xxl ;x.if Hfi ti.
3ysflarduf rrecfadcnttoo i
20 pcrftit Dlp .ate thi5 nn rs.rheopa.iiy. adjunm.nr Laytr {oi r i he rollom !ishryadtun rhe m*liosorienih-A.oncr s.alrn a t.LV rn.rc
and.hans€ihe 3 end igmodero tun nos y f.rotror.ontadlhcPh i6 de rhe I sm.
|r.! h,hcJdiudtum,rrr.rmlt u, f h Dc.clcd.iid d ortr ts!./situ:r'on
$, r-", bD"rih' . Ad *t th., d.*
it.lAr F!,4rrn "
s d.6rnt thc br(k trm ivhrtnls.rd rcou,r idldm.n ryffsmisk k, I n,nar,mo! orlhl
th. modxr.tr 5 to ool t,..i

Part 4: The spectacles


combining multiple layers, adjustment layers, paths, and a pair of glasses

E= open rhr I r I n,5 rsion cn o,r!


eS rh.Ar € a,, niorh! 60,r'hrra r r u( i,,Ioa,rhcr. nrpEo,ihcrD 5e-i..d
lrcctannorm to rcsz.ind por ton thc 3.$e; =S
.oprre(oiorlherky Now. bi.k r the*o* ng
,\drLtrt thr.o.urLr dr nqeAd Gt>levelr E *-,- -, ' , ", ",*. r.^,', "..
(co,iiii.l L) rhen, uf the Pen too todnwa (connand \h'tr U rhE.'cdcsa ncw ayc,wrlr a adlu!1n,tr1 ayc,and adlunthc Lnhrthr
s dcE
aek oi rhe.urenr *lcd on rolou,insid!the cnsB.csembcsrhatof ihr ippe

€ on theorPnirrnrshfimilei eedon 6i i9 yh.ra .idaopy n loreor! i* rc


*5 ror trr€ p;rh dlp rhlh,rereron Aa =.'mmrd,r,hPi'4ndrcrdsAbF,
n.vrraycr(commind r)and movcih. riycr up n murripry rayer underieirh ir a illl rhe s e.1ioi
rhe Liye6 pirerletrboverheorhssdses trye6 w th bla.k D*erecl(comnaid D).:nd 3pply3 15 {command.sh ft-V) deatnEr new iy$wth a
chaige li no.le 10 m!rtl)ry,adJn ayernark, m k rrom thc,eledoi chaige L node to
ove, ay aid rcdu.ethe o0r. ty >
Paft 6: Adding some flying fish
And finally we'll create a school offish, using duplicate layer sets
and customising each fish setjust a little. so they aren't allthe same

s :,ff IiTi ir"f t5x,:?i::i?,3',#"fJ: g i;l; :i,1','Ji*'#iil,'f:.'"'fl ;'i:,,-',


pith, and a ray., rrod [r rfledio n D,is lh6 tiycr S [:1fi"^fil';:!iil iil$i;l#i$ff fi :" and Edlc ls Opac ly. Add a aycrmaskand
iiljo rhcwddinf I . arr.1nn. s rLddrr modc ro &nrrvrrd. rh.ri,rrido(hd i.r'i rh. m tu5nc ble^d dul som. eas 6hrlhecraden oo
Lum noityand uso t4.r,.ndo'n to a,. rhc r,th.

g :il{[Th'f i,'ii f fi f",t fii:f; al oFn lhe lil. srlanc'osdo.rhecD Ddwr


i.w Nue/saro'at6n idiunmcnl
a.rive, deite a
ayci Adrudrh,ar de6un rhct:h!cototr.3rrulo
C, rk u r.,;d m ,ai sp r 6mn rhe h$o
copy il, .,crtd d is .lunnei ln ihe (o*ii8 firc
o :"::il'ti;'f i,'5f IH"!'i: i: J*:
6ethccBd stroo Lo orrw
brend.o rh n ihe
resenbr ihewirc' n rheo..an ph.ro c.n y md pastc swn h fte cMYk rhannels on to see rhc sledon Nolddown option to acce$thc
brcntj aRA n rh 5 rayfl 5 mrt ,n r nn r w,v lo inag.. R6i:€ rnd ponlroi rh. $r*ted arca using Eyedropps toor:nd pck upcoorrfromrhensh 1.
nc.ransfom $ lhit it ovc'laps rhe fth

s fl :if f'l:xl"Jff ';",:lfi


""i:ilii:,!*li'* tl o H:: 1'Jkii;"#;T:T::J ;jlfi
resne and poition ihen arcs the ba.ksmund
Makeea.hntunquc by ediriig the modes d
,ho*, - b' pr"y.--;.ih
lay€q rry dupliGtihs lay3^. .han3inA"du,
-t rshtorrhe@ d Ld,fi!
nrotheuppfl rsh
lhe r hades swmados-.ontnueon 6ronCasyou ke.
maksof ndiv dua aycE vary rhe Hue/gruEron and opdd€ rhn typ€ of expcrideibi oi .an oneortheh d*t th rys ro reari as a prDtdJho,
and u*adifiereirinkrptatiorea.hore often rcw3r $me preaint s,.prtfs.
T rliGF ! tffi
Understanding
colour management
Managing colour ls an area often given scant attention, even in some
very pro{essional organisations. We examine why it's worth getting to
grips with the subject for cons stent results...

,rl-'- uc, { t/ (o tlre ru, drmenF Are., s.r !p s/nem otcoL.trr ycars nayqu€stiontheneetl for su.h a
i
jlJ D I r,ft,,"".. "FlB-r ,trrnig.ieni!o.53 L.nqwayrow,rds sy$em. b!t tor thor-" ol us now iloing att
a!rnanng lie rmc€ss.f mdc riig our own scrnni,rg ur lakin! dilirat pholos
itud ll,i.'il.i'l,it:1.";
eFry.otdu dercetou r * rr .3 ,
of,!Lrats:aried rmalesro prixed
rur.rr. a1d sh.trLa alsootl.r m.re
llreb!i.li6.an be substantial
Ihese advanlase5 include snnpbr aid
diff-"reni colour ranqeors!nut ri,at Lr ..nsisr3nr and p.edi.trtlc rcsrtts q!i.kerscrnriig. more accurat," cotour
canditplay(monii.El !ee.ra.iiyse i:adironlL scaiier operatos. Rho mar.hins Lo.riginaG and improved
lscannerr and niertat.:.n-"zsl .r.trtprr l3re e:'ecrivet! leei taking.are ot ac.lmcy fr.m your digitat prools Two ol
...cu_man3eeme l {or trstormany rhe m.sl..mm.nty used cotour >
Youryork enyaronment
SurprGinqly the best olace to start {ten
lryins to achieve consisleni cotour has
iothine to do with your monirori
conputer or printer - it s your everyday
working envircnnenr, ndeed, anyone
who has ever had a job delivered liom
their prinrer with cotours that ihey didnl
quite expecl. shoutd rake a bok ar their
€veryday $udio envircnment belo€ they
try to adju$ any equipmenr ltthe Mtls
aE brighr blue and covered in poste or
Sorins b:c(qrcund rd a murdrslom aid ridyirsyour d.skkr*iniotord @.frb
rr im,q. I you tiid ihG ids dh
on !b €LuB in the t(qhting is quire hareh and yettow
morehdrUyiisrianFiniiEyour&diogEy,prddlrop"iudomdicdlydoatrhlrt6p.wrnydhM.iiri@o
'ou n, i;n c[ck m rhe cdE rhen a spot oi remodellinq coutd b€ in
lhriodlon(fultscc.nmodswirhftiubrnm h. b(dn ofirE n.in nddb.phlbr _ np @n bp dE 6tu;.f oi yo* royuorro o rogqr"
order deaLly, the watls ol your
surounding, shouLd be Dainred a ilat,
franagenenr solutions, Atple s and it youte rorunale enoush ro work at. neutEt grey cotoui lnibrtunatety this
colo6ync and rhe rery sim.iar Micmeti or rich eMgh io be a cuslomer or rhee can make tor qlite a depEssins workine
CM2 3ysteo. borh use a gmup of files racatilies. much can be Learned by envi@nment, so the nsxt besr strbsirura
.onGininq d6ciDtioN ol how ech cotour G probably ma11 wh[e.
deviceindividuauyhandl$colou.Ihes A lop qlalily CMYK scan raken into Lishling shoutd befmm daylighr
ae caued ICC (ltuemarionat Color Fdosrop otten reqliEs LinLecot@r butbs oi il you can lind them, nonhtight
Con$nium)protiGs and aE elher coiiecrion befoe t can be imas€set or bulbs The latter give the room a brkhr
slpplied or geneored lor.ach device plrie*l by ano$er very expensive piece fesh footing with a very sLilht btue
When st up cor@tl! lhey can of calibmied equipment Fom ihis siage temperaN6. RuoEscenttubes a€
€liminare rhe need tor. tot o, tnat and Matchorims tr Chomalins a€ made norma{ty befie. $an sDot tiqhts as the
errcr in cdlour p@oaillg and indeed lon the @lpur iilfrs or wer prools run tbht is dispeFed more eventy arcuid
years oi opeEror expeien@. lDm the pnnting plares. Ihe larier the room aid create Less shadow areas.
h is ihponant ro Emedber that process ir by tar $e most accurate These lishts shoutd ideaUy bestkhtly
such a sysrem wilt only gel fte b€st hethod oi pooting .s tong as it is dimmedwhileyou are tooking at vour
reslls possible rrom your eisring sEen. Natu€l liehi fbm windows, white
equipmenl and !nronutubty c,nnol nor Prinr jobs c.n even be prooied on ihe verypteasanl G another potentiat
impr@ lhe colour g.n (.an8eol linal paper3i6k, or using sp*ht hazard in making consGtent cotour
colour)liom any peripheEl Panbne inks ii Eqlied, atthough bolh of decGions f rcm your monitor becausethe
rhe lofrer merhods ae considored brightnsss b con$antLy chaneine It
almostas€euEte torpboiing You nolice rhat your work bom is
Ihe pa{. prolont rnd futulr ii{rcolour erk. OigitaL recioG oi suscept ible ro th is. then you m ay lind
It! sti( rue !o say lhar the va3l majonry MabhDnnGand Chemalhs 5re now ihai dark btinds which enabte you to shut
ot pinleE and r€prc hdus rorl mos{y commonplace bur cchnicat €dable light out at criticat judeement
in thelc!.coldr CM'K sylren timirations hean'oqthat rhese aEn r always
thrcwhoui $en MArlor Many wii! quite as a.curare and thelype is Any reiLecrions in the gtass can be
haw al least oie exDemi€ dtum etiminared by using a darksreenor
sanner and a( least one highty skilted Many or rhese companies feel lh€y lhield around $e top and sides of th€
ope€tor As ehwaE inp@s ad good have liule need ior learning abour case. exlending rar enough round to
quatiry scanners becomecheaFr deice sp*ific pbiiles al the mohenr btock olt any slmy tkht.lndeedsome
howevel many repo h@*s a€ bmau* rhey operare on a more or tess monitors such aslhe Lacie blue

lni impo
This colour €xperierce is $ill very
ant ar rhe lop end o, the induslry
cto*d loop systeh, and ety on a
peess rhee lhey shoutd achieve g€ar
Esulrc, as lon! as att their hachinery is
eqlbny calibnted. Even in these
screens, now cone wth these shietds

Nowir'srimelorakea good, ha6h


took at the deskop screen irseti White
sirlatiohs, this G becomins an aca oi mukicotour neon patterns and a rash ol
imrea*d impo.tance as moe icons may b€ inspiralioiat. they wont
pholog€phicorigination switchesfbn hetp youreyes when making subtte
lnmpaErcies b RCB dighal iites. adjushenrs to an inagel You shoutd
On the dher hand. everybody working ideally use a very ptain, neutml grey
outsideoranenvibnmenl tikethiswill colour for the sc@en backeround. White
.lmctcetuinLy b€nefit fom learning you e chansing thai, it s probably fair ro
moE abou! ihis subjd nN. say thal nost deskrops woutd benerit
llntes you are tonunare enoush to rrcm beine t€ss ctutteed with icons.
have access b ai expensive *annei
yolr starling poin! in lhe @lour chain
will aLmosr eftinty be in RG8, like your Caltbrsling your monltof
nonitor disptay. ay becoming more Most of us have probabty srood staring
tamiliar*ilh the prin.iples oi cotour tusttutty ai a great bank or new
management and devace pofiling, it is teLeyisions in a showroom at one ime or
pNible br you to prodlce work b nvat anoiher Wet, it yd didn t notice lhar
hosi ol rhe pictures tooked diffeent
I rre==
even lhoqchthev were showinqthe same lol one or these profilss. d.d t wo.ry too
Dmqramme its otubabty beslto skip mu.habour ir ar rhe mom.nr.
Nert tocare and olen ihe Adobe
Your noniror k iundamentallylhe Camma conkot panet.rhis sh.uld be
same as one of those retevisions. Each instalGd autofr aticalLy because the maior pnrblsm in coldr manag.m
fioiitor deploys many dillerenl Pho.dsbop is toaded on to ydr machine.
componenrs and technotosiesr we each lfyou have an otder v€rsion oflhis as
4dlusi rhe brithtness, cotour and contast wett(ft used to bejustcall€dGa6ha)
to diffeent ldvets and sir in individuat rhenir'ssaleto outthat in th€ Ih.li3hgaihalqa*LLlgallhecMyK
moms wirh dilferent t€hting conditions.
liqhi clLE ia.n ro paper so imreasing the amq,nr or coroq liLt naka the im3sa
rs m€ntioned even subile dirre€nces in You shouk havetwo choices aher
paint shades on our watLs affeds rhe opening it to us€ rhe St€p by SteP eder Hayine wid, the hlclrliqh and shadow ends ot the .!ac :etiigs oi rhe 3ane

cotourswe perceivefrcmourmonitors. (AssGtannorb use the Con(ol panet ot,shop is one ol lhe b3j ways lo undeAl d
Add io this ihe comptication that option. Even il you ve done this berore ir's
ev€ry orh€r peripherat you use. frdm ea sier ro use t he A sistani rcute ctick
scannerto digiLat cameh to la3er prinler N€x1 ro starr calibrating - ir rakes jost
is tiketytotreatand dispLaycolours eight steps to comptete th€ prcces and
dillerenttylromyourmonitoi even mo€ shouldontytakeliv€orrenminuresrhe
alarminqis$e ohenomenonrhar€ach of lirstrimeyouruo rhrdshir Ihistime
us sees dDse colouudilf€r€ndyand c,ats shofter as y.u become morc IhftchlheUsaolindilnnnldevi.!Di
even our individuatcotourvGion ,id conpeisacs ior atl lhe dilrercnt €nqas ot
f you han a prolile l6m the .oLouin*ryd*ieircmsainerlononloraDdlrcdpn cr ro prE$ as rhe inase
With atl rhese v,ri,btes st3cked manutacturerctickload andrhen*lsr
asinst us. howcanwe possibty imprcve it lrom the tist oi Cobrsync p@til€s
our.hances oisettinslhecotourswe storcd in your machine. t nor irs
se€ and apprcveonourfronitoGtoa pmbably b€sr ro ose the C€deric RGB
finatorinted sheetroma prinrinqp€ss? Profile as your sta ngpoint.Ihe nexr selecraCannavaluedelaullol2 2.
Whar€ver monitor you use lrom an scrcenretts y.u toadtustrh€ coara{ ol Mac dsersshouldchooseiheirdelauu o1
e4€nsiveplasma screei toa l/-inch yourmonirorto irshisheqsetinga.d I 8. Ph,loshopauromaiicaLly aLLows lor
lrinirron in a cotourmanagement rhen adlusllh€ Br€hhess. lr s !sually these se ilEs and displays lhe image at
system. it G vital thal the monibr is besrosrartatmaxinumand@lk rhe same briehbess on bolh syslehs.
calibrated orstandardised llnlikenosr lcduallydown so that rhe cenrre gey Ihe nexr sceen is lsed Jor se inglhe
scamerc and printe6.lhis G e$eirial to squareto€s a3darkaspossiblewirhour whire poim ol your nonitor A good
do{requ€n(yevenaf youaG usingan loins black.whiteaGo makinssueihar aveEge *tin9 is. uns!rprGingly. rhe
CC poiite suppliedwirhth€ momtor lhe tam€ around the lalg€ bor sta's a niddleore,6500(idaylighr)andrhis is
becalse the€ arc so manyvariabGs in iinelorrhemrjoriryol manirors.
Whenyou re happywnhthG,click Alrernarively. you can click on lhe
Thereiore thebe$pl,ce rosiartyour N€xragain Now you have roselecr the measre buro. and bLLow rhe
cotour managemeni syst€m alier phosphoGlsed inyour moniror:chances instucrions lo seleci rhe mosr n-"utral
improvingyoorworkenvironment isto are ir's a Idniton rube but irt sodh greysqua.e r€pealedly u^riL youlLnalLy
standardGe your monitoi I you have a checking the orisinal doc!menrarion have to *i6r
rhe cenve one Ihis
oolessiona( monitor such asd hiqh-end lrom $e manufacturer if you h:ve ir creares your own cuslom settins lor
Barco screen or indeedanyother
monitor$ar uss speciatsoltware or ai on rh. n.n (r..n m:kesuFtharth€ Ihe oenuttimare scrc€n shoutd
exrernat hardware device ld catibrarion vi€w Singte Camma On(y bo( G generaltybe letrsorhatlheadjusled
then make suruyou fotLow their uncheckedand use the three slideBro while point is lhe same as rhe MrdwaE
insrtu.tions verycacluttyand Unoreatl ser the individuatgammalorrcd.Sreen whire poim and is oniy there as an oplion
the rottowins instruclions resarding and btu€ Windows usersshorldlhen in caie t{0 shoutd need b try a >
Th," rest ol us wit( hav€ to make do
wirh a quire a basic. though ellective
sFtem or slandardisi€ rhis ihptuves
scr€en to priftaccuracy in the vasl
majorityorcas€sandwittcertaintyhetp
you to achieve consGtent colour
th€ 1itst lrequendv neqlecbd. part ol
the calibration prccess is to let your
hontor Mrm up properlv. Even in a
I
lairly warm oom. it s best ro attow ar
least hatt an hourbrrhisto happen.Now
we have to genehte an ICC prclile tor
your individuat monitor A $andard
pDlite may have been supptied with your
scEen by the manulacture.ormaybe
you ve managed lo find and downtoad it
lom a Website, in which cas you need
ro copy ii into the Cotorsync Prcfilss
J.lder on your hard drive. lf you haven t Selediig rhis opridn in ff'obshop ct aR FU deskra or au ddd..bi3
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Monitorset-up
Standardising improves screen to print accuracy and helps you achieve colour consistency

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Itickb€tween rhe berore and arrea hasa laRercolouraamul llran CMy( As CMyKon an image is predictabitity lf
se(Lngs before saving rhem weknow mosrdigitaL idpuldevicesand the Eye dropper tetts you a colour is
!s a rew name and.dd thedareasa allmon&swolk in RCB sorhie means made uplrom 50percenr haqenra and
sutrixsotharyoucaneasilyremehbe. you.ah s.anand dGpLaycolouB in RGB 100 parcenlyelloayou cantellexadty
when you tasicalibGed yourmoniro. rhar dont lirinlothe CMyKcolour ran!e. howlhGcotoursho0dDri on a Litho
Ona PC.lh,a file sh.utd be saved rn eile.lively excLuding theh irom lhe linal pre$ simpty bylookinguplhevalues in
Windows/Syslem/Color Folde(while on pinred inage The mosobvious missing one of the nany cotour sampte books
a Mac Ishouldio in rhe Colorsyic colorui^ CMyKare very brighr shades, avaitabte. f ),ourpintshopd€livere
folder in the Sy*€m Fotd€( Any orher especiallylhe khL blues and lreens somelhing vastly dif ferenr, then you
Drofilestorofiereqoipme shouLdalso Ihi5 plusrurns imoa rempoGry hinus if probabLy have lzounds rorcomDtainl
be put in these foldeB so rhey ae an imae,e containing ihes-c elusive Given thal whar we are alrer is a
setectabt€ in eirher rhe CoLo€yk colouts haslo be ourou{.d in CMYK consistent accurale and ftexibl,o system
contol pa^el on Maca or by lcl42 on because rhe resulr siLL betonat gaps we recommeM lhatyou lry to wo*
whererhe CMYK synem tacksan wnhin the Adobe RGB cotourspace untit
Monilo6 and sysrems.hange over e'tuivalenr co{our ro swao ro you are ready ro send your job ro the
tim€ and $me hicJFend rcpogEphic we LL cover how lo deaL with this Drinter and rher cove to CMyK dtlhe
companies calibrate thei.nonnois Droblem larer wh,Dn re lookairhe h.{
sev€€t tGres a day torconsisrency. lay to moyecolouulbm RGB to CMYK
though rhis would be quire exc€ssive lor Io compLicare maners slthdy. nor att
th€ av€rag€ user lhe besi advice is ro RCB colour spaces ae the same For Colour soittngs and advrnced
keep an €y. on the colours in gen€61 exampLe. Adobe RGB has a dif tercnr colour sottangs
and re-catibrare whenever y@ E gamul ranee ol colo!^ ltuh Apple RGB. The CoLour Settings seclioh oi
working on a very colour c(ical ihase Ihis reatLy isn t too much of a probteh Pbotosho, is found near ihe botrdm of
because ftordshDpcan accumt€tymove rhe Edii menu. op,oning ihis diatog box
lrom one RGB cotourspacebanother displ"ys a bewitdering tisi oi settings
The mrtn colour spaces and back again if Eq0ned. and even conlains two more oDtions
Having $andardied rhe moiitor ae On lhe orher hand. consran(y moving hidden by the Advanced Mode check
shouldattb€ lookingal lhesame(orat rioh RGB to CMYK and back aeain Gn\ box Don\woiiy too much atthe momenl
teast very sinila, imag€i h s tine b recommended. becau* rhe colour abour these. Fonunabty, Ptobsn,p has
thi^k aboutihe majordif ter€nces valuesmayshifrsubsramiattyeachtime ascmlldowntislotp€ sets ii the
betueen RCB and CMYK and rhe pbs Anorher,treal plus lor Pro.osho, use6
and cons of M&ing in borh An R6B worling in RGB is that you have access Ihe* cover att rhe mosr common
cotour is podured lrom varying amdns b ol rhe amazing fear!€s dvaibbte in
atL opiirns lor European and American
of r€d. green and blue tighr shire the the Dackaqe For examDte. ir G settings and you shoutd initially setecr
CMYK system hixes cyan Onghr tighr impossihle to render lhe Lirahting Effecis the one that most match€s your.urenl
btue). magenta (pi.k). yelld and bl2ck liter b a CMrK ihace because ihis and output €qutrehenis. forexampte.
other fdlers are qreyed oul in this mode Europe PreFress defautts. They can be
adapred and Esaved as you become
mo€ pDlicieft bot Lt is atways wise b
sive your own pE{ets a new name and
noi oveRrile any ol lh€ standard ones.
Your print shop may also be able to
gire you a .csi tite or ar teasr the setings
that rhey recommend. €speciat(Y
€garding dot gain vatues llandily you
can add comments to the setiin$ you
save to hetp yo!rcetl and othor usere
know whai sluarions you ar€ intendins lo
il in
use rhem in. PC users shoutd storc
the totder in Prcqram Fites/Common
Fites/Adobe/Color/Settings whil€ Mac
usere shoutd storerhem in syslGm hen.e rhe ohras dor q.in , Sednq 6 HrDLcoiour in an inage e Ihat it! lhe
Fotder/Apptication Support//.dobel higher'dot gain value in rhe* bor6 darG$ @!al poinr io $e new @Lour
allore lor rhis and k€eps lhe tinal CMvK spae, shite cheking rhe U* Drdrei
We ve covered. very basicallJi th€ lirst values tower lo compensale box redu@s rhe isk ot cobur baadine
rwo Working Spaces options - RGB aid Ihe Color Manasemeni tuticies
CMYK. Gen€m[ythe best working seciion i5 simpLy for sening ProbtDp s
space tor RCB is .onsidered to be rhe actiom on findinq (or indeed nol tindins)
Adobe RGB(1998)option.Untityouset a prcfile assigned ro an inage rhal G
Colllenlngrrorn RGg lo Crrty(
more confident.rhe cMvK shoutd be diffec(t ifom ydr curem workins lf yor are happy rMr your monilor ir
teft as the delaultvatueslromthe ,pace. ThG oc.u6 wnen a picruB is calibEred @rB(y and voo have *t ut
prs-*l se[ings, risircm hererhalyou opened and al$ wh.n il is copied and lhe Cotd! *tiings io $me appoptiale
can lroiile the CMYK pEs! tarcel pasred trcm ore.obur space b anoiher pa€mebE, rhen you are nearly at your
accuEtety by chansing some or alt of ft€ Conve6ion Optiom seni.gs a€ quft y.ot@r @production soaL.
lor el€cling lisl(y which Coloui Wirh yof amage open in Phorosrop.
Altlhese deraib should be obrainable l.lanag€n€nt Modul€ t lse rrcm a 3inDty sete.i Ganur Wamins fom the
f ton yolr print shop bur iithey sound choice ol tour lhese ard Adobe (ACE), vi*menu.Ihc{lllh(qhlid anv
unsur€ of lhemsetves leaveatLvariables Apple ColorsyR. Apple CMM and padcubr @lo!B thrt aent avaitable in
d the def aukstorihe relevant HeidebeE CMt1. th. Adobe system G ldr derinaraon CMYK colour Enqe.
senera(y believed b b. tho ben ar By adjosring ihe colour in image
EdilabG tactoE include handlins rhe va$ hajoiry or RGB ro (*tbefoEco eu6n, yo can 'he
''Ihe set ot ink cotouA b b€ usd. CMYK conveGions in P/Dirhoa sererally achiere a balare bet*een
'Howmu.h doteatnroallowlor e her in Ihe lntent lection asain has grealloo&i.g cololr on your monitor
generat or each ink individuatty. '@t
options Perceplual SaturatiotrRelarive and seat-looiins colour imaeeg $al tru
'Whether to separale the image using cofoimevic andAbsolurecolorimeilic, can pnnt. So lim{y. when aU.olou6 ae
0CR(oEy Component Reptacem€ntor and they ea.h handte the colour in samut, yd can cnange lhe mode
LlCRlUnder Cotour Removrt) 6CR vadbiion lron RGA to CMYK in (f@nd in ihe lmase nenu) b CMYK.
reducesthe amounbofCMY inks and icmationatcdlorcdn$ntum
reDhces$em with iust btack inkin!rey ' Percoptwl rcnd€ing iorces any in seie€taid thetheoryotlCC
aeas. LIC R reptaces Cl4v ink with Black out-oFcamur colouG to l(l inrorhe Gc$o6l advlce ard yNmtngs pmrites. wi1 M wws ototorj
inn€utmtareas lt ismaintyusedtokeep CMvK space and because ol thb, otten 'Y@ nay sell spend hou6 s€linq 0p
totat ink weiqhts down on t(ho oresses. prcduces less vivid images images cotrftrLy so il s a good idea to
' Ihe amounlof tstack lnk genemted. 'S€l€crinsaSarucrion inre kies ro check rhar ro! ae usinq a conperenr
'Maximum nk Limits for print shop or bueau. Even an mmpanysigred!pb'hesy$em'
both the black keep the coloors a3 vivid as possible
ink and cumutative amounts. ai!wilt nom.lty adve6ely allect e{abli.hnenr wirh grer equipmenr isn r which catr be handy ror hcking
' L ICA {L lnd.r Colour Addiri.h)amouni. normathuesand olren make rhe e.tte fruch u* il $e srafi operaring i! have
This adds CMY back in to &rk ar€as
or an image to stop it tookins loo llat ' A Relative Colodmetic conversid wi( ' Atmys rry to ger good prcols made ihat lntonunably manly ror Appte
ignore any cobuE our or $e C|4YK you ae happy wirh beloe commining ro
&a geiebtrute il you us€ GCR.a gamut and disphy any missins cotours in api.r tun and prelerably Set lhose
med ium bla ck g€ eraiion setting a tota t
n rhe colour nearcs b ir rh6r is within i6 Dools sign€d ofi by $e ciient
ink tihir ol no more than 320 and a tow gdmur rang€.IhG can €slr s bandins 'aid rule ol rhe pnd shop sems to be
amouhrot trcA(underl0 perceni)you or llar areas ot cotouL oespiie rhG silh a rhar 4nif rhe job G incredihly ur3ent.
wilt get res0tts thar print wetl. tittte work. it is pobably lhe be$ me6od rhe@3 atways iime to print it again il il s
Ihe oiher two. GEy and Spot rerer to lor making sure you ge{ lhe cotours rhal wrong - lsually at yer expensel
-And
the amount ol atto@nce lo be made idr fiEtty iemember thar these
theove.aLtprintingproces Presseswiih 'AbetuE ColJrime$ic will tmmla€ aa( instucrions shoutd onty be viewed as
ashallerEngeolcotoui Webprintine the in gamui colou6 peci*ly beMe€n a Suide for enin! up your own

onro newsprint papei tor exahpte, two colour spaes. ftis is best usd sE@sstul coLolr maiasement system.
Seneally have a much higher dot gain wh€n you ne€d to repodu.e sptrilic It is r@ lalge a slbjst to cover
v. h..,"q.m.Flnkis:b$rb-cd into cotours wilhin an image dacrty. comDrehensiretv in a sinqLe article, but
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rhe pap€r instead of Lying on ihe surJace Unbnunarety this is usuallyarhe with more reseaEh on lhe \{eb or from pDdu* welt
Plaled 10 Adobe
or a quatiry coated stock on a tiiho pr€ss expense of rhe imaqe in qene€L bookr yd shdld eon be abLe to see
AsrhF nk q ab$rhed theindividuat CheckingtheBlackPoid rhe bene, s of adaDlios soUrions to vour
dots that make up an image gd( targer Compensation box wi[ m@ rhe darkee
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Simple vector shapes


Photoshop 6's new features make it easy to create flat vector
shapes without the need to use FreeHand or lllustrator
s wettas dEwingvecrorshapes.wealso fbserand simple3Dmodeltingand the rask ol
take a tookatthe keylined ittusraiion ifrpodiigandexpo ingliles
F\ aFrh!r rdq d.6i style thals e poputarar rhe momenr. We$anby croatinglhe wi€f iames rhef took al
:l krror4Tahruu-u/br !54 and howro add simptewireframed buitding up a backlDund wilh rhe new Eltip* roots
L=l D4!rn$r,,LBar
r€nd€rs 1o enhance ihe depth ol rh€ iLlustation Ihen ir! on to the Cusiom Shop tootlo cr€are our
Over rhe past year in commerciatitlustrarion army ol space invaders very quickty wirhour the toss
and advedising there s been a move away lDm rhe ot image qlaLiry rhar normatty happenswirh a
fullon Piotoshop lay€red bok wth all sinling and
dancins bells SimpLe, cl€an and run is rhe new Welllhen importlheEndeEotlhe robol,ani
di€.tbn.butdontwory il youle a ha.dc.re userhewarpTexro.Lromake simpte.quick
Phoroshop usei rhere are ptenry ot Laye6 lo disrorcdVpe.ThLsrubriatcanbeused asa guide
incorp.rat€ and make th€ iuo Look a bir more - yd,lon t have 1o use orcrearetheetemenrswe
.ohFlex. brr iot roo mu.h havs inc!.pohteyourown ideas,.otoursorshape3
Weuse tuser4forthG feature,hi.h isvery at each srage ro come upwnha more individuat
unde6rar,.d in termsofeflecrand sleed Ihis itlustation Emailmeilyougetstuckorif youd tike
tutoriatassunes a.e ain prdficiency in Phdrdsrdp, rocommenl onaiyaspe.r of th€iutoriat >
Fat* €r Crcatinga simple model
Using any 3D package, experiment and see how far you can go in making a model
in simple primitives - you can use the sample provided or create your own

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rh. \7ey.trrvxnr ,. rcddy to bc(2mor2mo
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Fart ?: Background and shape elements


Making the background shapes using a variety of options, from the Lasso tool to the new Ellipse tool

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Fart 3: New features


We are go,ng to create a single custom shape and use it to prov de us with an army of space invaders

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parcr.b..r llrcb k ivad{t.rye/ rolrei nAon 1r !dAer ol thN s[p.

Past 4: Adding details


Now we are going to add some distorted text and two more vector shapes

It Usi&th.T$tlooltpe ri diyfonlyou l€
[t th€ Fntlic TARCETONL Nb>>LoADlNc
PNoIONS Yo! may hav€ tovarythe politslueol
the typ. to t t ith! asr!ghtwhei wed sto*ihe
o .,:':'i'fi i?t;;Ttil:il$"-iii'"'" t!*next Nowappyth. d stodroi by.tck n3the
Erliptcalt.olaid lh€nacu+om shap., d..1. lh. Woe Tlxt b!1toi ntheOpton bardid sd..t ARC
aboyeshap. You can r. d?r or a a.id ro Dra.. forsry. Ndwappy b.nd and dstortonto fth ih.
the( rc6 Th.n appy trotheillo&lh.iopray.ris
^u (! --*";fipra*r- -a.**. r u'r. .3ht You(dn movethet!rtwh!n doristhklu*by
th. Pa €tt€! w ndow. Mak.lh.thap. b'i3hi y.lloh abov!, but drop tho lsyr d! ow h'o or the nvade. d,r38iB t50 ttr h!pyoumo/ewhenadlunns
d stod rand thei 6rketh. s€nd odcLuminonry.

Pa:t 5: Renderc
ln this section we get to use the renders we made earlier of the robot

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cd8e
brcndiis iilo s i:;[f$iirii:ll";lii:'li]f]','"rJ",

sd- i:r.1ifi5:,1*lfli:ii:ii:[i'i]' *"


a ff :tf iJlif:;*:"'[il:ii.:"
*" -hd s M". s.
'h.6"i,i
seiedthewhohcid."s"" *dr ii";^n "-
masDAdju$Nue/tarurdtrci .id bump up rrrc o };:;lJJ:f,*ix,s;ifr :fr ;*', jii"
it:l
b k thei appryiheCiu$ian bllrtrid "rth
dthc ayer
herhod. and nrcke pixers
dbour lhrc rn rcd ro HadliSht to ft ft c : soft dmp shadow.

all p,h{e ro --le rh. -i r--


b.,.. -. ";
tron lh. rcbor! sum. 1o do rhB. arad rhe
Polygonal ta$o aod sel lhe halher rn rir. oprion
barroaboui25pirek D,ra rh@ raser beans ind
use shilt onyou keyboad or make ruc Ihe Add l= w1h. rthFcommand.:nd new featuret 4e
$ii Pep4t rhe prevou.,bs€ burdon rbuind sel€clioo button i5 c !.r€d on Ihe opiroi ba, at the liB have aonerh,oueh addrh?add toia
u f wthwtr,re M'te5urerhs I nor:GUnder ?lemert ielhe c(t a*r beamsandrhe robot3
rhedrcp+adow and orter r<ru reabr mod€roove ay aid lhe opi.ry b 70 per.etri lives kons io f n sh ofi the I staton @
i
5

Creating a
focal point
Anthony Robinson explains how to build up
the image in three stages: the background, the
focal point and the palette layers
P6oro5iop and eme of its moE usefut
help you ger rhe mosr our ol tearuEs rbr lhis type ot work. Adob€
Adobe Proroshoa ln it we Pho.osnrp is a veuatile package that can
easilybe manipuhtedtosuityourneeds
roo€rherb create rhe iinat
f ,oatures and rhe waylhat you lork >
imaqe As wirh any oiece or art. it is
pe*onalro lhe cealor Ihat is why rhis
utoial is only meanl as a suide and it G
atways 6dvisable ro experiment with
dirterent tchnhuer and *ays oi doing
lhings.lie idea beiind the tutoriat G io
ielp nuture your crealiviry
Ihe .oncept behind lhe image was to
creare somerhing ihat illusr€red Adobe
*+€'*:: The background image
The background of an image is a most as lmportant as the
foreground, so we'll start with a starburst effect

I h or,ort .
-
nnp$ irr nlltr olLrr ir5 No{Li.rr.
n.rr.t c rr f
:-:j r d, opr, [r lr.trk{ou r ,,:.1., Lr,fr/,L .iim.' r w .'y,, inri
=:
kr\lrrI.nLmLhr,.r rt{ntrr w I

=s 1r Ju ! r ! r\
.!, /corr rii r!y irdr 51]( r[ ]rcn th. nrtil
Ilrci p 4\ tu rtrr kto(, y lrr tcror r n3 rh.
r,if roo 10 rnovr n rhd rdi df hu nirbmn

:- arcrte i n.0 alnandLsetheE p.ir


S Mrquee rD rod.iwr nunbcrolola
€i Appy trre tud r b ur rer m.,hnsv. rir: s r ri r.y in.r i r Jnn
oie ovi , h.d downthc
ova Mitcntr.iDithcJor.gro!idcordur.
duDici.d:r€ri ieir ro t! fr toL shkn wrh lrir:rhily d erihrn thesta,buEt tctardth.iso
olrhe rt E nriu AdrLnrhe.:uri:i L!r u,r 1 ll. oproty !.ito:pptur mii.y 30 p.r.-qn 51i to the Edr mei! aid.ere.rF
!vilr thrtoresrouid.oourLho!gh. f nr y ffrhe
1JJp ed rhe f r.tr tshord oorsom,thie:{a!rr;
Fsri *: The focal point
We'll now move on to the main focal point of the mage. lt needs to be
adjusted and altered, so this section takes you through that

!!,rro, mrri iF r rutihr l n. r (t


== s r,. +r,'rh, d rd W of !i i{r *,nr
:s
r! !.,,1n ri I ! rI i,riLk,I ,
= ^ri

::!Ll.r'r t\

(.ys.r onr w th D to &q Lp dr r..tr.rs.don


s= R{o r:i ryr r p r\rarf r trltrhL .r t! !,r,lr
'
fl.d oi Li.for cr r rrrr ar.r irk

ur rheAntaNh and otrik mrr to { d a- .nrhr ,rh iJ{ uvrhrs t!d-


:€
- l! r.,. r., *.1r..i,/.-,"-i-i ?li.r: r.: ir,..,:ys .1 ,!. 1lr or{iy10
Aroptoi keF to das the,a.eir. rr,.ftil =:
75 p?,.! rd d rhe B md did.b oE,ar
**,::: 3: Using layeru
At this stage, we can enhance the palette layers by exper menting
with the Blend modes and Opacity eve s

::= 11r( !n, Lh, rr i ryL ! p.ir r, \rrd\rriy

do llr L.!.rs c.r r. ! s Mri


=-: 7an
=: u.L!i rr d{..,,. !i !!.th.k{r.r.sJr ;-. rh I dotr rirr . r /.q m Int r0 rrd. .(
.: lll .a,, r, r,rr rrdi irtr' r r
', ",,d

=.:EPer14t!
:]: c *mrtu ayoyolrsdbs eircm d

tr"
"tt+"
*. tn. p*
",r,
t. i" r" r
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i,!c on s sr o?d.l Yo! f ody beabsio
desrc. aisa coa rh! p.Lrh bjr:o n;:. tr. r...; o.2.it: !iihe ft.seriio ic bdreei r0 pe, ant := opei then' .d n.sdo.unentandD&.it
the mise ioneaid th:. b:.(do,51. \rf..
/:_ :-= o lh. mrin imar.sothatthe i4tudarn,
lD n the .e F rcad 10 rhe eyc
P+€.ir Final composition
The main Jeatures are in place - now to import the flna symbol
documents to create an overall effeat

r , i i
=.r
tr*iA 1 .a I/co rftrr nyr ( rrr { rh.i

.G wr' rntL,.'. !r (r.d

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1.,1r

ar( r[door rrar /aonm.Md r.y arc.r(.rnoy


!= on.nrr irr' 5 i!
:-= ,. ,r lrrd uulr
s

_-- rrn ! t \ L nr r.r rhr m dd e orone or r.= .o "-,h. !-ih i :-iHolddo!nlh..t


rr, rd,r! rhe+a
appd i,a! y rr 45 Je!G.'ig. t. h,a! rorr =!:
!.('tbysngth.R(b|g!M4Flbo
ft r/conmmd and Art/opion rcys
then pre$1he
ohere theo,g nr y +a,t d c .rand hod on
ne rhe tte C,o0 roc lor e.tlr.i1a.! coour rheo ur rh e dnggieillodupi.atelhe st Repeatths
rharponr rhenwh e hod is dowi rhe 5h ftcey roor 12iim83nd I ace then ridom y aoundlhe
d€g rh! nore rorry ri y to *e ,"rt rhl gi,4 wavri shapr som.orrhe nrs need r.he
tidomed by prcsinstlr.Appc k.! and r@
i
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.;t\Q$qace il ..'O
t,"''
,,, ".,-*" I .,.,,r
'

Photoshop 6 tips
The tips on these pages are here to help you move smoothly
through Photoslrop s filters, layers and optimising images for
the Web. We revea a few tricks of the trade...
l"-l'
..'''
'I r:-_ r, P
-". " rn"',".iu..j.
rv"r, 1"1,"" .,,r r,"", Memory
grrirln.Jnd.nrnedenr: thetir!rhigb(rr.rde whenunrllrtbrsisLlr-"

i#.Ti t"Ji? if,f :::]: il:':'#,:#:"_


,IY P/rotx'15o' hat'
rr!i:::
lher-.3,i n r! 1r .1.ff.:L r rLbrr.r!s i rre
Fitl-.r(n.o..,iLLll .rl.a.tr.r.-ei...:r..:eihLri
p: y r.l-d rg reea:r?:ri
d-"r,4oi:d fr.l3r: llaiyliLl€r.n ywork n RGB ail nrrCMyK
nrJp*arciLlie snriJ: .1er nr..!.i:rr r..-e Ircyldilworr aratton Bitnap d-"r ort6 bitper
srn,g b poLir.u:ri...$ -:.lLt
Save untit tast
Llse Unsha@ mask as the lasr process in any job for
printorWeb beluse it.angeneratednwroied
3difacts thrt cad be 6agnili.d by orha.,ilbrs
Finrlly youcan tu. Unsharp maskmorerhanonce it
using tow *itings: it produc€s beterresuhsrhan

Softly does at
Iheopposite tosharpenrng isblurrinq lhisred!.es hisl re$Lltioi imag* The rtashinq tina mder the

th€ contrasrb€tweeno&elsand softens edces is


'
uselutiorhidingd€lecrs inan rmageandlorcrealing aDplLcd whentreopslherLLrerhasrhshed rd
depih in images by to' exampl€ bloningrhe
background white sharpeninE lhe,o'esround Ihis
woAs b€ndnceydu v€ $ parated .lamenrs onro rbei r
own taye6 (See tayersand layermasks)

Many lilterscantakea bngtimewhenapplied to hth Gausshn btur


Eetution images. Som€ titteG providea prevaew Theldvantage ol usingGaus$anbllronanyimage 6
wind.wwhich displaysrheellectonan area tlE conv.Lit givesyou O^ihe Prdiewwindoqdag
yo! oould tryusinqa tow €s vetsion usinqyoureff€cts th€ stiderroapp(ybludng Howeve( be rsare ur, as
to hake sum rhey give you the requir-"d resutts. youincrease $e radius tlF imagewitlbecom€ more

Reustng tlfters olhersca^ be usediorcompa@tivedisplay -ro


Toreuse FilrercfiecB again recordthe prccedures comEreditlerent senintsiora jDeg image with
dilrerem compression sellinss. lor eiahple
Optimi.sing images tor the Web
Unsharp mask and Gaussian blur P/Dlosh.pstill rcmarnsone oi Emosr used
Whit€ Adobe Photoihopcontains a vari€ry ar ritt€rs. appticationswhen ( comes bproduci'E tatic WDn ir comestosavin! imageslortheWeb.lhe€are
rhebasic tipsapplytoallolth€fr we ve picked two
riequenrty!s€d ProductionfitG^ toerpann on, /mrg.Ready which is rnregraed wirh Phoros,rop.
Unsharp maskand Gaussian bLu( becaose manyorrhe rakes rhe pronucron of rolloveG animarions and whoLe ll you have an imalewhich hassoLid areasofcotour
Renderand Aistic littere requir. morc lengrhy and l€ostharare tinean.then gif lormat G ideal
e&la^alionsand tutorDlsro setlhe lutt eliect Qprinisiig images trt{ays lnvolves a de3rce ol because ilcompesses solid aeasand preservesthe
Llnsharp maskand Gaussbi blurt€nrlto b,oapplied to comptumi$ the need b reduce images to a resolurion edgedelailinan ima!e.lLtsan 3 bit system which
almost alled&d images beca6,. th€y can sharp€n ofT2ppttendsro lead ro bckotderail bur also reduces reducesihe numberolcoLoureloa maximumof 256.
dekilormask problemswilhan imag€ llpsaboul the amounrof memo.yih€ inagerakes uponrha We donr rherelore Ecommend n ior 24-bit ihages
memory issuesappty to most filtere b€causefieyaE serue. raiso r€duces lhedo*nloadrimesro a browsei such as phorolraphs or piclures conkining continuous
smattapptications which run inside Photashap. and Byselecring difiercnr rlmac and setingsii r.nc because itdesradeslhe quality. As wilh .jpeg.
generatty speaking, each needs RAM to preview and Ptrcldshop. you can t.ade of f qlalirywirh lile nre. Phoroshop also supports a tossy melhod ot
compEssionlor srt(onewhich seLectively Emoves
Which method? dara)roreduceth,osiieevenfunhei bul ata co
A aharper lmage Phrros lio, irsetf ol le r r{o m erhod s lor savins i m age5
One oi rhe key fittere usod in Ph.roshop has atways
beenthc SharpeninglitterOlthese. Unsharp mask is Working with photographs
mallyrhe mainfitterlormostrobs Unsharp nrasks giv€ Ih€ tr6r way is ro saveas gil jpegor png lhis herhod Wnh imaqes ch as phobcmphs orpicrures
youprecGe controloveryoursharpenins ltFrovides howeveroffersnocomparGoo betveenihelomals .oniainingconlinuouslone jpeg attows nor onty 24 bii
thatwondertuI Previewwindowsivinsyou.onlmlov,"r colour suppon, butatso mainbins rhe subtteries in
howmuch you neei toaDpty llnsharp nask finds the thcsecond and more€trecrivewayisb Savelorweb bdghlness and hues Fit€s can be Educed in size by
edges where a run ol pixels meets pik,als with a This opton drsplays a window givioc 2up or 4up views cohpressirglhedab :jpegselecrivety removesdara
differentcolour tdoesnoLaffectareasthatarcnt o I your imacf, lhe rop leh is rhe oriqnal ihaqe. and rhe (knownasLossy) rh€ greaierthecompression.the>
edges.and in doing sq il does noi eid upaiding
anifacs to your image (unwanbd changes in pkets).
Iheamountofsharpening is governed by th€ densiry ol

Forprint
ForDrint imaces wirh Esotutions of 300ppi you can
apptythe Iitrer over a grealer radius. Sharpening
onscEen tends to be mo.e dramatic than rheeffecton

When sharpening imag€s tortheweb. bearin mind


thai whal you see sharpen on your s.reen is rhe €ffeci
thds. d,F peode b hee modem ccrEt ar fte sm torweb *indou d6ptoy3 tr'dh
56( rhe 'ed in
s*e lorweb'har
sbndard sening is 23K. chansing rd heh ydu m'ke yor choicq iids$
you witt see dispLay€d in a browsr The cobur gamur drc,enhgusiigllredrcpdornli:lyillgiwyouanorc zmnbddmeglabbdhandbmde
R€size
you may have to resize the image ro reduce downlord
time lmage>lmage Size li you have not changed rhe
r€solurion of your im6ge do e beloE changing ihe
image size (geierally by pixels 72ppil On.e resized.
u* Unsharp to put ba.k $me ot' lhe derail to$ in rhe
resizins pocess. Any change b an image whrch
anv.lves sone $n ol rnnstormalio^ sitL desrade rhe

ljnsharp ma3k
Applying Un5harp mask asdescrihed eaitiersives Ftrs wo* otrl rha baac ser ot adioN you arc
.onnol over rhe dehits you plt back goinq b apptr Tha rips on p epariE ror web are eod
ons or dE hor lideii.bd rschnkuss eramptesdf $anda proceduEsthll4anaLsobe
cli9pligsloups.Ihgganabt6ydubr4
LaFrrori6eix6rdahoi.nsd. yiist4sicdnder6ty SeLectthe4upoDtion lhis allows vou ro choose
qmriis l'E rENFrcrcy or md L4€r r various jpessninss,rromhighlolow Choasin!rhe
i,n4€ onrd rdr d an rn&a onro an obied b.sr*rirgisalwaysvery subjecrive,il\alwayssoLn!
io spdy rho pu.L! irom rhs bp ro dac lidahoin to beat€de-ofi berveenqlaliry anddowdtoadime. dopdow^Lidwilhinlhsel.fre'bsn&adionaid
llse lhe download rime dGplayed Ln rhe Pr.view iameit oi.eyoucLickoK.your,Adrr rdrccoding
window b qire an nrdication or lrade on Wd ihhugh yor| pro.eduE! Whcn you ve rinG rsd
froE daia rhal istosr and rhegreaterrh€ Eduction id
. hkr,sbdioiwirhrhe bh.k square b $op
quality Prog€ssive jpegs are sr€at because $ey Colour gamuts
download as tow €s versiods fnsr giying you a basic llyoua.ewo in!oiMa. bear LnmLnd rhaia PC\
rc. dmg lhe rlio, is r[-{ i€dy ror !* This givos

imaqe and then orcceed ro downbad doreiata which wndows 33m!r (cotour ranse)dispLay G iarker rhatr yorascne2t$l3crionwhi.r'canbeappriDdro
the Mac Io see &e eltecr. juoD ro /mre€Ready and
sehctVi€{>Preview>9andardWi owsColour re! ira$ y&.dn conr mt the a(oN tidlvidmLty b,
To PNG or not to PNe c i.kiiqiirrcaqlarc nc h Lhelickboirthis*oF
Theihcdaptionis pdg.Norattbrowserssuppo rhis
rh!adioiindaLLowsyouromrkechoi.ds lor
format. howeverand on th€ lnternet ir isviralthatyour
images should be seen. Noon€wanrslh€ ed cross in Layers arnpLe dopping an imase 10 thc ai:-. yo! wr
As more add noG people use Phoroshopasrhetrmain
ril ,e,1 ! ils
r usine rl'c originaL rc{ crop
d$isn rool whencrcahs Websi'e or rich media
Preparing for Web lmaprs. rhe need lor conrot b€ofres Daramounr
When prcparinsan imageicronline presentation Fholoshophas a numberol Gchniques lor maimaining
lherca€a nomber oi procedures to !o rhrough whar your sanitywhen€reanngcomplerimases: Layer Llsing Layer selsallowsior geaterorganGarionand
sizeGyour final image ro be?Ihe talrer rhe riLe $e names, colour codet aid Layel s€rs conrotorrhe Layers enabtinsyoub group tayetsw(h
their errecls or ro organise bulLons ror a Website
l{aming tay€rs desLsn Se$can becotourcoded, tayers wirhih ihai sel
Croppw an tmage Getinrorhehablolnrmins Laye.s.Wirh Phororbor. bkinsonthatcolourcode. but$esecan beoveddden
Crcp yourimaseethatonlvetevanr oaGarc you have rhe abilily ro u* up lo 8 000 laye6
k,.pt (you can.rop toa new re$Lution using rha (menorypemiuiia)- nor rhat you d ever need
CmD loot) llolddownthe Contrcycommann b thatmanyihnostdayrodaywork NaDing taye6 N6mW sets
get tine positioning near the edges ol rhe images ro alsohetpsilyouhavelocomebackroa jobala Later AsainlheAll/Oprion ctickworkswhen crearingnew
date.orrlsomeoneelsehaslomakeamendmenblo ses using the new sel button.

Cr€ating layeB in Photoshop Layersersby delautthavetheirBt€ndingmode pass


fhe way you .eate tayers.ileds rhe way you ser thoush,whichenabtestheindividuattay€Etoh e
things up. ljy using lhe dropdown tisrs in the Layer
palene. New Layer opens a tayeis Propeny diatog
box qhich aLLo* for naming and cotour coding ot a
layeiUsingthebunonsaLongrhebaseof rhepatetrerd
creab new layers circumvents rhe Layer properies
liialog box. Hotding dom rhe Al/Option key aid
usinslheLayerbunoncathuDthe Lay€rPope ies

Dupiicating tayers
Ihe sme modilier wo*s when duplicaiing tayers. A
quack and sispte way o dupLicab an exGtiog layer
(usetu t rhen ex perime.ti ne wth rhe Elkacr c om mand)
is ro mouse down and d€g 3i existine layer ro rh€ new
layer butbn. This crees a perfecr copy. and adds rhe
word copylo rhe layers name. Hotding dowi rhe
open5n ifr ag.aE abrgdlo he a.iio
At/Option key when perlorming this opehrion calts
ood4ili:l'wi'hb'hal
i.eYd c[.koK ru]e upth€ LayerProperliesdialogboxfornami^gand By dorbre cl'akins on tha r. you sn dp€n rh€ Layer sryle bor

F;l "no'o,n.o.0..,o,
make tulther chanq€s Nore $ar the lawr cai aho
behavelikeamask voucanu*aPainraraVedortooL
b select which parBolrhe image are aflecbd.
Ihe Lave6 transia.ei.y als aflects how inlensety
the edits aE apptied - 6e tower rhe senang, rhe tess

Layer masks .an be no* cre.red with No ditterenl


methods: by pixet or by v*ror

Ptxel
Merhod on€ has been in Plo(osnop si.ce ve6ion 3,
bu even this can b€ applied ina nunber of ways
adludm. ldyan aE th6 ndn lLdibta MF rd nak€ Fi6rty by simpty using Laye>Add Layer mask>Reveal
.drcdioN ban imare,wirhco retd
'lhisootionlitG the maskwithwhireroshowo.bLa.k
thenownsetrings.IheSetsBlendinsmodecan be set ro hide. ay6inganyotthe Padrools,areascanbo
ro allecr att the hyeE ilcoitains orused ro add an
exlm ofiectro a laverwitha Bleodinq modeatready UsinsanyolrheseLection rools.anyareao,
applied. compounding$e eif e.r yourimagecan be ma.queediort linsw(h black or
whilede!€ndinqoi deerrec. €quired.!*
tlnking tayers At/ODrion-oelere Io tiLlwith lorc,tround colour
By tinking tayersLoeethersepaGte imagescan be lhe idea ol creating r $tection{irstcanbepushed
moved and rrunslormed as one it€m withour you having lu herwhen itcomesro maskinrw$ Dixels. Creare
6iELyran,m8thd6f,odrh6ircoic .TenlryoE
$ merge attthe tayere rog€rher your setection using the selerion tools
Wh€n selecrins you can.hange toolsaranyrime
andtheoptiom provided in the lool Options bar badd
Ihis isa favoorLtef€atu€of manyd€sisnere A Layeror subtacr or LnreEecr attowcomplex selec(iod ro be
a selec{on ircm a hyer can becopied loa new lryer creared.asity.lNote,youcanus-orheshilr key(oadd a rhe Penrool Lo deline yourhask A majorbenefhorrhis
Laye>New Via Copy(use theAtt/Option keyaswell ir setection or At/O0rion ro s!bracl) m€rhod ol maskins islraltheveclorsstayeditable
Onceyourselecrion is nadc. use Layer>Add Layer emblingiinechangestoa path uslngtheselecrion
This method isgmatlorsplittingan imag€ into M:\k>R.v.:l S.l..non.r Hinc *b.rion ro creare a roob.fhc *cond melhod uses a veclor Da$ ihar yoo
mutripLe tdyeBforediling (Forexampte.addidgdep t mask based onyou' selected area have produced usirslhe Veclor loots
of fiotd )Sharpentheforegrcund imagp whit btuiiin! Wilh eilherasave parh orwo*irgselecred u*
LayePAdd Layer Clipping path>Cu'Enl Darhto
Maskscannow be create! uiing€io.bas€d parhs.
Adjustment Layers €ven this entaiG ko methods thedalalorlhemask is sro€d as vecrored
Iyou havetomakecorections loan imag.. one ol the li6(y select LayePrnd Layer CllDpins inlormario^ and rhus saves space by nor generaling an
most flexible ways G to use Adjustme taycrs. p3th>Reveal Selelion o. Hid€ selecrioo, rhis extrachannel.asdoesrhe p&et based mask.
Ih€se provide contot ov€r hos youredits ae generaresa Mask icononthe Laye.Whenyoudelinean
made. Firsrsetecttlredroodown List LayepAdiusrm€nr area wilhanyotlhevector.r€ationroots.irreveatso' Dbabting a mask
Layerand chooseiohthe various.ptions.orus€rhe Torempo€LLyrurnolta mask. hotd down the Shill
bulton on the Ldyer patete topop upthe tGt U* the optionspovided inrhelootOplionsbarro and ctick onrhcMask icon Repeatromakelhemask
once rh€ setecled edils hav€ been mad,". a tay€r add. subtracr or inre6eclwirh dilldre^r shapes. or u*
G cEated abd€ your mage Lay€r theelteccare

Once you v€ apptieda corieclion ii you re nol happy


with the resu( rhen doubte ctick the Layer icon ta

Applying comDler efi*b roany Lya is rhe sft tuM @ d eEi !o


job. ror

rery 6y Gt't bye6ryle,! $DpLyb seone.L!e wrkins rnh th.


'w
lar*tayerdyld(chmn dyle)or SrY.d nylos aE siNd in die
sl4c'€dftMnEbdMoIoFLa,q
par.c oe an.r'ed h€ bFn aDpriod ddH.{ric* r}E eyre F im - ftis
bal4€ian rapFtsmrhdliYer 00.6rlEt yer sryL€ patete selet
{hhs*pa l.ndMda'rw. [P se ollid. Eru iour {yb dck
the* lyLs Mai. diF and sn be oK bsdd b 0ie srylca paloe Fbm
he€'geiedpplylhestylebany
l,ye ir biu be3ed in ftobsnop rirr

Stylds pitdde and an b. sppusd


rlor€ podu.€d a p3tuLreltud * Ne F! €n.Co lord p€denred

d*i rd like. n c& b.s*d ror@ in eyles im yonaisriie Dal.h€ savsdlor u!. oi amdw cmpuroi
conbining ta)€E which har. difioEit etrecG ro prcduce
i

iJ
d
E
J

ompuG6 can haw an odd Ihe raditioEt skills ol cofiposition. which is a pereonat piece trom a project
efied on peopte. Jusr b@u* d€wing. pe.sp*rive and tonat contot
ytu e pre$ins keys in$ed ae stiu the imDorunl sttuclunt We show how an image buitds up
of holding a bcl.. yd can @sidera{ons. Develop an instinct for graduatty. growing visuat(y as Vou add
lo€er rhat you € still hakin! images. then. dd then you on rhink aboul whar new etem€nb and conceptuattyasrhe
It is roo easy lo set hunq uD on the you €3lty wanto say with an image meaning becomes more compt€x.
technicaliriss. ll you E busy enyift AF you onveying a mood? Ietting a Ihe oveElt atmosphere may be
abour the lilb6and rhe maslc, you e $ory? Ar€nsin3 rexture and coLour? dictated by lhe subject or briefr what you
not rhinking aboln rhe impoia.t iluft Ihes aE the eal subj€t or your pictuE, use to sugeesl ihis aimosphere is up to
Simply gel to kndrh€ basici then and y@r pdme @isidemtion you. lf you don I have roo many
lo'ger you @ usins lhem: jusr coftenrbb IhG tutoriaL explains step-by-siep p€.oiceived ideas, rhe end resultcan
on the €at business of pi.tui+makine howto make lhe ifiale shown, WaEr. berarfrom expected. HavetunL
f*ri t: Creating the background
Laying down a background, even if most of it should dlsappear by the time
you've finished, gives a basic texture for the next ayers to interact with...

m,,qr .
=9 a- LopJ nd . r'r,ni,m

.lrnpc toi os tu,11,,.( .i rNr I tMr.!r'!


.n5uB lrrLIla irA. i,mi ii(5P { Li o r5dcAr.$ )

:-=^ L,,m+t rLrmr!n


=rr

d lici {. yoL ,rv. rnrrrornoiNorkin(l


rnJ,whd,w nothrpp ybr r nr(rr'.

oi( n,crr.d, L 5.r.f, rodon.i(oF trr p.lL r. ,,


lf !o! w; i. .lvo d .ff.d tl].1 j too n rcId
=r",,,
i;,rnh,)1,.,.rpstm th..o.cot(l tr! idr ry,rdlh.dtrii o). r,r rszc
iik lurh$ ni.lsm o rnrx,,lro$
'lu

Fart t: Adding layerc


The development of the picture is unstructured and intuitive from here on,
as layer is added to layer in response to what is happening onscreen

Mis.lvridare rru a.y arnoothered8e, ind


ir abilty io movearcund i.d6wih thc ro ow
Arcwrdo rbesd.th. P.ntoor r the roo pi dk)
SE -i-p, r."r. r rr r". "' r.i *a !5ro he c adra a!yourvo* iememh., k iui, ofJ thc path (don t
sne t us nsnrr1.,m (ctrr(omm d I)rott = de ete 1yel iryome.don dosi trook rBht,
ho.zo ta ! Hod is down th. sh'ft kerwhire rcmove tie ropedse.r the *at, byd,asEnsthe you.:i qo b3.k tothco,sina I eai.li rPr t)
digei,g the.oritrotrsee.toi w iomtdh ihe
pmportonsoJ|re ayer Add a L1yft m:k tco]l nove'eii ioIh.v.d.; wih 1h'"5h{t k€y orso tosohen theedee copythedrapcrcs >
s= P.n( rir!d!rr$! nir. unmr 6trr0
=: t b il, ili {rrr Jd !! rir i $t h.r.

rf .yl L,r (1orr ib rr. NLsr ro.nrA. [n


i,rdwr, rrtr. fnd otrr od
rt.r d ill(r i'\,^rLr.kriri
I nr.lr(.1 1. r..I]o rar),

(.i/!.nm,n(r r d.f/ r o$rrlnr 11!r irorior.r a


r
' ^l.Lidrrq\,.q)frrh

rEl(d,.dt i lln.'.P yd spi r.


=

(rn|. L.ryu ii.rr rrd. A . o.hlir i.r,


- ^r
irrni trltina rhc

<: rhi rhrprmrc


iE rlE f{eindoni r q tb.io.ar rh ipir.rard os.orrrastedirai rhp r6r rhc
a= rh., n\ Etui LoL!
btrns ra'iuem hr w rir! '-,.i-".:,r &Shrnes+ro,co €d r:r!romat h r!p Thc
rhe;rsh rgr, shrm hcr.helQ,..qm a ra.r lpporm rhou d bc rm.!.d r rsitayernast,
.fdeE r, stlFi orcded iar i Ghi rhe b.cuf; rhep bow sittheffoixtrr[c .opy
-H" rh,rm.;rn^h h ?!+r y th! !Pt{ {m orJ
Prr rrdn,p
nd mo,c thr rr Lr.h nd th! rodrt | d,4
F=:'i 1j: Adding more to our composition
Creating tonal variation, and linl<ing relevant layers together

tr=_ r, ri '

h!. tnrhcl au.rb!h id ih. trns n.d Lol r. nr\


i[.olnh!(.ldttl|!o | ,.1lh.l i!,n (,. d d.wnr,r s, Jrii,r.t /.r m h,]'lw, r

rh ir8tr. ! lifAon)d i la
=
*i. h llr- [..r' d^", r]"'" (.. r .'o,: s Lro4 rs, d5 r

lolh. Arloi rr h,: M.( rh rlrr rovrrid\


n(.1 \h. dNr wr, (
ro.r o!,i6rbllt:(rid'j 4r'!,oNr10 n !r{r trvlh,r ly.rnnsr rrsrAituc orroo i i r
|!l]1lh.]'cl.!o.orydDtrn*i.]|M!A.h1
No,ni nuJ,. rn,' , , !w br Liiir.dd)

mln1.!t]i.hcrd..]lIaj.ftl|lId( Drl,r)nL?dr W.rrridddi nr !' r"i

!* | 4rrd!!

thod€p.ry ay4 ird.hinse r1,e iinleorih.


!ppflorrhertr rtuii ri, ios!'to Mutpy rri
:-=/ h ri l n{: ydc.p.f!ih.tor. blr $r.6th.y. o*
>_= rh! w iss ir. netto be idded to thL, mag. !p{ad'J ihelhe!rrh.rordsrorhelisur!
:S (rcpr.s. n*enotr,flor rh. r.u r.m.nb, r ie! ead ii.e;yiioi[. i&whs5 and.rr:n3-"rh. L:hti6s 20.Th sIu he, deapenthrton.
Atr) sere.tlhem i\ you did the rlutr an.lirms rdd r+oBtred r gFlns:nd kno.ksthcdEpes nl.
..nrobl]Hl]r|!on.!]lilllbttlt]An]j!'
Dod.bun.'lol)..r}b30pll.q
sonr,,1 (aod d dllortr\ov.irxnJrof r
:- ii.i!.ol icyi 4r I [o n ror!,] rd
!,,lr x.h,d rr l,dlf rnlrpri I ! tonrn
n= rh. r iN\ ( .L
rn ks.i.r,[rrir
:: t {trLn qr (rr .[]sI iyxrliM [r n .' f{ I dlrilrrrlrr i.no! !,tfto
n rhs

j,i I rn

:--'smwrdrroi,r,,dirl.{.ii,r.Ly(

qi: r!.{ 11.u' i ki [r a]rr.rrr.ri,i 1r


118n. |r. !n( ldr

*,ii, *", r,"i.p -d

.5 rLri a rh. lye6b.rkoi the ni{eoora


r.= cldn ! .n.! I rhn nra!riLr
6hir1,.r/comm. dr.r 4d prrth..;rt@ lrreirEs rh.b' md b.ilon oirh. naa! A&;
-! Ar th s ai rr arr rt4c, wc dc ded I re w ns
d&:i bue (...s.i iom orr rr.aiorr,l!lre
the
A Youdi r;parthsh !hr;on1orcr m4-: ,ohod iirddsr,.nth.ropaid boriom ant alns (ther ed srcen or,ilrp Lun no! ry mode
-.v.Jror:!i tdveerir w isiiid trctsk oieandthp Nomi one) Tranfomcd rrem Lnt
a r: :r oFr ry.f ito!tt0prr.a.i 1o blend
1 rhey oorrd nore.omrortabc

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Part 4: The final adjustments
lmproving the composition and removing unnecessary detail

scdhs
sc
l,'fi$l""'in n*Hl["T$: :r;:i il,
Pnr.a.Toisparcn.y n the Laye,pieLle
andl ng iwiih a blue DeseedPrcserue
r,rnsparcr.y and appy a ca65lan b rol:mund
r0pr.s Movelhe aye,dowdw &;make a
sered on oJlhe lum mddcdhpery ayer
^osit
6eow Laidd.elothis unrc.c$a,yrcaolyotrr
It lTff ili{ il:1"1',:i;li":,:li,'i f,:"f,i,l^"
rhem, i cone tdo wdu droptrhi.!rrh. El r"- -" b. hrd i,.- ,h" b,(ra,.6d by
d6orhidow(< ) cunae rhc layer rodeto
Mu tip y mdu.Brhropacitya lteandhovelhs
'e.ho.r thaiapp. ed on ci.h sidcotrhew nsr p.rinring i hiAhrish! r in rh. rop sn ei
b.hind ra y aye, 1,. ow th," Lum aye,
^olity

ll o,p -r"u"v.o a.attrct.,


McEod Ji. (thc tdplaycr). nov. I Uoo'lhesotr
LiShtwar.r 1ye' ind.hanse th. mod. to Murtipry
Fillthe Layer mask wrh bn krid prLitii icw aGrt
s jyo6.&epl
rhe
:iil: ;;ffilT; 1,fl :l:"":'"i:":1,
b!.kBrcrid rndrrieisrmlso
lhe l9l -.-"rt"-.p, ro" n.rl, *.o* --"
ofddepe,toie Oum ort lhe Lays mar oiebr. you can *? wherc you nccd lo marc lhc chaiEet. olthe wd,q+@ds laytr n ihe Lay. trak wc
lhco.roneoutlhebolr aidpdlfk rod.an !p 6.dah rly laGe btuh (1t0p rel5)ati ow
lhe lop b -lo.heckwhdr tr,eadd ora toae p,e$urcorr5 pe,.enrio &nsouiircvot.a
wlhoutmmovnsa olthcreed!

,t AnJ rhn!n'rhe,naaetr nN hn shrd. smperii.loiswithlhecofeioo :,f """lli " "


ftiT:!:ii"i.iift"Jffi Thertalot
g lii):-',ii :fi liii:, :"nl+ilx'j,{::f
t bdnnssomemFo, rou(h'na up rodoihs.
filn ih{en yo{ ie8e rr5 always a good ldca to orihtbdorlyou re !(isadisblamera
ss
lyou
reduced to75 percntbgvethe mpr.sion ot eve rhe layercd v€rjon tid. then srve the havescnned n nideso, red a fatbed scnne,
taisl!cency and asain b nE out the archile.ture iaered file 5eprabry. ftis enabl6 you t! frale thee are I kely to be bL and pecesollhio,dun
.hanses b the imr*e if rou have moc ide* ih* will need td be €n.ved @
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Sqneerru pniret effects


/\ ll]lrlll rtil ir., rr'.,r r.r ,,1 cLltV rci l1l rt ri scicctI
iti rt efif a'r llr lttil Lr-ql.ratoltndy oo< d.lunLtn3lI

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lss r ,

trel
Part '!: Preparing the canvas
We'll start by converting our image to paths using Adobe Streanline

Gt lercd r p roioaDph otrom.hlo furrr.


EJ or-,'y.ur q. s re,' rBr wc rc fna Adobc!.rrltrr Li
"-r' -r".t"a,."i--a .oiv01lh. i,iAo nlop hi Yo!drc!.irea
o i,'.":iil'#31ffi)ir1'"H::illi lxi
"
72dp t ! iid rcsi?o it to rolnd 200dp. As on8 is
wht. etrgood+ron8pu,pelpifk
bi.ksror nd s. cMY( Pry':w (oor +own on rhcf {r.rbt nrqesDp.iidto rhc
r)li iAwoi'l b.i D,obcm

tl€. w! nced ro brnsrhr ronild ishtup n


n lc 16!od derrol rh. Arc/ .r,rou
U '""- r o surr"..*"-, .l.-.^a !r!
q, 5eliira.id,on i P/'ulurDr ro.ov$rh. don r hivcto set rd oJarrErcyloie be.nselhtrr
.h(k boxcs ar n thcn -s. thcD, ro,ele,yrhrs nc,rrw d"Ftstr.ommcid€d burviu I reiver 11e for slrcantr,. ro.onvcrt, Bnd yo! fced
skcidrnc.onv./rs hav. rorweikei.h,idydtrnnieemrnui ytor ic re.onriton) You
bitmap mascr to pathr so ir bentfiyo! detie .ysNcnphdognpl''owdllgoll'[8h6(h qii re whylh.liutron nodcis hardy rerc oie
theJo!rc nqei.snuch po$ b. uJ ng rrepsirhii inigc ro,orBu'dc sctAdoislo phoro,nay hsve niorc AFyth riorh.r 6cyof
Prolot,o, w r.ovcr trrat nen

aa bucnapPryrhec $Dnbrfin'hs as.


conrd*sreErs-r ll|dcpmdson unbna Ense
or lhe odsinar phorogriph addins t he B ur f tre. it
E F,;y t".., d""" -* i rh" b"a.a b povid! snoorh edgei bu( dodt8o ovetu ard or €i choof rnolhe photo.Bph Gi\'h ne ro!
ineare..ita{ "
in an nage beare they don t youlr.ddup$irhvedorbrobs! Thlrrpotunrihhg € I athouch to, ihe pu po+o h \ rutora
destrcy pixe infomaton rikzih€ sishh6t tryaidnnd ahrman ) and repcd nep! 3 3 or
coiknnconhanddoB. Hec we a.. usinsihem be.au$ it ein simply eve tide, bur be prpared 10 oDei 3r 02 epson thecDand,a+flze as n nep
asai erna b!.h and fo.rhe prpof otthi5 adiun you orisimr rcbnF bv hrnd if €qlned 3 Fden both m:8es(oriol,depend nsonrhe
Fidally, hir ct command R ia 9t?anlr,p to crl.dyourequnp try boih fo, d ffereiL dffe.tt and
.otrved you inaaet lo path5 simpre ropy and paieontoyouroraha P5documenl >
Fa# 2: Adding colourand texture
Experimenting with the layer hierarchy to create variations across the canvas

g il;ilii::i" *
iid"#'llii.:?3:l
,,,*a!ororasmirariruslhiidn pa.lige, fee t'@ g :f :il E:i,i,i#!i"El5,l,?il'i#
Cropping roop€nth.reriraandphy olid ro your hca/rt dropp ns Gopy and past n, onloyou,.anvd.You
o enr b.lo.e rakin^ rhcn bad nto ptolon)oD w noticeothdlayesinihe$rcei8rxblhatrcit
s i,l:ffi i:iil:iilrf[,y""":i'&:i:"fi'*
thesllyouwsh tonrcnsrh.n ihe'ni8e.rlrhoush
copy and pdl. ode o. bolh oil. rhe or s iat
.aivas. rlrtlcning botorehind I ytu w !h Pos 1 on
rhe inr*es ar you 5cc fidon i fec thai ihcy havc
d nuscd he€.Thelccided up onlhn cutLngboh
looi bu(lhde s noth nEto +opyou usinsyour
owi ienurcsaiaiy rilgc DraBard ddp-
yo!.ai do th rnLnhddowd lhe lin. Ai you on ro go whdc rhcy ric oi rh sill$lnr of.Asoopen crporhcnL, rs nol mportantiodo exerywhat
!.e hsc, we have dup .Jbd rhe t6t Bnrmd nunber.fl o.rhcaDaddGSind mu]l pry yo! red reEslong ydulo ow the bascrow
psnioniq e'ehre lo rhe ,r81lt o{ rhe .aiva!.

t[ op€i bdifon rhe(o]ndcopyJnd Fsrc g #*;lf :,$;ii;,i, iit j j;',t'ii- e f tx'iJffi fi iJ:llilff f#::,r,"'iJti?Ji'
x onr,o lhe(rnvr aF n*€dns$[ r,rhr ror "".',i andvaratonr {'os rhee €raivas Theroncr ot
rhr ay*anddup car nB. rhir add. sJo6 aid rone.:id i. evei dup cat. tho* ayc6
rcxrurc and ea.h syerw ntenctwlh olhd aycft and create
wa+es to rhe block co oM we have e til robeetuprhc.oiradaiddepth f yor rire

tt st,ermr,i€ :no'hsphoro(reeparh.non
€ haid' berotr lru.{n n,d rhp rurd',])o'
opens 06.epr on rhe co. Rarsr€ ar bdoc rnd g::t (rar3id.06dopmm dhswndow
t,eai hnu.h the 5zme way 5 ihe orher €lenenle or + (,e.dmerhrr e nvrderroooen)burih{ [me
rheinunatoi ro rar 3ur we ieed ro m.re rh 5 sid a
key real!re or lhe des En, $ duplkar€ rhe lays file rh. imas€ bsforu yoi .!t aid pasre. rhe g]d! fa.e
or I x rimes b a.hieve the bumed,in ette.r you R will lmrin whib whire the rclt or rhe inage witt be lj *u." r* -" reo" u,,.ie.* r',
he re Try and us mu[ipk son rig ht taye6 it memory rGnsparcnt. Re+ne but keep at : r u.h gersire f atttn ngthewho?th neaidcoive{ngtocMy(
a ows itt lar more.fied ve ihan u5ing a sincre a jn lhe pi.rure above. DupliGtc sevenl limer * ir you ieed to prnt ( fyor k€ptcMYK prevewon,
.oloorblh ayei and w aleailowyoumore b€fop, ever hidiiS raye6 underieath ro sain the thcshourd be pretb, pain st. rlyouwanrtowo*
contrc overrhe degreeot burn' tu''rher on the mage then read on.
ln the next few steps we' I turn this unflnished mage into a J n shed p ece, at east for the most pari...

rr (! Lr rl rr.roou l
11\ r).! I f(l

. : Variations on the ending


With a lew simple adjustments, you can change the fee and look of
your image, sometimes with better resu ts than you expect

:.-
. : rh_,inl melhod itoreyolr maFso.yar
.he,r.i r rtrtber!!hei. r:hrt tjs rp,;e abrrtorrdiprlr orntrybs rahalway
hc!r ro.aba.kgm!,dto lomp i rLrrreedssi
.l(c and rni 5.y wo is k. + sgrP; r.! roirrr.rJPorrm qro p ryrth r dbu
in! nln rsb rr n th. mm mrm porb ! ti: r 16 oi ndvidu lyea EE
The craft of typography
From the CutenbergPress Io Photoshop, typography has come a long way... but with
formal training on the wane and individualism on the rise, where's it going next?
llltti 1n.o,:.h!
{itEIJ ,;;.";.;;., ",,,^. ,,",., .. ," " .,"
it[ .,,1,,;1".."., -;,h;,h"".^,",,..
xltfl "".,;,^.;,",..
trom Gulenbcrg s 42-ti'B BiblcotlASS ofrbo,gL rL"
hisiory ofwritinsandtheatphabot itsalf is mu.h older
NowlhaLeveryo € with acce$ to a perenatcomputer
AaBbCc
hls(h! power 1o b€ a typosrapherorlyped€siqn€i
$ee isanev€r qreaterneed ior a comDrehensiv€
iitoducti.n to rh€se subjecrs.Wirhthe betietthar
rypography isa practicata( in thes,"rvice of rhe
mossage and not fashion' communication syt s lypog6ph
Phil Baines, Iype and typ.laphy than pur€ty t€tenn! exDens
'the lislof books artictes papersand so of
lhe Russian movem€nr ol Conerlcrivism.eaLty
discussing the subjectof rypographyis endtess. Every bega^ to inftue ce (ypographiclesgn lhe lse oi
aspecl ofrhe medium isdiscused rnatysed, sansseril tacesgaverhe r.voldri ai idenriry. il
dGsected and quesLioned Burwhatdowe.asvisual turn influencing Eauhaus(meaoing buildin! house)
comnunicators do wirh lhis informatio iWheredowe whichalso became an drcredibLy Lntluenrial period
Fouoded 1n l9l9 in C€'many. ( mi)undcrrhe dne ion
ol Walt€r Croprus qhose abiliry to a(racr oursrandiis
talenls to lh€ schooLhad a hlYe orLuenco ongaDhi.

n:ff^..*"* t1i,F' '^{ E lhom.vdmonten.ou6e€d bv


De S{t(a Durchrdmove.Mr ^ewideasdeveloped
mcrnin!'IheSryLe)
liacing backthDueh hisLory. many rypognphcis li. i and Clnstucrivism Bauhaus and irsDtiance ona lnd
the lastl00yeaB hav€ been rnrluenced by th. synem sadsseril fa.esand rarionalirysirhLn designs
movemeiG hapneninqatuund them as thev were provided. dnect foLlow-onlor rhe Newlypography
Leaning. €aohingand desisnins TheArtsand Cralls and larei rhe nteharionallypograOhic Sryte.atso
movementtrom lST0thmughtothecartyl900s w,s n
major influence!n later moyements lt was tarsety this erd sawihe emeryenceotdesigneEsuch as
dedicared ro wriL€rs ditisb archit€cts desiqn€E and Herbefr Bayer Eic Gitt(desigierol Cill Joanna and >
craltworkers and rhedevclop ienrann unnerebndinq

Cubien. concentating di the discovery of


muttadimen3ionalobl.c6.aM Later Fururism in th€
earty l90Os encouraged rhe typographic des'sn€r to
chattengethe prinled pageand embhcechange rather
than predict3bitily. Dadaism. atso a liteery movenent
tike Futurism. was dcv€toped in Switredard and
attempred ro chaLtens€ esrabtGhed vatuesand betiefs.
Theneed to sho.kcatted far new foms of visuat
communicarion and boLd lypogEphy and photo-
monlas€ emersed d u ring ih is pe riod W( houl ihe use
oJtechnologyrndcompurerswhich we clyuponroday
this became a newand innovali@ openingtor

AaBbCc
lrre orilinaL YeEion *as
mned after ihe rsrh .eitury ryp*drer Gianbafisb Eldoni.

"*.*"0.0-o,H
Ari€stypefa.es). Janl*hichold rid PietZMd whoin
urn inf luenced so nany d€signer. laler in rhe ceilu,y.
Ihe New lyposraphy devetoped throughour Europe
inthel920sand l930s,han manyaspecs ol p.evious
movemenc suchas De stilLa4d consrucrivism
Ischichold !erqnerol rhervDetace 5abon. rhetirsi
(lpefrccroaelesiqnpd LrMonoryoe was a key ti4re
Shock of the ne\r ?
Sansseritla.esand asymmetic Layourswirh Now howeveiihings area Litte differenr sowtur
g€ometic inllua.c€s werc sis.alures of this period. ln makeswhatwedq asdesisners, ittustratoEand
l92a lschich.ld wr.ro Did Nele lypoj,apbie ThG typographers. speciat? Ih€ way we move type amund
bookproved ro bchighlyinlluenri"l rnl an,"rrh-" 6 strlhtty difiercnt to rha waypeorte moved typed
S€co.d Vlortd W' s.me 20 yearsallerdwaswNen. around sirmonihs.ra y,"arago Weranle itright
its p ncipl.swere erpto.ed inAmerica and in$ead olbii Wetighren rhe leading much morethan
Switzertand whch r.sulted iithd evolurionof rh-" anyoneworkingon R yg!, w.uld have.lone We
lnrernationaL Tyroq.aphic 9yle revcEe iloul ol btack and cream. r"nrerlhan, tutij

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t.

Esy smda rbFd ha3 , rais$go dr ir. di


lhe emarionallypoqraohic Style continueil rheus coLour Burrhis do.snlne.essarity hake il new
ol$.gid syeem and.rredicrabLy.rhe sa^s se.ii
terterinq bul sta ed ro intoduceiha usa ol ls il asamazincaswhen Eric Gittcarved t€Gru inlo
ohotogaphs aiher rhan illunrarions sone in rhe 1900s. orwhen rhe tusl sans seril typeface
Ihe na owse( €nge{elr coLumnsand lhe was desilned inlB16?Orwhen woodblock prinlingwas
adoplioo oltyDeiacessuch as HeLverica became used in 1400? Perhapslhe craf t of rypoqruphv has lost
recqnGabteas G sryle th€ mdemenr sxlended its crcft h beingatyposraphernow defined as being
rrrhtthough rode60sand 70s Bylhe laleToelhe able to sel a btock of lopt Hetvetica using key
slyte was becoming preli.labLe and was chaLLenged commands in Q!,r( rarher ihan measuring a iour
bynewdesigne.ssuchasWo{tgangWeinga and cotumn grid. each cotumn measuring a widrh of 14
f picaswilh al 5picacotumn guller and knowingrhai
Weinga t erperimenrarionwilh Layenn!and
4l corhningelem€nrsmade possibte byadvaoces
in rechnotogy a^i phoroLirho3mphy €ncouraged
one pica isequallol2points?
Quitepossibty.w€ donteven needlo knowthiskind
of rheory any longer Anyone wilh a smattamounl ol

'i
N
ideasof collage HG*orkwash\ghlyEsDectedand
proved tobeawelcomeretieltolhe pGdicrabitLry ol

Weinqanrauqhr studenrssuch asAoritCr€Lman


Mac or PC training can Fta blockoftype. bur this
doesnr atways makeihem a rypographer Should rhe
ol lyposhpher be earnr. or G it a crait
srarus
beLear rom the stossary of th€ Quarkor
rhar can

rl heMtl an iif luential American design€r She exptored


theuseolimareryand tayeinaeltecrsand wasa key Advances in progGms su.h as Phoroslop Quark
figue in lhe emeitent New Wave graphic design efu of and FoDtognphermean il is even easier io set type
the 70s. she has desisned tor Benetton. xeox and wiih even le$ knowtedg,A of the subjecr than ever
Esp.ii.and manysee herasoneollhetirstroembrace belore ManV otd-schootdesiqnerscan b€ quoled on
the bu€eoniig technology using typog6phy in th,"sublectof howlheAppteMac has chaigedthe
conjunclion wilh photo maniput rion. businessofdeskn. enabting more taymen lo become
descneurhan ever berore. Bur you coutd argue
wheiher can be said of iypographers
When setting a bodyoltert.doesthephrase12 on
12 heanasmuch as it us-"d i.? M

Aa B bCc these seem b have turned into a seri€s ol figures.


deprived of their acruat meanina. (ln case you
werewondering.12 on12 meansl2pltypesetwith
l2piteading orhavingnoextra spacebelweenthe
tin€s l2on13 meansl2pttypewith 13pr teadingi l
UiiY€EtoieeEnpteola$is*iIiypgf4dD6ig.dbya exta poinr ol teading havine beenadd€d.12 on l4lwo
Swedish stude Adian FMisei ir li6r,oEarcd h 1957 exrm poina ol teadiig. and $ on Ihis derives from rhe
days ot tetterpress when ac tuat strip s df tead wer€ evotved. Etp€rimentationwith photocopieB among
ptaed betwe€nthe tines ol meraL rype. asspa.iog) oth er thinqs may have lsd t he P]otoshoD EvoLurion
Ihe compuler Evolulion has. undoubtedty btuushl causing photo manipulationto become a sandard
aboutchangesinthe businessof desrgn NewveEions form ol communicalioi, bringing type wirh ir.
ol programs launch con*anny,atolwhich chim to b€ Iyp€ and letreu have become something that
beterthantheirpr€deces$G Di$iplinesarecbse( Photoshop users can ctass as ju$ a.other eGmenl
and an illustraror wo*ing in Phoroshop can now Iyp€ becomes r m age. A subj{t ot many books
compet€ntty add type, and design wilh type more Pho.Gh.phas unddubredlybroadenedoDoodunirlas
ed saty than ever before Ih is ha s obvioB b e nelits and ior u*G to exoeriment with rype and leters as never
even typefac€s can be desigied on the Mac live rimes befo@ AF.il C.eiman designed in this sryla, alrbough
morequicktyrhantheywere200yearsalo theE G a herworkwas orbinattyccared byhaod,duelorhe bck
danserthatiheword speciaLisano tongerapplLes. bur
on rhe llipside rhe facrrharjusrabouranyonecan bea Vau<l'ai oliv€. also led Ihewavemewhatinlhis
rypo,zEph€roDeis up avenues across sDecialisms sryle Hehas been quot€d in pr€vids iNeruie*s as
sayingrhathis hckof lormalrypoc€phic rmintng
enabled hrm iod€vetophissry{e with@ra
Understandtng the basics typdsGphic sp{iatisr educarion ro fall back on. oliver
Advances in Photoshop eiabte the modern taught himseu by eperimenrarion {hi.h is how rhe
deskner/ittusLraior/typorrapherb 6xploe areas lile tik. raciit€ qualitytohisworkevolved Nisdesigns
^ew
ol discipline. Composition of imales k inlinirety were crafted by handwirh layer.d ihaqes princ
quickerthan by hand andlheabiliiyio moveryoe a.cidenls rype fax paperand $on:a$ylewhich
amund onscreen is an advanrage. many atrGB try and reproduce loday \^ Photashop.
Some say howeve( you can ontydiscover$e real
value ofrype and tett€B wh€n you have hetdthem
individuattyand sepahteLybyhand layingrh€m ouron fhe ft€edom to experiment
apad,and movinsrhem around.lhe best approacrr 6 With Prorosho, s many liler options. it is easy ro
iol always the lradttionalone. bur befo€ the rutes of crearemutri tay€red,tertdrerich im.gesdarha'k
lypographycan be brcken orrypecan be reated back ta som€ ol rhe cnlB ot a pre- Photashop era \
unconventionatty iherc musl be a certain amounr ot abobdngs ussomethingnew {aysroexperim.iiand
und€retandinq oithe subiect desirn as never seen belore. Words aE as prolilic in
vou canr Eplacea basic loundarion ofmanuat thisareaa5a pholoenph or rhe cololr bfue or a spot ol
Layourandcompositionwith rhe heb s€crion in random ink.and ir is here rhar rype rakes on a diflerenl
P/ro.oshop or Quark while the opporruniri-"s and slanr lhetype,oriidividualle(e6.orblufted
paraSraphs be.ome an intinsic pan ol lhe imsgq
communicatingas much as a phorograDh can
Byusidg type i^rhGway,rhec€arorhariheabilny
tod€cidewhether$artanicularpieceolrexr should

AaBbCc b€ iead and onderstood be pan-read orsimplyacras

a
nois€ ro tead rhevi€*e owardsthinkingorrcaciing
cenainway Iypog€phytakesonadiile€m
communicalive rate lhan isseneEllyrheca*. a.d it is
thc difiercnriation rhat drives lhe deskner
olEiidris in Eigl,id ln 1345 ct reidon b r.lab seit typosrapher or ittu(raror ro desiqi in such a war lhe
ryporacci sid.d r! a hervisr.ompr6m6ir b $ii do{qd iieedon rhar Pholoshop giv€s rhe designer G ofien thp
only lure ne€dedtoercouEse expenne arion
possib ilfties in Photoshop are yast and rar beyond Asidelrom fiis. rhe ra.r rcmainsthalduecaEand
what Citt or Tschichotd couG ever have imasined, the consideration shoutd stilt be given to typqraplV,ilhin
basics and rheory oilyposraphy shoutdnt b€ loqotten destnsori(uslationsorweb medii.Nomauerhow
Ineamazingpossibitnies oifer€d by today s soitwae sophisticated Qualror Ph.ldsbop gel, badly-el lype
aresurely justrenindersoiattthetheoryand hard is5littunsighllyandcan be!ncommunicative lhe
work $at underp in s lypoEap hy as a sp€cia tism. theories oi rypqraphy may nor be undersiood to lhe
We coutd never have achieved ihis level of lypeselting extentrhatrheyoncewe€. bufihisshouLdnr
w(h techiology it it wasn I lor the tasr 2000 yea6 unde rm ine $ en im pona nc€ As quc(ed earlier I he tact
that lh€re are now so many opport!niriesfor people
With th€ intrcducrion of m6chines: leirerpress. who aren r iypoecpheG to desen wirh 9pe. means
tollowed by tithogmphic prinring and now disitat lhaian und€EkndingollyFography G prcbabty just as
Dnnlins. new methods ol dsien with type have SANS SEBIF- UNIVERS

Btack and whit€ and read all over


Legibitiry is siitt. as always. a k€y pad ol lhe specialGm
Aa BbCc"
and an issuewhichsu aes in many srudies. adicles.
booksandpapersdi$ussingtypogEphrTheus€ of
fts ara:iiq po$rbiriliss
otured by today!
tlFe and individuat ten€6 are slilt genehlty intended $r1wrc ,ru jun cmrdaB dnh6 l'Flry.nd h3rd
ta be r€cognised as shapes. individuat t€ne6 or as a wd*thnund.rpii,typognphyasaspecilLbn
bodyofcopy Alain badty ser 9pe, wheiher it is
inrended ro b-a read .r nd .an srill hiftl.r
communication and look uqly. damaqinq rhe overall >
ihe iypeface. Making somelhin! taEer isnl atMys the
b€ st My to aitra cl the eye Lea rnins how io us-" space
wisety isa veryvisuatpmcess and ultimalety itsthe

BbCc destneis decGion as ro wh eth€ r or not a piece works'.


Ate. take care not to uF loo many lypefac€s in
one descn or you ll end up with a confusing mass
wiihour any disrinciion berween secrioft. Fbinr size
shoutd also b€ consider€d caref ulty. Some d€s(qneE
r6ndi.ml9da.. B,sli.aiLr" tlinkthaigprtypeshouldntr€attybeusedwilhlopl
i thc is kmM
's
nyle
and l4ptshoutd not reaLty be used wilhl6pr The

ii -'rt! - " composition of lhe pi€e. An instincr for choosing


typelaces symparhetic b ihe slbjct. applying
difierence in rhe sizes is not significanr enough ior
them to be u$d togerher or certe any kind ol impacl
Eye-catching headlines or subheads shoutd have a
spacing, leadi^g, keming and tmckng is siitl an g€ater distincibn betueen rwo sizes. ln good des\qi
imponanr pan ot achreving qe(€l
lypogEphy. the snatlest ol elements is as impoftanrasanyolher
wharev€r rhe equired purpose
For erampi., capiGt leners are mo€ legibte as
individual letters rhan tower cas. yel when deaiin! What next?
wirh wodt or parasaphs, lower case is frore l*ible So. siven the invenlion oi new technotosies and the
:r' t -r wi6in a bodv ol reft lhan c,'itats. Ihi! is no
coift ideme. Lo*e. case lelte6aedesisned wilh rhis
dectinioq enohasis on craGmanshiDs and an
movements, whee a€ tolay s infLuences? Althoush
,;,:-'-+ in mind and €lleci $e €adels need |o ead $eh lhe hBlory ot $e hst 100 years has influencod the palh
3+{ !j quickl)a easiLy 6nd eflicien(y. Lighrer nrokes ae used
lorlowerca3e,rhea.rualtormsotihe letrersr.ke,
maiy des'sne6 have ftvetted. whal fottows?
Now$atrcadilyavailablerechnology has made it
roond.rormoreopenleelftanrhecapirah.Thisthen possibte tu anyone to be part of rhe cEative proc$r.
deal€s mo€ open space bel ween, arou nd and wiihin lormatlraining is no tongercomputsory. Howeverthe
the Guers rhem*l@s giving rhe paragraph an overaU toss ol a basic lvpoqraphic education meansthatmany
lighre.teel.haleappea6lessdenseincolourwhich of roday s typogmphers aE work ing with oui a ny rea I
in rum helps rhe eye ro read lasrer ih€oBlicat gounding. Arlisls are placing a gEaier
fhe same applies to tead ing and pa DgEp h s paci ng. emphassonwhaltheircontemporariesare doing and
Adding a lirrle exra space berween rines can oiren a€moiivated bya simpte need tobevisuallydifieEnt
'L\qhren rhe appeaE.ce ol a block oi texl. making ir rromrhemand nonrins more
easi€i tor rhe rcader to siay locused on lhe te{ Line lhe market is more open than €ver before. locuss
lensh also has sisnilica eliectonlhespeedol are wider and speciatisms are btendins in(o €ach oLhsr
Eading ll rhe line lengrh is roo grear ihe eye wiLt lind il Perhaps thG will form an art movemenl oi ils own

Bambo' ditticulrblollewirhoddtilring!pordownroorher
lines Mding back b @ad $e nexr Line hay pbve
which peopte witt reltect upon in 30 yearu rime. How
aboutlhe ltilharian^4ovemenf?.orthe Ev€ryon€ isa
ditric! hd r lollowinc back alonq $e le dql h or l he
lr sir
line wi'h y@r lingei h conaa$. i, $e line lengt is roo PErhaps desbners and lypographers wittteetrhe
sho( ir s dialiculr lo *l any @xr wilh words seater need 10 distinguish lhehsetves trom sett taught

Century lhan aboul l@rorlive le(ters


Similar guidelines apply ro rhe use of serit and sais
designeG, and Ev6rt back to *orking with grids and
strucrued layoutsaswe have seen wfth the Swiss
seil la.es. A sans seril tace is often easier ro read Styte and New Typqraphy. Iimes change, roles
whenrhepoi size is very small. Again. rhis comes change. deiin ir io ns ch ange. bound a ries ch ang,^. May be
downrotheu*orsracelirhina smallaEa.Howthe wiLLtiavetfullcimle and €ven ha.ktoth-"
Times New Roman documeni is going to be pinted an aLso have an effect c€irsmanshiD.nd specia{tsmsof the 20th century
upon rhe qlatlly ol lhc typoqnphy. lf rhe Doim size is
verysmau,and beingprinbdiomfourcoLoure,lhe
charceotm6 registmlaon is grealer rhan at the
€production 6 mono. where onLy one cotour is printed
Helvetica, A smau seril lace may appear ro have bled if it is
€pbduced very small. beauF lhe serils may appear
to run rogerher Sans seril howevei uhich is a tess
inricare.n.l a mo.e.onmon srmt€ widrh is m.re

Inasoh dependable shen Ep@duced very snall lhe fact


theE G les varidion beaeen lhe intricacies ol rhe
lene6 increrses l€gibility.
olgiraqpe$niigi:abi'otanr.edbt6$iig il Sizeisanimpo anr bur olrei ovenooked pan ol
lyFographic design Choolins lhe cor€l baLance and
siziig ol individuat eldmen$ .an eiiher Gad to a
perlect conposnion, or a piece of work where rhe eye
isn t anracled to anvlhinq in Da.ticular One aDDroach
is that rhe€ should be a sinsle primary point of
an€ction, fouowed by a sond and rhen a rhird. This
can be achieved by the size and scale oi pafticular

Crealing fte nsii anount oi spac arNnd an item


has a simiiar inpaci to changinr an imagq or chanling
tII
r-t

disj.lqfyjsign >t
The art of promotion
Creating marketing materials doesn't have to be a bland
task - today's artwork is contemporary, diverse and inspiring,
as well as commercial, so experiment...
lomaniputaF and experiment without
sF r4eLd!n6'&oa!{ image rhar wilt be B€d on destroying $e dara in your inases
T\
I!'i,@e!e!@sd The image was cealed usins these
l= realures.$ we witt be abte lo so back to
regutar OV magazines,thenyo! ll rheiLLusrElior Laterand chanse ir as
^eed
1o creale something rhar is visually r€qui€d.Forexampte we can enove
/e\ rudondilc
\ 9,/ ftrh.b,u.,"-r**ecoh sviking dynanic and also conmerciaL the pholograph of rh€ modet and r€ptace
ForthG prcle.r rh€.ommGsionwas her wilh a diJierenl photoeraph. or
hi.ltorFn6Lisid!!*r$&r 1o cr€are an image ro promore DigiraL changelhe.otouis and byout
Visions new /n lre Akck cotteclio.. n the turoriat. we ve atso tooked at
tuoib/4 t.nhidr Pr.loshoy's tay€rins and masking some prini produciion issues that witt be
or.'ntudo;idb!4sir effe.tswereus.luthPre and alsts ol use io you il youle preparing artwo(
l*lwtu(lhkd&tuuk Layer oplions: lheseleat!.es enableyou
Part 1: Baclground
we'll create the background forthe composition. The important thingto note is
To start,
that we can go back and change these background elements laterwith minimum effort

O Si f fillilLif:llil;1xfr:i*ffi "" g
LJi ss your prLnle' !pe.lrlesorh.Mlq. *t your 8ffi utri"f,'#;m::","i? ff ;:,", g li#;: ji: itr 5t""'fi jyl[:i';*:'
caiv6at3oodplMd lh..olou'soaeroRGB. lhing is lo llh th. inrd. to eay{aj.. Oo this by
we ll coiv€d th. rmaS.lo CMYX larer s.r th. soins to rh. lmas. Me.DModbcdrrdlr. Okk tsdoa ha8. trt
To the io hrt Cohmand+T
5 z€ ot your dduhedt io r3x14.m, r.l lh. oK to.pply lh. drng6. U5lally rc uouldi'l 10 b,rng up ih. Tbnltohaloi tool and btlk
ba.krcund to TGnlparcnl, nam.lh. p6i.ci, hlt
'!(@ftnd 3ay*l! 'D.96 rn rrfi wry. hdr ri rhL d srl. uidlll looks l.thr HtRdum d'
6e, w? a lddrns..rour r.hr drud..dlck to rppry the chane$.

ai w. lldop th. opr.lt 01th. src$c.le


f h!3eios C ck on l.yer l rh rh€ LaEE
pr.lette aid hrt conrond+b416pi... Tht ilk
ay.' wLlh you. b&l8rcund .oloui which h l.tto
th. 6sb@6eyou6
dl
i,l"H;lf l*:"ft ,",,","
r wavi ro balandameid
whih by default For you. hftl.g w.sMtiE ddl€d h,.rftmd ow. any che8cr you'v. mad. at a atlr st!g!. co t
Oprlon+ba.lspa.e llrk ir w[h'.Lcn6,
ln. loa8Fund -Il add m mdi €{mft no*:op.. r.a. ";:H;ff
ky.DNa>Adllrtm.it 1ay* sd choos CuNes.
6 oui .L baN on rh.
Cl aq*d.
kyd and rdiut 536050 ard 2'3 ltrb ll nu dre dlr
apot stcp: Adju*oilyth.mdlonsolthe bu.chdine rhd
t! Op& ly io 20 p€r.enr by ptrsha in. nuhb.r2 imag.lnio th. onpodioi a $@n he. 5.t the drd ok wh.^you v.,pp !d r:dlu,heit
ley on you, k.yboard Co lo rhe Lnydoplons h Lly.rApply nod. io Darln, &d agdn. s.t the lrye4 you cu to& e ls efh.b by .+ nB d^ lh
th. Lry.6 p.l.tt! lnd s.l..t Fbn i rnase op:dt,to20taml. flatt i thelfrrac.

E &!tf :ffiliJ::m*Tffi* g F:'Jisli iliif"x",ilfi,T :i?li"


"";,#
su'e drat rE s b€n.,th tl.€ adlushent Lye'i nd whileyd! won't want to wo* ri cMY( mode it!a
tran5lo.m tiott You ll*.
rhd rh.orodr sood lddlo always keep the CMYK prcvlew tu.ned
adrustnedls ac nad. !o lhe layer lnstan{y.Ihe ll H?m ru
jun dupliered the lays onliinhs
ir€ oi when qondisfor p. nt. Do th s by h tl ns
b€.uty of adlushed hre6 ts rhat ths ei6t5 rt y It 4e20?7 .sain. ro dud d re a rryea qth Command+Y P.ovid ns you. d sp ay k proper y
'm.se
live- f youneedlo.hanserheol@'oltf€ tlF rrl4 tool 3rld_ted (h,t v on $e t€v6d,n to @lourcallbEted.yo! lsel a aMrably a<mate
ba.kg@uid, double-cllckine o. iho adju5tm'n s€lct i0 dGc it ad hold dom ihe Cjgnrdn key a mlour rcprcseiiauoi. Always rcquesi a .o ou.
layer w ll bdng up ils dialog box. enablingy{u to do so. s€le tfia inag€ 6 $Nn abore. and the p6of fmm}!urburcauwhen wd&ngoncolour
Fa:€ f : Adding photography
ln this section we'll add some photography, and show you the benefits of
using Layer options and iayer masks ln your compositions

opi Lprh! r! !5 u3'rrr


=-: "co- .= ,r, -nr rh, Pc ronr.n't, I'l
i:!: ,, tr. I
.{ ntrk I r )rkrru ri l)L lrr.irr {
r)rr, nJ 11Lr\ul ur yol Vc.'v.,yn. t
h' rl, rl ,, r1l ofo r '\!
o\ptrr

5r Nqr doL 1,r r lklhr ilc rod rr(Drc


rrw rrlw qniP .Ly,r!qno6 or
=:
,itlr lls ot nr rrl I
3-=Lr'rL !o ,r,.i, li,oLnrrdyou
tr[qPhddi|l.l!.lli.rl..i.(t'IP.. lslu bl rs h]skcd out

pre5 dirmrrs rnd brusr oLtircnray pxcs


=a
barr!parctomasrth.n Norrh.n.dr tfa.e
ool5dear.f Rcncmbn wh.n yodr. Lsig ayo
iS /ou, L"[] ha\lsthityou re not trnov rspi.s istota y
drfi.f r. uriS he e dfuorYo!scrmrr
S icd hc i,a: mor.t.rb tyrr!,cy :ftrGiariyrbra or
;::::s:i :;: Creating the foreground
Now we'll start building up the foreground by re-us ng some of the m ages
we used to create the background

.t:; !r
-:.:Jr.
JI

l i,_.

1l(.'r,, , c) rn r

j+ fbe ther pbod'rr ortflr rro thr


:= omDoi toi rnd po5 ton tis+oai 5.t:hr -- r,d pane i iioih!.omp.! .i te!
=ilh.L]yclmodlioDk.nrrdir.opi.br'
:r:i:':: ..,: Addingtypography and graphic elements
Now we're going to finish oJJ the i iustrat on by add ng our ogos and other
graphics. To {ollow that, we'l prepare t for repro

. "@;i:€-€ _**
r!!4
s,'i!s ih J
&!.ii$, ,,
-..)
e! 1r iu !i!ld :i

r, lrP.Lihip.nl

i.r:q!,,.rr ,,,rr0 IMr; I!

.-i r;.0. r ) i.r! ;riroro n;rr>DLp o&

l:g: IDrs i 1r
r,nryfo, .pro Rcn.mbn mo! or r,.

==
Forrhe i n + nsbrh \,r rd.3 e-. io? !.b (rn,imil.dnnii.d,n,e4ar r
d J.r. r r.b. rr! irperrcr rsuir adr!niff
,, i 1.: z\ ,::-r,.s oi) ird r! c,jrto npod !., f rdriiftr! rc
ia.*1n.].onvedfrocliYr ei y u:en, irdtr:b'. E
Simple masterpieces
C'eat nS, a slrccesstul mas.. in PhotosiroTr clocsn'l rnr:an
that you ncecl 1o be f uent in everything, tlre proerain has
to oller \iVe shorrr you r',,,hat s mp e ayer ne can achievc

I
F== t: Puttingtogetherthetree and its branches
The tree in this image isn'tjust a straight photograph Cetting such a strong element quite
often involves enhancing naturel

i5 ,
s= Iln i rn iy.,!ofrd.pirrrl'trLrwo Yor
T \t , . r,p otot rph L i r-ii' € aL ,oir rrrrhr lqrn.r\ r.r, ,
== nm.{i{ !s.rrT,r}tun !'L,( o, r1, I
i.,:, ra \r.fl., rlrn Lwr |, * ,A..!l

E-- Lr [r
I
=-N,rr
r.ic.hr ojr
=

]: Leaves
Using the Dodge tool to blend the branches and eaf sta ks

!r r!L,od[ foor op]on.o n.lr!r+


==
5= op.n th.J e ei!. tr .d dwlr the iirlr..t th. !:rn: I toA.ih.r !rih. uods.toD nor il
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Plain English An all-rcund view
Complete ldiot's Auide to Adobe Photoshop 6 lnside the Photoshop 6 Studio

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How to Use Adobe Photoshop 6 Visually Masteting Photoshop 6

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