iDTP Master Course masterials by IACT

DESIGN CONCEPTS PRE-PRESS & PRINT PHOTOSHOP INDESIGN DIGITAL COLOUR MASTER COURSE

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ILLUSTRATOR

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MASTER COURSE

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Adobe, the Adobe logo, Acrobat, Creative Suite, Illustrator, InDesign, Photoshop, PostScript, Encapsulated PostScript, and TIFF are either registered trademarks or trademarks of Adobe Systems Incorporated in the U.S.A. and/or other countries. Mac OS, AppleScript, Macintosh and TrueType are registered trademarks of Apple Inc., registered in the U.S.A. and other countries. Power PC is

a trademark of International Business Machines Corporation in the U.S.A. and other countries. Microsoft, OpenType, Windows and Windows Vista are either registered trademarks or trademarks of

Microsoft Corporation in the U.S.A. and other countries. Quark, QuarkXpress, QuarkXpress Passport

and QuarkXTensions are trademarks of Quark Inc., registered in the U.S.A. and other countries. QuickTime is a trademark used under license. QuickTime is registered in the U.S.A. and other

countries. PANTONE colours displayed in the user documentation may not match PANTONEidentified standards. Pantone, PMS and Hexachrome are either registered trademarks or trademarks of Pantone, Inc.. All other marks are the properties of their respective owners. All trademarks, where

mentioned, are acknowledged. Names and logos referred to in the sample artworks are fictional and not intended to refer to any actual organisation or products.

Every effort has been made to ensure that all the information contained within the i-dtp master course is correct, but, as Alexander Pope (1688-1744) wrote, ‘to err is human’, and the publishers can

accept no responsibility for any consequential loss or inconvenience sustained by any reader or student as a result of its information or advice. Some of the illustrations in this book came into our hands

without any identification of the original maker or author. Every effort has been made to locate all

rights holders. If any required acknowledgements or rights have been overlooked, we will be pleased to rectify any omission in future editions.

All rights reserved. No part of this publication may be reproduced, transmitted or stored in a retrieval system, in any form, or by any means, without permission in writing from the publisher. This book is

sold, distributed or provided subject to the condition that it shall not, by way of trade or otherwise, be lent, hired out, resold or otherwise circulated without the publisher’s prior consent in any form

of binding or cover other than that in which it is published and without a similar condition being imposed on the subsequent purchaser.

2008 International Academy of Computer Training Ltd.

Head Office: 98 St. Stephen’s Green, Dublin 2. For more information call UK: 0800 587 0003 ROI: 1850 924 023 Web: www.iactonline.com

Designed and edited by Hugh Donoghue

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i-dtp master course contents

Page No.

Introduction 1.1 1.2 1.3 1.4 1.5 1.6 1.7 1.8 1.9

The InDesign interface New documents Tools and options Text attributes Colour Organising artwork on layers The pen tool Images, frames and paths Tabs, tables, templates and pages Styles, forms and templates Artwork

85 89 95 103 115 129 141 147 161 175 187

Photoshop 3.1 3.2 3.3 3.4 3.5 3.6 3.7 3.8 3.9 3.10 3.11 3.12 3.13 3.14 3.15 3.16 3.17 3.18

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5 19 27 31 39 47 63 69 77

InDesign 2.1 2.2 2.3 2.4 2.5 2.6 2.7 2.8 2.9 2.10 2.11

Colour Concept to design Measures Physical formats File formats Production Recycling Design principles Design tips

Introduction The main selection tools Layers Transform tools Clone and patch tools Colour tools Eraser tools Quick masks Layer styles and blend modes Text Gradients Paths and pens Shapes Composing images Retouching photographs Further retouching tools The patch tool Changing colour to black & white

195 201 219 223 227 233 241 247 257 263 271 279 287 299 305 317 325 329

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Illustrator 4.1 4.2 4.3 4.4 4.5 4.6 4.7

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New files and the main tools Adding colours and strokes Organising artwork on layers Combining and reshaping More drawing tools Guides, drawing options and type Advanced drawing tools and effects

Key Commands Index

335 339 343 347 351 359 367 375

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i-dtp master course colour

section 1.1

What is Light? We and other animals living on the Earth have evolved sense organs (our eyes) which detect a limited range of electromagnetic radiation. We call this range Visible Light. Other frequencies of the same electromagnetic radiation, as shown on this scale, include radio waves, microwaves, heat, infra-red and ultra-violet rays, x-rays and gamma rays. Light is either radiated by objects or reflected off them. The known universe consists of radiant objects (the stars), reflective objects (planets and moons), clouds of gas and dust, and plenty of empty space. The light emitted by our nearest star, the Sun, is called natural light or sunlight, while at night, when the sun is hidden, its light reflected off our Moon is known as moonlight. We have also developed various means of creating light, from candles to computer screens; these are all forms of artificial light.

What is colour? Our eyes combine two types of receptor cells, known as rods and cones. The rods simply detect the presence and relative brightness of any visible light. The more sophisticated cones are sensitive to different wavelengths within visible light; these are the different colours or hues. We call the longest visible wavelengths red light, and the shortest visible wavelengths blue light. Other colours are perceived along a scale in between. Green light, for example, comes about halfway.

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i-dtp master course colour

The colours we see in nature Colour in nature can be virtual or actual. A red colour in the sky as the sun sets is virtual, not actually there in the air: it is seen by us because the longest wavelengths linger on as the sun goes out of view. But the red of a flamingo’s beak is actually there, coming from their diet of shellfish. Mating rituals frequently involve vivid use of colour, as in the example of a peacock. His extraordinary colours have evolved to display his health, stamina and general fitness as a prospective parent. The audience for this display, the pea-hen, who has different priorities such as hiding and protecting her young, is very dull in colour. Some animals, such as the chameleon, have developed remarkable abilities to communicate by changing the colours of their skin. Humans have this to a lesser degree; we relate the visible flow of blood to or from our faces to our emotions, and describe people as becoming “red with rage” or “white with fear”.

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i-dtp master course colour

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The colours we make By extracting colour from various animals, plants and minerals, our ancestors produced an ever-increasing variety of inks, dyes and pigments. Some colours were more difficult or laborious to produce than others. The purple togas worn in ancient Rome, for example, were symbols of power and wealth, because Tyrian purple dye was one of the most costly commodities available in the ancient world. The dye was extracted from the glandular fluids of certain types of sea snails in the eastern Mediterranean, known collectively as murex snails. Gradually, over time, additional sources for extracting these colours have been developed, so that the symbolism of “royal” blue or “cardinal” red is only a lingering historical footnote. By the 19th century, a typical painter had every basic pigment, oil-based or water-based in tubes or bottles, and could mix these on a palette to get most other “in-between” colours. Over-painting with translucent glazes or colour washes was also commonly used.

These ideas preceded the modern revolution in colour printing. Originally, the colours used in printing were limited to one colour at a time. If you wanted to make a woodblock print using 12 colours, you had to first carve 12 blocks of wood, one for each colour. This restrained most book publishers to one colour, usually Black, with an occasional second colour, or spot colour, such as Red for capital letters. But when the idea of optical mixing became widespread, it was clear that you do not have to print every colour you “see”: if the dots of colour are small enough, the colour mixing will happen in your eyes. This has become the basis of both CMYK reproduction and and RGB transmission, to produce “full colour” from a limited range of overlapping core colours.

Detail of La Parade (1889) by Georges Seurat

But some painters, such as the French pointillist Seurat, became very interested in how we see colour, and developed techniques of optical mixing, where tiny individual brushstrokes of, for example, blue and yellow, would combine in our eyes, and be seen as green.

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Producing full colour: RGB and CMYK We produce full colour images in two very different ways, for different media. One, the RGB method, involves generating coloured light by mixing different intensities of Red, Green and Blue light. Mixtures of RGB colours are always lighter and brighter than their original base colours, and combining all three at their brightest produces white light. This is known as Additive Colour, because they add up to white. RGB colours are used on computer screens, televisions and videos, mobile phone screens, web pages and any other technologies involving combinations of coloured light. The other way, the CMY or CMYK method, involves printing various mixtures of three or four coloured inks. In the example of a red heart on a Valentine card, what actually happens is that all other colours within the white light which shines on the red part are absorbed, and only one colour, Red, is reflected. Adding coloured inks together means less light is reflected from the page to your eye. This subtraction of wavelengths always results in a darker colour, and so is known as Subtractive Colour.

The effect of additive colour

What is the K, and why is it added? The three coloured inks used in CMY are Cyan, Magenta and Yellow. In theory, if all three CMY colours are printed over each other in transparent inks, the result should be pure black. In practice, because inks are not perfectly pure or transparent, the result will usually be a muddy dark grey. This is why a fourth colour, Black (K), is added to the C, M and Y. It ensures that dark or black tones and black text appear as true black. Commercial full-colour printing has become a four-colour process, known as CMYK, where 4 different printing plates are made from the 4 different colour separations (the C, the M, the Y and the K) of each multi-colour page.

The colours used to print subtractive colour

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The 4 process colours of CMYK mixtures, shown as both solids and tints. 100% Cyan

100% Magenta

100% Yellow

100% Black

90% Cyan

90% Magenta

90% Yellow

90% Black

80% Cyan

80% Magenta

80% Yellow

80% Black

70% Cyan

70% Magenta

70% Yellow

70% Black

60% Cyan

60% Magenta

60% Yellow

60% Black

50% Cyan

50% Magenta

50% Yellow

50% Black

40% Cyan

40% Magenta

40% Yellow

40% Black

30% Cyan

30% Magenta

30% Yellow

30% Black

20% Cyan

20% Magenta

20% Yellow

20% Black

10% Cyan

10% Magenta

10% Yellow

10% Black

5% Cyan

5% Magenta

5% Yellow

5% Black

Tints Each printing plate will only print one colour of ink. How then do you produce all the possible shades and tints of that colour? The answer is the half-tone screen. A fine mesh is used to creates dots of the solid colour, measured by % coverage. So a screen which allows half the ink to get through, and leaves half of the paper unprinted, produces a 50% half-tone or tint of that colour. The first four columns in the chart above show this effect, with a scale of screen values from 5% to 100% coverage applied to each of the 4 â&#x20AC;&#x153;processâ&#x20AC;? colours. Here you can see the visible halftone screen in a full-colour photo when a detail is greatly enlarged.

Merry Christmas 9

www.food4africa.org christmascard.indd 1

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i-dtp master course colour

Three standard CMYK mixtures, shown as both solids and tints. 100% Cyan 100% Yellow

100% Cyan 100% Magenta

100% Yellow 100% Magenta

90% Cyan 90% Yellow

90% Cyan 90% Magenta

90% Yellow 90% Magenta

80% Cyan 80% Yellow

80% Cyan 80% Magenta

80% Yellow 80% Magenta

70% Cyan 70% Yellow

70% Cyan 70% Magenta

70% Yellow 70% Magenta

60% Cyan 60% Yellow

60% Cyan 60% Magenta

60% Yellow 60% Magenta

50% Cyan 50% Yellow

50% Cyan 50% Magenta

50% Yellow 50% Magenta

40% Cyan 40% Yellow

40% Cyan 40% Magenta

40% Yellow 40% Magenta

30% Cyan 30% Yellow

30% Cyan 30% Magenta

30% Yellow 30% Magenta

20% Cyan 20% Yellow

20% Cyan 20% Magenta

20% Yellow 20% Magenta

10% Cyan 10% Yellow

10% Cyan 10% Magenta

10% Yellow 10% Magenta

5% Cyan 5% Yellow

5% Cyan 5% Magenta

5% Yellow 5% Magenta

Tints of 2-process-colour mixtures The three columns above show the effect of tints on a typical green, purple and orange, each of which is made by combining two of the process colours. Through these colour half-tone combinations, thousands of colours can be printed from just 4 inks.

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3 spot colours, shown as both solids and tints. Pantone® 498 100%

Pantone® 399 100%

Pantone® 261 100%

Pantone® 498 90%

Pantone® 399 90%

Pantone® 261 90%

Pantone® 498 80%

Pantone® 399 80%

Pantone® 261 80%

Pantone® 498 70%

Pantone® 399 70%

Pantone® 261 70%

Pantone® 498 60%

Pantone® 399 60%

Pantone® 261 60%

Pantone® 498 50%

Pantone® 399 50%

Pantone® 261 50%

Pantone® 498 40%

Pantone® 399 40%

Pantone® 261 40%

Pantone® 498 30%

Pantone® 399 30%

Pantone® 261 30%

Pantone® 498 20%

Pantone® 399 20%

Pantone® 261 20%

Pantone® 498 10%

Pantone® 399 10%

Pantone® 261 10%

Pantone® 498 5%

Pantone® 399 5%

Pantone® 261 5%

Spot colour tints The same technique applies when printing a spot colour, such as any of the Pantone® inks. Tints of the solid colour are created by applying a halftone screen of any % coverage. This is particularly useful when designing items with limited colours, to get the maximum use out of your colours. There are certain limitations, however. Some types of printing have a threshold % value, below which the ink will not print at all, so faint shades of 10% and under may not be available. Also, depending on the technology, the surface to be printed, and the distance from which it will be seen, the size of the dots necessary may be too large to look attractive.

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i-dtp master course colour

Colour models RGB, CMY and CMYK are just some of the colour models developed to suit a variety of digital design and publishing applications. In the RGB and CMY models, a value between 0 (for pure darkness, absolutely no light) and 255 (the highest brightness) is set for each of the three colours. So an RGB colour defined as 25:0:125 consists of a little Red, no Green and plenty of Blue. It is a Device-Dependent system, because the values used to define the colour is determined by the device you are using. In the CMYK model, the value for each of the 4 colours is given as a percentage. So a CMYK colour defined as 0:50:100:0 consists of no Cyan, a medium amount of Magenta, the maximum amount of Yellow and no Black. This is also a Device-Dependent system. Other colour models include HSB, HLS and Lab: these are not as commonly used, but have the advantage of being Device-Independent, because they retain their numeric values regardless of the device used to produce them. HSB combinations use characteristics of the colour rather than

ingredients to define them. The Hue (H) is measured as the degree of rotation on a circular colour wheel. The Saturation (S) or vividness, and the Brightness (B), are both expressed as percentages, from zero to maximum intensity. The HLS model is very similar, defining Hue (H), Saturation (S) and Lightness (L).

Lab, or L*a*b*, is a model based on human colour perception: a value for Lightness (L) and values from two chromatic scales: Green to Red (a) and Blue to Yellow (b).

All visible colours Monitor (RGB) Photographic file Print (CMYK)

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i-dtp master course colour

section 1.1

Colour Matching Systems The problem of colour mismatch can occur at any stage, because even device-independent colours, such as Lab colours, are usually displayed on an RGB monitor and printed on a CMYK printer. To solve this problem, colour matching systems have been developed, in which a set of pre-defined colours is agreed as an exact common standard for designers, printers and manufacturers of computer hardware and software. One of the commonest standards is the Pantone® Matching System, which allocates a Pantone® number to hundreds of printed swatches. Pantone® printing inks, printed papers, markers and other products are widely available. The catalogue for solid Pantone® colours shows each numbered colour as an individually printed example, on either gloss or matt paper. The Pantone® Process catalogue compares each pure colour with its nearest equivalent printed in four-colour Process, and defined as a CMYK combination. Swatch books such as these are invaluable, and should always be kept up-to-date, because printed colours will fade over time.

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i-dtp master course colour Conversion test

From RGB to CMYK and back again repeatedly. original values in rGB: Red 255r, Green 255g, Blue 255b First conversion to CMYK: Red (99% magenta, 100% yellow) Green (63% cyan, 100% yellow) Blue (89% cyan, 77% magenta)

Electronic Colour Management

An electronic colour management system is software which can ensure accurate colour reproduction across a network of various devices. Starting with data from your colour devices, it manages colour models, colour conversion, correction calibration. It determines and records the limitations of each of your devices. The range of colour any device or colour model can produce or detect is known as its colour gamut or space. The biggest colour space is probably “all visible colours”. The gamut of any device can be mapped and shown as a limited area of this bigger space, to compare the limitations of one device to another. Gamut Mapping

Converted to RGB

Converted again to CMYK

Converted to RGB

Converted again to CMYK

Final values in rGB: Red (237r, 34g, 28b) Green (34r, 189g, 84b) Blue (38r, 69g, 164b) Final values in CMYK: Red (1% cyan, 98% magenta, 96% yellow) Green (61% cyan, 98% yellow) Blue (88% cyan, 76% magenta, 1% yellow)

When you convert an image from RGB mode to CMYK mode, the colours are shifted or “mapped” from one colour space to another. This gamut mapping can be done in one of two ways: • Photometric mapping is ideal for photographic or continuous tone images. The entire range of colour is compressed into the colour space of the destination mode, maintaining relative transitions between colours because they are all affected equally. • Colorimetric mapping suits vector graphics. Here, only colours that fall outside the colour gamut are remapped, ensuring that the colours within the gamut retain their characteristics. One remaining problem is that many colour publications combine photographic images and vector graphics. For these, a colour management system can be set to choose automatically between the two methods, where appropriate. Colour Correction software aims to “correct” your monitor display to show CMYK colours as they will be printed. This is, of course, an impossible ideal, because a monitor will always be coloured light (additive) rather than the reflected colour (subtractive) of a printed item. When you apply colour correction software to see how it will look in CMYK, the colours on-screen will immediately appear duller. This, however, can be a good thing: the misleading vibrancy of your usual on-screen RGB colours could otherwise lead to surprise and disappointment when the item is printed.

A complementary feature in colour correction is the Gamut Alarm, which highlights out-of-gamut colours in your artwork by changing them to a single solid colour. You will immediately see the problem areas, and can choose to correct them by alteration or replacement to suit your output device.

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i-dtp master course colour

section 1.1

Colour Management The process of tuning colour hardware devices so that output matches a common standard is called calibration. The standard used can be set by a colour matching system, a colour measuring instrument (such as a colorimeter) or by other devices in your system. Colour management systems use colour profiles from each device to give you more consistent colour throughout your system. Most of these profiles are in the ICC (International Colour Consortium) format, and can be supplied directly by the manufacturer, packaged with your graphics software, or generated by an electronic colour manager.

Your monitor Your monitor is the centre of your DTP system, and so should be carefully tuned before adjusting any other devices in your system. Since colours vary as a monitor warms up to a stable temperature, you should not perform this calibration during the first hour after turning on your monitor. AdjuSt YouR HBC Using the original print of a scanned photograph

as reference, you can calibrate your monitor by adjusting the Hue, Brightness and Contrast controls so that the image displayed matches the original photograph as closely as possible. Having done this, cover the manual controls with a piece of tape, so that you don’t accidentally change them.

LiGHtinG is also very important. Natural daylight is, unfortunately, probably the worst lighting source, because it changes dramatically over the course of a day. It is best to work in an environment with fixed lighting sources that can’t be dimmed.

Both fluorescent lights and incandescent bulbs can have a colour cast which affects the colours on your screen. The lighting in your work space is measured in degrees Kelvin. Fluorescent lighting, for example, has a cooler temperature (4300oK) than standard daylight (6500oK). AGE As any monitor gets older, colour degradation and tone-shifting

will probably occur. You may need to retune the ICC profile, or update an outdated manufacturer’s profile.

Finally, bright colours or busy patterns in the environment surrounding the monitor (on your clothes, the desk, walls or floor) will affect how you perceive the colours on the screen. Neutral or dark colours are best.

EnViRonMEnt

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i-dtp master course colour

Colour management for your monitor Colour management software for your monitor uses three terms of reference: chromaticity, white point and gamma. Chromaticity is the hue and saturation of your monitor. These chroma levels can be adjusted (using a modified version of the HSB visual colour selection), but chromaticity values are relatively stable and consistent between different monitors, so in most cases this adjustment should not be necessary. White point is the quality of your pure white in additive colour, when

all three RGB values are at full strength (255:255:255). The appearance of the white point is affected by the lighting in your work space.

Gamma measures the intensity (the relationship between brightness and

contrast) of your monitor. Adjusting this involves comparing patches of dithered colour and gray displayed alongside each other on the screen. The gamma level is set correctly when these match in brightness. Gamma values usually range from 1.8 to 2.2 and are adjustable for each of the RGB colours.

Calibrating your scanner This requires “characterising” your scanner so that your colour management software knows how to handle files from it. The tools required for this are called it8 targets, and they consist of two parts: • A photographically printed image on paper, containing a wide range of colours • The same IT8 image provided by the target’s manufacturers. To calibrate your scanner, you begin by scanning the printed image. The colour management software then characterises the scanner by comparing this scan with the reference file. This should normally only need to be done once, when you first install the scanner.

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i-dtp master course colour

Sep for printing in Cyan

Printed in Cyan

Sep for printing in Magenta

Printed in Magenta

Sep for printing in Yellow

Printed in Yellow

Sep for printing in Black

Printed in Black

1: The 4 separations

section 1.1

2: Each separation printed in its correct colour

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i-dtp master course colour

Colour separations When an original image, such as this photo of the chameleon, is scanned for 4-colour process reproduction, the scanner “reads” its multiple colours in terms of each of the 4 process colours. For each point in the image (limited by the resolution of the scan), it determines how much Cyan, how much Magenta, how much Yellow and how much Black would need to be combined to match the original colour at that point. This information is used to make 4 separate separations, which were traditionally output as 4 black prints on clear film, known as “film separations”. A printing plate is made from each separation, and each is printed in its process colour. Registration marks are used throughout this process to ensure that the colours line up exactly where they should. The combined over-printing of each of the four produces a “full-colour” reproduction of the original through the CMYK printing system.

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i-dtp master course concept to design

What is a concept? One description of concepts is that they are “Ideas that brings diverse elements into a basic relationship.” The concept of a shopfront or a website or an ad or a useful book starts with the pure idea, or instinct, to create it, produce it, see it get made. This original idea can be yours or it can be someone else’s. It could even be “the client’s idea”, and your job is to turn the concept into a finished design. Whose original idea it was makes no difference to the work and attention to detail which is required to produce any good design, in any medium. One of the greatest single ideas of the 20th century, the World Wide Web, was dreamed up by Sir Tim Berners-Lee to solve one communication problem, but has turned out to be a dramatic and liberating solution when applied to millions of other communication problems. But it has taken much subsequent design to make certain websites as robust and easy to use as they are now. The concept behind any design is the most important aspect of it, but good design is the art of allowing the original concept to be as clear as possible in the final design.

section 1.2

What is a design? A design is the overall presentation of an impression or an object to our senses. The visual features that form a design can include the shape, configuration, pattern and ornamentation which, when applied to the object, give it a unique appearance. Add in such tactile aspects such as feeling an embossed paper, or any mixture of environmental influences, and it is clear that we absorb various sensory aspects of designs through several different senses. The subject matter of this course being DTP, we will concentrate in this section on starting with a concept and arriving at a design using the tools of DTP.

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i-dtp master course concept to design

Going from a concept to a design in DTP From the production side:

From the concept side: Creative strategy Proposed visual images Proposed text, budget, etc.

The finished design

Media format required Media limitations Size, timescale, budget, etc.

This process begins with activity from both sides. The strategy will have proposed (or suggested) visual imagery that must be sourced, assembled and imported; text which will have to be written; and a logical reading sequence which needs to be established for the flow of words and pictures. This in turn influences factors such as choosing font sizes, deciding what parts of the item you wish to be read first. The medium or media for the design affects everything, from different points of view. The medium may dictate the font sizes of any text, the length of attention span it is likely to enjoy, the printing technology (whether you have full-colour or no colour), the size and context of the item, what your design will be competing with and where this contest will occur. The priority in going from a concept to a design should be to maintain and echo the underlying concept while adjusting the design to best suit all the aspects and factors dictated by the medium youâ&#x20AC;&#x2122;re designing for. Any items prepared using DTP tend to have pre-set requirements. Pre-press is the entire process of preparing a publication for printing on a commercial printing press, including all the aspects involved in preparing, assembling and reproducing a publication. Posters and outdoor ads will usually follow print rules, but some of the file formats and print resolutions will be different. Television and video also come with their pre-set requirements: the correct size and shape, resolution and file format. For example, colours seen on-screen are always RGB colours, while the same pictures printed in full colour tend to be CMYK. All hand-held mobile devices, phones and other gadgets, have their own additional factors: a smaller screen size, a different resolution, whatever....

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i-dtp master course concept to design

section 1.2

All print, broadcast and digital media have their own rulebooks which dictate how the artwork for that medium needs to be supplied, and how it will appear. These are the aspects and factors dictated by the medium. The job of a designer is to decide how best to use the particular medium to get across the original concept.

Identify the primary concept Some designs may seem to be just that: a design, not a concept. But if we look at the details which arise in putting any idea into 3 or 4 different media, the part of it that is “the concept” must be identified and retained in each medium. Now let’s look at four different media, and the adaptions necessary in each become obvious. To appear on a websiTe, it can be full-colour (in RGB mode at 72 lines per inch) and even animations or a gleam of light are possible. It must suit appearing and disappearing quickly. To appear in prinT on a brochure, full-colour remains, but in CMYK mode at 300 dots per inch. It will be read by the reader holding it. To be phoTocopied on greyscale pages, the other colours must be replaced with black, but there can still be shades of grey. To be eTched on a brass name plate, it can only be black line, any tones in the illustration will need to be eliminated, and it needs to be simple and legible at 6-10 feet.

So the design work required is clear: to create four different items, in four very different formats, while ensuring that each item is consistent with the others and faithful to the original concept. The 4 items are: • a series of web pages, created in one program • the pages of a brochure, created in another program • a set of master copies of info sheets for photocopying • the artwork to get a brass plate made from, in whatever file format the makers of these plates want it. In one example, the design concept behind the brand www.vazumo. com, a site with the description “search and gather”, is to use an animal renowned for its “search and gather” qualities: the squirrel. To illustrate this as a cheerful drawing. To use it as consistently as possible in all media, with the same typefaces and “tone of voice”. That’s all a concept might consist of: an idea, a logo, a font or two, an intention. 21

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section 1.2

i-dtp master course concept to design

Example 1: A squirrel for Vazumo The creative decision has been made to draw a new piece of artwork. Before drawing a new original squirrel, it is useful to look at some existing images of squirrels, and consider what the strengths, implications and weaknesses of those images are. The big bushy tail is an obvious attraction, but not curled up lazily over the animal’s head: instead, this squirrel’s tail might be flowing behind, at full speed. Also, to reflect the lively “search and gather” characteristic we want, eating an acorn (or anything else) is not a good idea: our squirrel should seem to be clever, knowing where to find anything, not just acorns. And the hands should be free. So, the creative requirements for the new artwork are: one bright-eyed bushy-tailed attractive squirrel The tail to be lively, not drooped Moving or standing, not sitting or climbing, not eating hands free and smiling

At this stage the designer can start sketching, producing rough visuals to use in proposing designs, and discussions about the production. Then, when one of these is approved, the designer creates or commissions final pieces of artwork. These pieces of artwork will be based on the approved sketch, but specifically designed to suit the 4 formats outlined earlier. To appear in print (full-colour CMYK mode at 300 dots per inch) For websites (full-colour RGB mode at 72 lines per inch) To be photocopied in greyscale (black tone) To appear etched on a brass plate (black line).

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i-dtp master course concept to design

section 1.2

The evolution of an idea Establish the shape, posture and movement. Play with ideas and possible expressions on the face, the size of visible teeth, the stance. Finally choose one sketch, and commission a finished piece of artwork from an a professional illustrator, with a schedule and budget. Taking any concepts to finished artwork is the purpose of DTP.

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section 1.2

i-dtp master course concept to design

The application of an idea Turning the approved squirrel into a series of printed stationery items is a straight-forward procedure, in which you carefully check the text, the colours required, the finish and the expectations. More time was spent deciding on which drawing was the final version of a squirrel.

The envelope, compliments slip, business card, letterhead, and signage.

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i-dtp master course concept to design

section 1.2

Choosing the lettering The first creative decision about the typeface is that it should be classic sans-serif, modern and crisp. Another idea is to deliberately use blue or green lettering, for maximum contrast to the red squirrel. As the lettering is first put together, an idea suggests itself; to make a “Go” button graphic out of the O of YAZUMO.

For the button idea to work, the O is going to have to be more circular, so the typeface choice is revised until a Futura-related font is found, which has good round capital O’s. A soft reflection on a shiny white surface is added, to give it a clean, modern computer-age appearance

Finally the three elements of the brand are brought together: the graphic, the logotype and the tagline. A drop shadow and soft reflection on white is added to the squirrel to echo the treatment of the typeface, and the ‘TM’ of a registered trademark is added.

Now, when all design decisions have been taken, is the right time to produce the variations for different media and colours.

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section 1.2

i-dtp master course concept to design

Variations of artwork for the various modes Full-colour cMYK mode Usually at 300 dots per inch Suitable for full colour reproduction in any standard print format: brochures, leaflets, magazines, posters, exhibition display, banners, illuminated signs, inkjet or office colour printers

Full-colour rGb mode Usually at 72 lines per inch Suitable for reproduction on any screen: television, large-screen display, cinema or computer screen, mobile phone display, electronic kiosk display, etc.

‘Greyscale’ mode Suitable for reproduction in any “combined line and tone” format, such as newspapers, grey pages in magazines, limited-colour brochures, etc., as well as on standard photocopiers or black & white office printers.

Line, or one-colour mode Suitable for use as artwork for fax sheets, carved stone or wood, etched glass or metal, embossed materials, dyed fabric, cut vinyl or plastics, flat colour screen-printed textiles or banners, stencils for spray-painting, silver or gold-foil blocking, spot varnish, etc. and in any medium where the print quality is likely to be limited.

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i-dtp master course measures

section 1.3

Lines Line rules are defined by their weight, expressed either in points or millimetres. The thickest or ‘heaviest’ lines have no maximum weight, but the lightest, known as ‘hairlines’, should not be less than 0.5pt or 0.25mm, if they are to be successfully printed. When testing or considering a new printer, line weight tests are important. Here is a typical range of line rule weights: 0.25pt 0.5mm 0.75mm 1mm 2mm 3mm 4mm 5mm 10mm

Type point sizes Typefaces are used at a fixed scale of sizes, so it is usually easy to alter text, upgrade information, etc.. A typical range of the point (.pt) sizes used in printed text are shown here at actual size: 4pt.,

6pt., 8pt.,

18 24

10pt., 12pt., 14pt., pt., pt., pt., pt., pt., Sizes of 4pt. or less are too small to be practical, and would not survive reproduction in most print media.

60 72 pt.,

pt.

Scales of measurement (actual size) Inches

Inches Points

100pt.

200pt.

300pt.

Points cms 1

Centimetres

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section 1.3

i-dtp master course measures

Individual letter forms The distinctive qualities of one typeface over another similar one are usually found in the details; one font can have a larger x-height, or use fancier tails and descenders than the other. When choosing between typefaces, the diagram below outlines the main reference details and lines which can be distinctive in one instead of the other. In this example, two similar-but-different fonts use quite different capital Q letter forms.

The mathematics of √2 and paper sizes ISO paper sizes are all based on a single aspect ratio of the square root of two (√2), or approximately 1:1.4142. The advantages of basing a paper size upon this ratio are mathematical. If a sheet with aspect ratio √2 is divided into two equal halves parallel to its shortest side, then the halves will also have a ratio of √2. In the 1920’s, Dr. Walter Porstmann turned this idea into a proper system of different paper sizes. Porstmann’s system was first introduced in Germany in 1922, replacing a wide variety of other formats.

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i-dtp master course measures

section 1.3

The international paper size standard, ISO 216, is a metric system. The base format is a sheet of paper measuring 1 m² in area (A0 paper size). Successive paper sizes in the series (A1, A2, A3, and so forth) are defined by halving the preceding paper size parallel to its shorter side. The most commonly used is A4 (210 × 297 mm). One extra advantage is that a standard A4 sheet (80g/m²) weighs exactly 5 grams, so we can calculate the weight (and thus the postage) by counting the number of sheets used. The proportion, or aspect ratio, is the same for all the ‘A’ sizes. This system was chosen to allow folding of one standard size into another. It also allows scaling. Pushing one button on a photocopier will enlarge A4 to A3 or reduce A3 to A4. Brochures are frequently printed on A3 and folded to make A4 pages. Similarly, material printed on A4 is folded to make A5 brochures. By 1977 A4 was the standard letter format in 88 of 148 countries, but not in North America. One confusion to watch out for is the phrase “American A4”, when the correct phrase would be U.S. “Letter” size. North American paper sizes

in × in

mm × mm

Letter

8.5 × 11

216 × 279

Legal

8.5 × 14

216 × 356

Ledger

17 × 11

432 × 279

Tabloid

11 × 17

279 × 432 29

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section 1.3

i-dtp master course measures

The ‘A’ sizes A series Size mm × mm

(inches)

B series mm × mm

C series mm × mm

841 × 1189 (33.1 × 46.8)

1000 × 1414

917 × 1297

594 × 841

(23.4 × 33.1)

707 × 1000

648 × 917

420 × 594

(16.5 × 23.4)

500 × 707

458 × 648

297 × 420

(11.7 × 16.5)

353 × 500

324 × 458

210 × 297

(8.3 × 11.7)

250 × 353

229 × 324

148 × 210

(5.8 × 8.3)

176 × 250

162 × 229

105 × 148

(4.1 × 5.8)

125 × 176

114 × 162

74 × 105

(2.9 × 4.1)

88 × 125

81 × 114

52 × 74

(2.0 × 2.9)

62 × 88

57 × 81

37 × 52

(1.5 × 2.0)

44 × 62

40 × 572

A10 26 × 37

(1.0 × 1.5)

31 × 44

28 × 40

The ‘B’ sizes The area of B series sheets is the geometric mean of successive A series sheets. So, B1 is between A0 and A1 in size, with an area of 0.71 m². As a result, B0 has one side 1-metre long, and other sizes in the B series have one side that is a half, quarter or eighth of a metre. While less common in office use, it is used for a variety of special situations. Many posters use B-series paper, or near to it, such as 50cm × 70cm; B5 is a relatively common choice for books. The B series is also used for envelopes and passports.

The ‘C’ sizes Envelope - the coffin of a document; the scabbard of a bill; the husk of a remittance; the bed-gown of a love-letter. Ambrose Bierce The Demon’s Dictionary

The C series is used only for envelopes and is defined in ISO 269. The area of C series sheets is the geometric mean of the areas of the A and B series sheets of the same number; for instance, the area of a C4 sheet is the geometric mean of the areas of an A4 sheet and a B4 sheet. This means that C4 is slightly larger than A4, and B4 slightly larger than C4. The practical usage of this is that a letter written on A4 paper fits inside a C4 envelope, and a C4 envelope fits inside a B4 envelope.

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i-dtp master course physical formats

section 1.4

Production requirements Any items prepared using DTP tend to have pre-set requirements imposed by the print process or production method involved. These characteristics will dictate both the electronic file formats required, the colour formats and the resolution limits, as well as aspects such as printing plates or other pre-print materials, finishing processes (such as varnishing or cutting), the production timetable and, of course, the budget. The chart below gives a brief overview of commonly produced items, how they are printed or produced, their colour formats and resolutions.

Item

Colour format and resolution:

Print/production method:

Brochures, leaflets, press & magazine ads, business cards, letterheads, envelopes

CMYK at 300 dots per inch

Litho, inkjet or letterpress

TV, video, websites and all computer displays

RGB at 72 lines per inch

Digital images

Mobile phones, etc.

RGB at 72 lines per inch

Digital images

Outdoor posters

CMYK at 100-300 dots per inch

Process silkscreen

Photocopiers

Greyscale or colour, no screen resolution

Toner printing

T-shirts, fabrics, banners, vehicles, balloons, wallets, folders, plastics, etc.

Single flat colours or 4 process colours

Silkscreen

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section 1.4

i-dtp master course physical formats

Cardboard boxes The production format for cardboard boxes varies according to the weight and fragility of the contents anticipated. In some cases, this affects the proportions, the print area, the flap design and the closure setup. However, in the majority of cases, modern cardboard boxes follow the format shown here. The 4 sides, 4 top panels and 4 bottom panels are formed from one flat piece of cardboard, printed on one side, and slitted and folded as shown. The red areas indicate panels which will be on display when the box is assembled and closed. Apart from branding and imagery, these panels must also carry bar codes, warning symbols, recycling codes, identifying marks, handling instructions such as “Keep Upright” or “Handle with Care”, and any other information required, such as “Best Before” dates. Cardboard boxes can vary enormously in quality, from a crudely screen printed one-colour job to lavish full-colour productions. If the cardboard stock is unsuitable, or not white enough, to be the background for quality full-colour printing, a coated white paper is printed and then glued over the base cardboard.

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i-dtp master course physical formats

section 1.4

Envelopes Printed envelopes also vary according to the size, weight and fragility of the contents anticipated. This means that the flap design and closure setup also vary. They are usually formed from one piece of paper, cut and scored according to the manufacturer’s specifications. The example shown here allows for display printing in the areas marked in red, with fixed rectangles to be left blank for postage stamps and address panels. The two side flaps are glued before assembly. Envelopes use a wide range of stock papers, from recycled brown to the finest of bond papers. Some of the many variations include padded envelopes incorporating ‘bubble wrap’ and envelopes with clear see-through panels. Automation in the postal services has led to very specific requirements for display areas, enabling machines to ‘read’ the critical information. In the example here, specific areas allocated for postage, address, return address, bar-codes, non-print and graphics are clearly marked, and form a template for preparing the artwork legally and accurately.

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section 1.4

i-dtp master course physical formats

Cartons Laminated cartons such as these have become standard packaging for juices and other liquids. Again, the particular closures vary, and a template for crop marks, cuts and scoring is usually supplied by the carton manufacturer. Any areas which will be glued must usually remain free of print. The main display areas are shown here in red. Most of the other areas are printable, and can carry legal information, symbols, manufacturerâ&#x20AC;&#x2122;s codes, etc.. Modern cartons are printed in full-colour, by the silkscreen or flexographic processes, on polyethylene plastic coated paperboard. However, registration of colours is rarely perfect, and the dot size is relatively large, so care should be taken before deciding to use gradations or subtle effects.

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i-dtp master course physical formats

section 1.4

Shaped containers The geometry and measurements of rectangular boxes, as previously considered, are relatively straightforward. Many container designs, such as those shown on this page, call for unusual shapes and silhouettes. Producing these shapes requires a new (or follows an existing) diecut. A die-cut is produced by a shaped cutting blade, or cutting form, mounted on a block. The registration of the die-cut with the printing is carefully co-ordinated. The clever geometry of the original Tetra pack, a tetrahedron invented by Dr. Ruben Rausing and Erik Wallenberg in 1951, caused a revolution in liquids packaging, and by 1958 Tetra Pak of Sweden was producing one billion packages a year. Its distinctive shape uses a minimum of material, can be printed on every surface, and its contents need no preservatives, yet stay fresh for up to twelve months without refrigeration. As shown here, the artwork required is four perfect equilateral triangles, with flaps on each open edge. Some packaging does consist of more than one sheet, as in this complex two-part box design. While the unusual qualities of such packaging may appeal to graphic designers because they â&#x20AC;&#x153;stand out from the crowdâ&#x20AC;?, caution is advisable. For example, each pack will take longer and cost a lot more to produce and assemble, because of the cut-out forms, than more standard packaging.

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i-dtp master course physical formats

section 1.4

Shaped container example

This die-cut form, shaped as shown from one sheet of card and printed on one side, is folded and glued to become the outer packaging for four yogurt pots. Notice the inner reinforcing panel (6) which is also formed from the same single sheet. 3

C A

The cardboard disks (A, B, D and D) serve to press the pots against the underside of the upper lid (3) and hold them tight within the package. There are also two glue strip bands, which, by attaching to two different points in the package, further strengthen the construction. A final design detail is on the base of the package which, when assembled, consists of panels 1 and 5 lined up and combined as one surface. The designer must ensure that the background colours match up, and that this join is catered for in the design.

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i-dtp master course physical formats

section 1.4

TV and Computer display areas Early televisions varied in their displayable area because of manufacturing tolerance problems as well as a process called blooming, where the image size increased slightly when a brighter overall picture was displayed. Because of this, TV producers could not be certain where the visible edges of the image would be. In order to cope with this, they defined three areas: 1 - TiTle sAfe AreA: An area visible by all reasonably maintained sets, where text is certain not to be cut off. The area which is far enough in from the edges to neatly show text without distortion. If you place text beyond the safe area it may not display on some older TV sets. 2 - ACTion sAfe AreA: A larger area that represents where a “perfect” set would cut the image off. The area in which you can expect the customer to see action. However, the transmitted image may extend to the edges of the MPEG frame. This presents a requirement unique to television, where an image with reasonable quality is expected to exist where some customers won’t see it. This is the same concept as used in widescreen cropping. 3 - oversCAn AreA: The full image area to the electronic edge of the signal. While nothing important to a scene can be placed there, it also has to be kept free of microphones, stage hands, and other distractions. When activated, this mode is called underscan.

The well-known TV Test card includes edge markers for a 14:9 picture area and a 4:3 picture area. It also shows the grid for Text Safe area, vertical and horizontal pixel counters, additional pixel counters, vertical and horizontal centre lines, and a logo grid for sizing independent logos.

Modern Tv sets, based on newer technologies like liquid crystal display (LCD) and cathode rays (CRT) with crystal-based timing, have much less image drift than older sets, and so can have perfect image placement. Nevertheless, when used for TV, these sets must overscan the image so that older programming will be framed as intended to be viewed. Computer displays are set to underscan with an adjustable black border. On LCDs driven from a digital signal, no adjustment is necessary because all pixels are in fixed positions. Thus all modern computers can safely assume that every last pixel is visible to the viewer.

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section 1.4

i-dtp master course physical formats

CD Packaging Before submitting artwork, you usually have to check that all fonts are converted to outlines, that there is adequate bleed (1/8”) and safety margin (1/8” to 1/4”) for all text from cutting and scoring lines, that all placed images (photos) are in CMYK format, that all rastered artwork is at 300dpi, and that you include a JPG, PDF or print of what the file is supposed to look like for comparison. Thermal Printing Template

CD/DVD with 46 mm donut

CD / DVD Silk Screen Template

Disc with 46 mm donut Disc with 27 mm donut Disc with 22 mm donut

Traditional Jewel Case Inserts One side of a 4-panel Gatefold (eight page)

Single Panel (cover / inside) 2-panel (four page) 3-panel (six page) 4-panel Gatefold (eight page) 4-panel Wrap (eight page) Traycard with Spines

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i-dtp master course file formats

section 1.5

Formats and file extensions There are 6,800 known languages spoken in the 200 countries of the world. 2,261 have writing systems, the others are only spoken. It is estimated that over half the worldâ&#x20AC;&#x2122;s population use one of the 20 commonest languages, while 3,000 of the rarest languages are spoken by less than 1 per cent. For example, one of the rarest languages in the world is Cornish, with only 10 known fluent speakers still living in Cornwall. Its decrease over the last two centuries is illustrated in this map, showing the progressive decrease of the language down to the tip of south-west England.

1300 1400 1500 1600

1750

1650 1700

Every computer program is like a language spoken in some parts of the world, but not others. Some programs are very common, as widespread as the language of English. Others The progressive decrease of Cornish to Landâ&#x20AC;&#x2122;s End (below). are quite specialised, equivalent to one of the rarer languages such as Cornish. The first useful thing you need to know about any computer file is what program is required to read it, or change it, or make a similar one. This information can be found in the 2 or 3 letters, known as the file extension, which come after the dot at the end of a file name. It is a good habit to keep these file extensions at the end of file names, so that, at a glance, you or anyone else knows the file format. From that information, you can deduce what programs can read or edit that particular file format. Listed on the following two pages are some file extensions you may come across, and a note of the particular program normally required to read or write in that format. Where they refer to programs covered in this book, the number for that section is given.

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section 1.5

i-dtp master course file formats

Extension

Explanation

Section

.ai

Adobe Illustrator document

.asc

ASCII text file

.bat

Batch file

.bi

Binary file

.bmp

Bitmap file

.cdr

CorelDraw document

.cpp

C++ program file

.css

Cascading Style Sheets

.dd (or .ddi)

Disk Doubler file

.doc

Microsoft Word document

.eps

Encapsulated PostScript format

.exe

Executable file - machine code

.fh3

Aldus Freehand 3

.fm

Framemaker

.gif

Graphics Interchange Format

.html

Documents which can be read by WWW browsers

.indd

An Adobe InDesign document

.indb

An Adobe InDesign book

.java (or .js)

Java or JavaScript files

.jpg

Format for storing images with high compression

.lwp

Lotus Word Pro document

.mdb

Access database

.mov

A QuickTime Movie

4 & 5

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i-dtp master course file formats

Extension

Explanation

.msp

Microsoft Paint

.pbm

Portable Bit Map

.pdf

Portable Document Format

.pict

Stored images in QuickDraw vector format.

.pkg

File compression format, decodable by StuffIt Expander

..png

Portable Network Graphics, an Adobe Fireworks format

.ppd

PostScript Printer Description

.ppt

PowerPoint presentation

.prt

Formatted text

.psd

An Adobe Photoshop document

.ps

PostScript format. This is a plain text file.

.qxd

A Quark Xpress document

.raw

Raw file format

.sea

Self-Extracting Archive (Stuffit or Compact Pro)

.sit (or .sitx)

Stuffit compressed files

.tif (or .tiff)

Tagged Image File format - bitmap graphic files

.tmp

Temporary file

.txt

An ASCII text file

.win

Windows backup file

.wks

A Lotus Worksheet, or a Microsoft Works document

.wmf

Windows Metafile

.xls

An Excel worksheet

.zip

A file compressed using PKZIP

section 1.5

Section

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i-dtp master course file formats

.tiff

section 1.5

Using the various file formats TIFF

This is usually the best quality output from a digital camera. Digital cameras often offer around three JPG quality settings plus TIFF. Since JPG always means at least some loss of quality, TIFF means better quality. However, the file size is huge compared to even the best JPG setting, and the advantages may not be noticeable.

A more important use of TIFF is as a working storage format while you edit and manipulate your images. You should not go through several load/edit/save cycles with JPG storage, as the degradation accumulates with each new save. One or two JPG saves at high quality may not be noticeable, but the tenth certainly will be. TIFF is lossless, so there is no degradation associated with saving a TIFF file. Do NOT use TIFFs as web images. They produce big files, and even worse, most web browsers will not display TIFFs. JPG This is the format of choice for nearly all photographs on the web. You can achieve excellent quality even at rather high compression settings. When you edit a photo, use your softwareâ&#x20AC;&#x2122;s proprietary format until finished, and then save the result as a JPG. Digital cameras save in a JPG format by default. Switching to TIFF or RAW may theoretically improve quality, but the difference is difficult to see. Shooting in TIFF has two disadvantages compared to JPG: fewer photos per memory card (because there is no file compression), and a longer wait between photographs as the image transfers to the card.

g .jp You should never use JPGs for line art. On images where there are areas of uniform colour with sharp edges, JPG does a poor job. GIF and PNG formats are better suited for these tasks.

GIF

If your image has fewer than 256 colours and contains large areas of uniform colour, GIF is your choice. The files would be small yet perfect for the purpose. But, for the same reason, you should NOT use GIF for photographic images, for which the colour range is more demanding.

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.gif s p .e i-dtp master course file formats

PNG

section 1.5

If you have an image with large areas of exactly uniform colour, but contains more than 256 colours, PNG is an ideal choice. Its strategy is similar to that of GIF, but it supports 16 million colours, not just 256. And, if you want to display a photograph exactly without loss on the web, PNG is also a good choice. It is the only lossless format that most web browsers support. PNG is superior to GIF. It produces smaller files and allows more colours. It also supports partial transparency, which can be used for many useful purposes, such as fades and antialiasing of text. Unfortunately, MS Internet Explorer does not properly support PNG transparency, so for now web authors should avoid using transparency in PNG images. .PSD

.AI

.INDD

.QXD

When using graphics software such as Adobe Photoshop, your working file will be in the proprietary format of the software: in that case, a .psd file. In the same way, working in Adobe Illustrator, the proprietary form is an .ai file. Working in Adobe InDesign, it is an .indd file, and in Quark Xpress, a .qxd file. But the final version might be required in PDF or some other ‘export’ format. In the same way, on your digital camera,you could save pictures in the Camera RAW format, but that’s only for in-camera storage. When you’re finished, you should save the final results as TIFFs or JPGs. You do not want your image archives to be in a proprietary format if you are concerned with long term storage. Will you be able to read a RAW file in five years? In twenty? JPG is the format most likely to be readable in 50 years. Thus, it is appropriate to use RAW to store images in the camera and perhaps for temporary lossless storage on your PC, but be sure to save as a TIFF, or better still as a JPG, for archival storage.

.qxd EPS

One of the easiest and most reliable formats, the Encapsulated Postscript file (EPS) is useful because both Illustrator and Photoshop can open, save, import and view them. It requires a Postscript Reader utility, and does not compress the file much, apart from the memory saved by flattening the image. It can be saved in layers, but text layers can pose dangers; as a precaution, rasterise the typefaces.

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section 1.5

i-dtp master course file formats

PDF

Using PDFs created in Adobe Acrobat, you can communicate or collaborate effectively and securely with virtually anyone, anywhere. You can unify a wide range of content, collaborate through document reviews, manage dynamic forms, and help protect sensitive information. You can create fixed branded templates which include descriptions to guide readers through the contents of each PDF. Protection: You can use passwords to help control access or impose

permissions to restrict printing, copying, or altering. You can save these passwords and permissions and maintain them as security policies that can be easily applied to all new PDFs.

Manage your electronic forms: You can convert files or scanned documents into PDF forms, with automatic recognition of fillable fields. You can use the Form Tracker to monitor progress and participation, noting when forms have been completed and who has completed them. To review this activity, you can export the data to a spreadsheet for analysis and reporting. Interactive document reviews enable participants to see and build on other reviewersâ&#x20AC;&#x2122; comments, which can then be sorted by author, date, or page. Remove sensitive information, permanently: You can use the redaction tools to black out sensitive text, illustrations, or other

information, permanently deleting the content from the PDF document. You should inspect your PDF documents for any metadata, hidden layers or other concealed information to remove before distributing the files.

Compare versions of your PDFs: This useful function automatically highlights any differences between two versions of a PDF document, including text and images, so you can quickly and easily identify what has changed. Synchronised document views: These enable collaboration on a

PDF file, so that everyone can get on the same page at the same time and share the ability to co-navigate documents.

Create and validate accessible PDF documents: You can ensure

that you provide accessible PDF documents from almost any source optimised for people with disabilities. And you can easily evaluate, correct, and automatically tag your PDFs for optimum accessibility and reflow. 44

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i-dtp master course file formats

section 1.5

Usable file formats: With Acrobat, you can convert any document that prints to a PDF. This includes anything created in Illustrator, Photoshop, Word, Excel, PowerPoint, Outlook, Internet Explorer, Project, Visio, Access, Publisher, Autodesk, AutoCAD, Lotus Notes and many other programs. Scan to PDF with OCR: You can now scan paper documents

directly to PDF and automatically recognise text (using OCR, or optical character recognition) to create compact, searchable PDF documents.

Merge multiple documents into one: You can combine documents,

drawings, and rich media content in a single PDF. You can ensure that your combined file size is no bigger than it has to be, and you can arrange the files in any order, regardless of file type, dimensions, or orientation.You can specify which pages, layouts, or sheets should be included from the various source files in your final, merged PDF file or portfolio.

Optimise and regenerate: You can select from multiple

file size and quality settings to optimise PDF output. You can re-create a PDF portfolio after revising source files, without having to locate and gather all the native files again, you can automatically remove headers and footers and add in unifying headers, footers, or watermarks.

Attaching native files: You can share source files by including

documents in their original, native formats.

Certification and digital signatures: Using digital IDs, you can

certify documents, signifying that they came from a trusted source, and you can also apply digital signatures to authenticate documents and help protect against unauthorised modification.

Shared document review with Review Tracker: This useful tool

allows you to monitor progress and participation, view status and send e-mails to reviewers, invite additional contributions, add and change deadlines, end or delete reviews, or start new ones with the same reviewers.

Viewing and printing comments: All comments and feedback can

be combined into a single PDF document for easy reconciliation. Again, you can sort the comments by author/date/page, or automatically search through them for particular words or phrases.

Form Wizard is a useful utility which converts MS Word or Excel documents (or scanned paper) into to fillable PDF forms.

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Tools, functions and benefits of Acrobat Reader

Page forward and back. Explore the document page by page. Like turning pages in a real book, these buttons move the reader forward and back through the PDF document. The exact order of the document’s pages are followed by using these buttons. Beginning and End of Document. Move instantly to the beginning or end of the document. These buttons take the reader either to the first or last page of the document. Back and Forward by Viewing Order. Move back and forward through pages you have viewed. The buttons remember the order of the pages you viewed. When the reader pushes "back", the previously viewed page is shown. Assume the reader was on page 6 and jumped to page 24. When the reader clicks "back," page 6 is shown (not page 23) because page 6 was the previously viewed page. The Hand. Use the Hand tool to “grab” the document, sliding your view, to pan from side to side or up and down. Zoom In and Zoom Out. Enlarge or Reduce the document’s magnification on screen. Copy Text. Copy any sections of the document’s text, for pasting into an open text box in any other applications.

View Page Option. Explore the pages one by one. This

viewing option presents only one page of the entire collection of documents. In this mode only the exploration buttons may be used to move through the document.

View Bookmarks Option. Move to any section using

a Table of Contents. The Bookmarks Option is a powerful means of exploring the PDF document. This viewing option presents a ‘clickable’ table of contents. The reader can move from chapter to chapter instantly by clicking on the chapter’s name.

View Thumbnails Option. Select ordered pages based on

their thumbnails. This option displays small versions of the document pages. These thumbnails are presented as ordered pages. They may be reviewed before selecting one for viewing.

The Word Search function. Use the Word Search facility to search for a specific word anywhere in the document. Make sure that you spell the word correctly, although it is not necessary to specify whether there are capital letters in the word.

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Digital imaging The process of turning a photograph or illustration into printable artwork involves devices which scan or digitise the images: that is, turn them into a form which a computer can read and produce printing plates from. The most obvious example of this is when you convert the thousands of colours and continuous tones in a full-colour photographic slide (an analog original) into calculated overlapping dots of the four process colours. The size of reproduction and method of printing affects this process by requiring a suitable quality of resolution. There are two different types of digitising devices: charge-couple devices (CCDs) or photo multiplier tubes (PMTs). CCDs are photosensitive silicon chips which measure

the light reflected or transmitted from an image and convert it into digital data. CCD devices include flatbed scanners, handheld scanners, specialised film and slide scanners, digital cameras and still video cameras.

PMTs work in a slightly different way. The original

image is mounted on a rotating drum, and light from each point on it passes through red, green and blue filters into one of three amplifiers, which are the photo multiplier tubes. PMT drum scanners have generally guaranteed a higher quality, but recent improvements in CCD technology have reduced this difference.

The hardware of CCD scanning • Digital cameras are probably the most widely used scanning

device. They use CCD technology and can be linked directly to a computer. • Flatbed scanners are similar to (and as easy to use as) photocopiers. They range in quality and resolution from low-end (which need reflective originals) through to mid- and high-end, both of which can also scan slide transparencies and negatives. • Hand-held scanners are useful for scanning small items or where access is limited. Small and easily portable, but they need to be used with a steady hand to get a good result. • Film scanners are high-resolution professional devices, specifically designed for scanning film originals and allowing them to be used at a greatly enlarged size. 47

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E G A TION M I SOLU RE

The process of scanning The process of scanning includes setting, or being constrained by, the input resolution, the scannerâ&#x20AC;&#x2122;s enlargement resolution, the enlargement multiple (or factor), the colour depth and the dynamic range.

ENLAR G F A C EMENT T O T R U I N P

The input resolution is the amount of information which the scanner is set to sample, measured in dots or pixels per inch (dpi or ppi). Higher resolutions can produce better image quality because they have more pixels per inch, but they are not the only factor affecting quality. The scanner itself can have its limitations. Optical resolution defines the actual amount of data a scanner is capable of sampling. This is limited by the physical width of the device (typically A4 on a standard flatbed desktop scanner) and the number of photoelectric cells on its light-sensing scanning head. To improve the input resolution, some scanners use interpolation, a technique which averages the colour or greyscale information between adjacent pixels and, using this data, adds extra pixels between the scanned pixels. However, the resulting interpolated scan usually appears softer, and is never as good as one from a high-end scanner with a higher optical resolution.

N O I T U L O S E R

T O N D AI G

The enlargement factor is obviously critical. If the original artwork is physically small, such as a slide, then it needs to be scanned at a very high resolution in order to hold its quality when it is used at a much bigger size.

C MI E NA G DY A N R

B DE I PT T H

Colour depth (or bit depth) is the amount of information contained in each pixel of an image. Typically, a 24-bit colour scanner which samples 8 bits per pixel for each of the three RGB colours (3 x 8 = 24) can distinguish a remarkable total of 16,777,216 possible colour values!

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Dynamic range is the light/dark sensitivity of the scanner, expressed as the difference between the lightest tone possible (dmin) and the darkest tone possible (dmax). Paper originals have a smaller dynamic range than slide transparencies or negatives.

Another factor to consider in the process of printing a scanned image is dot gain - the inevitable spreading of ink on paper that can cause images to appear darker when they are printed. One way to offset this is to lighten the image after scanning, or to print on less absorbent paper, such as coated stock.

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L A C I N O T I O PSOLUT RE The details of scanning

INTER AND U P O L A T I O PSAMPL N ING

You should scan an image as close to the size it will be used as possible. If you don’t, you will need to resample the image when you position it on the page for output. Resampling changes the size of an image by changing the number of pixels it contains, and is done in one of two ways.

Downsampling, decreasing the size by decreasing the number of pixels, will reduce the file size and should not normally affect the quality of the printed image. Upsampling, however, increasing the size by increasing the number of pixels, uses interpolation to approximate the colour and tone for all the new “in-between” pixels required, leading to poorer quality and a softer image.

Choosing the right input resolution affects the quality of your scan. If the resolution is too low, the image won’t contain enough detail. If the resolution is too high, the file becomes unnecessarily large, taking longer for your computer to handle. If you know the size at which you plan to use the image, you can calculate the correct input resolution (Enlargement Factor is equal to the Output Dimensions divided by Original Dimensions).

GH S HI E R

C C OL A O U S R T

If your original image is greyscale or continuous tone (such as a black and white photograph) you can also calculate the correct input resolution (Enlargement Factor is the Halftone Screen Frequency multiplied by 2). If your original image is line artwork , you should scan it at as high a resolution as possible, up to the optical resolution of your printer, to avoid breaking up any fine lines with jagged pixels.

18%

A problem that can easily occur in scanning is colour cast, where a particular hue affects the whole image. This can be caused by a colour cast in the original image, or because of the scanner settings, or because of your screen settings.To check if there is a colour cast, compare a piece of 18% grey card (available from art shops) with the screen image. If the pure white and light grey tones in your image appear to have a ‘wash’ of another colour, it probably has a colour cast. If all the images on your computer have the same cast, your monitor probably needs adjusting. If it only affects one image, then you should alter the colour values for that scanned image. If the problem persists with each image you scan, the scanner itself needs to be adjusted.

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Print production Your design is ready, all the text is correct and the pictures are in place, it all looks ready to go on your screen. Now what? Well, now the real production begins. Print production is the series of actions and precautions which are required to ensure that any job looks as good printed as it looks on-screeen. The two fundamental and relevant facts about printing which should be remembered are (a) a printing press only produces solid colours, not shading, and (b) a printing press only prints one colour of ink at a time. But it is likely that the item you want to print will contain images with (a) a broad range of shades, and (b) at least 2 colours, if not dozens of different colours, which we call full-colour or multicolour. How do we resolve these contradictions? The first problem is how to print a range of shades from one colour of ink. Virtually all printing methods can’t reproduce shading, but offset lithography, the commonest method today, seems particularly unsuited to doing so. Its final printing plates are a combination of two types of surface. One type, the image area consisting of everything you want to print, is chemically treated to attract ink and repel water. The other type, for the areas you don’t want to print, is chemically treated to attract water and repel ink. When ink is applied to the plate, it adheres only to the image area. So it is either one or the other; there are no ‘in-betweens’ in the process. So how do you produce the ‘in-between’ shades? The solution is to print tiny dots of the colour, through a process using halftone images, which simulates shades of any one colour by letting the background colour (normally the white of your paper) show through in the gaps between the dots. The more white you allow to show through, the paler the apparent shade of that colour. The smaller the gaps, the darker the shade, until finally, having no gaps at all gives you the darkest possible shade (100%) of that colour. The second problem is how to print ‘multicolour’ images on printing presses which only allow printing of one colour of ink at a time. The solution is to break down each of the multiple colours into its component colours. This process is known as making colour separations.

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Creating Traditional Halftone Images This technology was first developed long before computers became involved, in what is now referred to as the â&#x20AC;&#x2DC;traditional photomechanical methodâ&#x20AC;&#x2122;. Although the technology has changed completely, the principle is still the same. A traditional halftone screen is an opaque sheet of film covered with a regular pattern or mesh of holes that let light through each hole. A camera operator creates a halftone image by placing the halftone screen between the original continuous-tone image and a sheet of highcontrast photographic film. When exposed to light, the shades of tone in the original image are converted (by passing through the screen) into dots of varying size on the high-contrast film. The lighter the original shade at any point, the more light gets through, the bigger the dot. The darker the original shade, the less light gets through, the smaller the dot. This photographic film is developed and becomes the film negative for the job. It is then printed (as with any photographic negative) onto a second sheet of film, which becomes the film positive for the job. The holes in a halftone screen are laid out in rows, or lines. The number of lines per inch determines how many dots a halftone image will be composed of. This value (or screen frequency) of lines per inch (lpi) is still used to compare the relative qualities of one screen to another, because the more dots that are used, the higher the visual quality of the resulting halftone.

Creating Digital Halftone Images The digital version of creating halftones has eliminated the need for physical screens or photographic processes. However, it also means that the responsibility for preparing halftones has moved from specialised camera operators to your computer desktop, so it is more important than ever to understand the process, and be aware of its limitations. Digital output devices, such as imagesetters and laser printers, produce halftones by combining tiny dots called pixels. The dots in the final halftone will still vary in size, but, unlike halftone dots, electronicallyproduced pixels are all the same size. Each pixel is either black or white, on or off.

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Background white of the paper (0 pixels in each cell of 4)

Each halftone dot is formed using a number of pixels. Each group of pixels that forms a halftone dot is called a halftone cell. Unlike traditional halftones, the number of shades that a digital halftone can produce is limited by the number of pixels in each halftone cell. If a halftone cell is composed of 4 pixels, then there are only 4 possible shades for that cell, as illustrated here: pale grey (1 pixel), mid grey (2 pixels), dark grey (3 pixels) or black (all 4 pixels), plus, of course, the background white of the paper (no pixels).

Pale grey (1 pixel in each cell of 4)

Mid grey (2 pixels in each cell of 4)

Dark grey (3 pixels in each cell of 4)

Black (4 pixels in each cell of 4)

There are two possible ways to get past this limitation - either to use a lower screen frequency or to use a higher resolution output device. If you use a lower screen frequency, the image is immediately less detailed, of poorer quality. So it is better to use a high-resolution output device, such as an imagesetter, which can give you, for example, a resolution of 2400 dots per inch in a 150lpi halftone. By increasing the number of pixels in each halftone cell, you are increasing the number of possible shades, and thus the subtlety and quality in the image. As you increase the screen frequency, the dots get smaller and closer together. Smaller halftone dots produce sharper images with more detail. But there is an upper limit to the screen frequency you can use, because of the factor known as dot gain. Because ink spreads on paper, there will be dot gain around each dot. You can offset this by printing on less absorbent paper, such as coated stock, or by using more precise presses. But eventually the space between the dots will close up, resulting in a muddy image with no detail. The bitmap resolution should reflect the halftone screen frequency of whatever item you are going to print. If the bitmap resolution is too low, details will be lost when the halftone screen is made. If the bitmap resolution is too high, the file size will get much bigger but no extra detail will appear. A standard measure for calculating the correct bitmap resolution (in pixels per inch) is to double the screen frequency (in lines per inch). Following this rule, a screen frequency of 100lpi requires bitmaps with a resolution of 200ppi.

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Creating Colour Separations As discussed in Chapter 1 on Colour, to create colour separations, the colours must be broken down into their component colours. Using the standard CMYK system, this means mixing percentages of cyan, magenta, yellow and black inks to produce the spectrum of full colour in the original picture, and to do this, you need to make four colour separations. To avoid interference patterns when the halftone screens interact, all four colour separations are set at precise screen angles. When all 4 colours overlap, they will form a subtle ‘rosette’ pattern, but this should not detract from the image quality.

The limitation of CMYK have led some developers to add extra colour separations. One such system is Hexachrome©, which uses six plates (adding orange and green to the CMYK four) to broaden the range of available colours. This, of course, then requires 6-colour printing, adding expense at each stage of production, so the format is not widely used.

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Using Spot Colours A spot colour is prepared and used directly as an ink, rather than as a combination of other inks. They can be an economical way of adding some colour to a publication, and, because they are not necessarily half-tones, they are better for adding detail or small coloured text. You can print a fine-line illustration or diagram in a green spot colour, for example, with having to overprint tints of cyan and yellow to do so. They are also commonly used for corporate graphics such as trademarks. You need to prepare a different separation for each spot colour. These can combine line and tone elements, just as any other separation. Because the printers will use a specific ink, the choice of a spot colour should be based on swatch book references (such as Pantone) for that specific ink, rather than how they appear (through the RGB system) on your screen. It may arise that you need to convert a spot colour to a process colour combination; when, for example, a trademark normally printed as a spot colour needs to appear in a CMYK publication, and the budget does not allow for 5 colours. You should be aware, however, that the process equivalent of a colour will often be noticeably different to the spot colour original. A perfect match may not be possible, simply due to the limitations of the process colour spectrum.

Duotones, Tritones, Quadtones A duotone is a greyscale image which is printed using percentages of two inks, usually black and a spot colour. This combination can give you a much wider range of shades, tints and artistic effects to use. When the budget wonâ&#x20AC;&#x2122;t allow for CMYK printing, duotones can be an ideal way of adding interest and colour to your project. You can vary the appearance of the duotone by varying the percentages of each ink. If black is the predominant colour, the duotone effect will be quite subtle, while, if the spot colour is predominant, the duotone effect will be brighter and more vivid. Tritones and quadtones are the 3-colour and 4-colour equivalents of duotones. The extra colours can be spot colours, or you can use the four process colours. If you do so, it provides an excellent way to add interest to a black-and-white original picture within a CMYK publication.

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Colour Trapping Colour separations need to be perfectly aligned on the printed page, or tiny slivers of the background white page will appear between adjacent colours. This effect, called misregistration, is almost unavoidable due to the paperâ&#x20AC;&#x2122;s movement within a modern high speed printing press. To compensate for this, a technique called colour trapping is applied, in which the separation for one of the colours is adjusted to overlap the edges of the other colours, thus eliminating the white slivers. There are various different methods for this trapping, depending on the colours involved. Knockout: Normally, the colour areas that are obscured by

another colour area are automatically removed or â&#x20AC;&#x2DC;knocked outâ&#x20AC;&#x2122; when the separations are made. Colour trapping in these cases means allowing the underlying area to print anyway, so that the second colour overprints. This works reasonably well when the overprint colour is black, because black is not visibly changed by colours under it: this is particularly useful for black text. However, where there is a combination of one colour overprinting another, these overprinted areas would change colour, because the inks are semi-transparent. The example below shows this effect, where a red overprinting a blue results in a muddy dark mixture. In these cases, straightforward overprinting would not work, and a subtler technique is called for.

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There are two possible solutions to this problem: Spread and Choke. They both work on the same principle, but are applied in different ways on different layers in the printing.

Spread is a thin line which is added to the edge of objects or letters. The spread lines are intended to overprint, while the rest of the object or letter is knocked out as usual. The colour of the spread itself can be different to the colour of the object or letter. You can choose to use the its colour, or the colour of the background, or a mixture of the two colours. The defining characteristic of spread is that you are adding it to the object or letter, allowing it to spread over the background colour and eliminate any visible gaps.

There are some precautions to note. Darker colours define edges more than lighter colours. Adding spread to light coloured objects or letters works well, but adding spread to a dark colour may be quite noticeable. In these cases, it may be better to use Choke. Choke is a thin line which is added inside the area that is knocked out. As with Spread, the choke is overprinted so that the object or letter overlaps the background, and the white lines of misregistration are eliminated. The difference is that the extra lines are added inside the knockout area, rather than outside.

If you donâ&#x20AC;&#x2122;t choose to colour the trapping manually, you can use the automatic colour trapping included with several applications, or you can request that it is added by your service bureau prior to producing film separations.

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Printers’ Marks Film separations come with various marks and symbols, outside the page area, which are printed and visible on un-trimmed final page proofs. It is important to understand what these are for, and what they represent. Crop marks are printed at the corner of

Registration

Calibration bars are colour scales which are printed on each sheet of a colour separation. These pre-set colour mixtures and multi-colour tones ensure that the correct values of each ink are being used in the process. They are extremely useful as a guide to printers, and as a tool to ensure accurate colour reproduction.

The densitometer scale is a series of grey boxes, ranging from light to dark, on each separation. They are necessary for testing the density of halftone images, thus ensuring that, if a tint is meant to be a certain percentage, it actually is that percentage. They will also reveal under-inking of any particular colours.

the printed image, and are guides for the cuts which trim the finished job. Notice that when a picture or colour is intended to bleed over the edge of the finished paper, the crop marks show how much of this ‘extra’ area will be cut away.

marks are printed on each colour separation. They are intended to line up, on both finished proofs and on the printing press, and when they do so, then all the colours should be properly aligned and ‘in register’ with one another.

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Output on Imagesetters Film separations and printing plates are created on high-resolution output devices called imagesetters. These are specialised and expensive pieces of equipment, and the pre-press companies which use them must work from the files created by designers and typesetters in the standard page make-up programs. Any print job may be proofed on your studio’s inkjet or laser printers, but its quality as a printed item will rely to the quality of the film or plates as produced on the imagesetter. The main difference between a laser printer and an imagesetter is the output resolution. A typical laser printer produces output at 600 dots per inch (dpi), while an imagesetter’s resolution can vary from 1200 dpi to over 3600 dpi. In this section we will look at this sequence, some of the problems which can occur (and can be avoided by careful planning), the information which pre-press companies need when they receive files from designers, and some of the various ways of delivering those files.

PostScript and the RIP Imagesetters use instructions written in a page description language called PostScript. Every visual element in a print job (text, shapes, bitmaps, colours, etc.) is converted into lines of PostScript code. This code is interpreted by a PostScript interpreter, which sends the page description to a Raster Image Processor (RIP). The RIP generates an image composed of dots, known as a raster image. The film output from the imagesetter is generated from this raster image. Both laser printers and imagesetters use RIPs, but in different ways. Since the imagesetter’s resolution is so much higher, there are more potential problems which can occur in outputting a file. The main precautions to take are 1)

Keep the file as clean and simple as possible, with no unnecessary elements

Optimise the size of the images, so that they are neither unnecessarily large nor too small

Set the PostScript options correctly

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Levels of PostScript There are three levels of PostScript, and, without getting too technical, there is one limitation to be aware of. Where you wish to have curves, Postscript Level 1 devices can only print a series of short straight lines at varying angles, up to a limit (defined as 1500 segments). Complex objects which try to exceed this limit will cause PostScript errors. If you use a complex fill, such as a texture, in an object, this limit is reduced even more. And a text object with a texture fill is even more reduced, so that Postscript Level 1 may not be able to print it at all. A later edition, PostScript 2, does not have this limitation, and the latest edition, PostScript 3, has an even faster processing speed. Reducing the complexity of vectors

Vector images are composed of lines and paths. Where these are very complex, the RIP may have problems rasterising the image. The problem is worst with Postscript Level 1, although the problem can remain in Level 2. You can reduce the complexity of vector objects by breaking them into smaller objects. You can also change the number of segments that PostScript uses to draw curves by increasing the flatness setting. Keeping your files tidy

Eliminate anything which increases the PostScript file size needlessly. Unnecessary elements, such as items not intended to print, or image files larger than required, will increase the time it takes the RIP, or even cause it to fail completely: the print job will thus take longer and cost more than it should. Hidden objects (objects sent behind other objects and then forgotten) or cropped-out parts (portions you choose not to use of an image) can both add needless. With images, a little cropping is OK, but if you choose to use only a small part of a large image, it is better work practise to resave it as a new original image. Scaling bitmaps

If your bitmaps are scanned at needlessly high resolutions, the final file size will be much higher than necessary. Remember, also, that reducing the size you choose to use an image at on the page (scaling it) does not reduce its file size. To do that, you should use your image editing software to reduce the size of the original.

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Fonts Fonts always consist of two forms: the screen font and the printer font. Your DTP application uses the screen font, but the RIP uses the printer font, and there can be critical differences. If any text in your design uses a font, then that font will be required by the imagesetter, unless the font has been converted to outlines. It is good design practice anyway to reduce the number of fonts in most publications, and removing unnecessary fonts will improve the speed of the RIP. All the fonts used will need to be available to the imagesetter, or a â&#x20AC;&#x2DC;defaultâ&#x20AC;&#x2122; font (such as Courier in the case of PostScript) can suddenly appear. Even fonts of the same name made by different manufacturers can be different. If you use TrueType fonts but your pre-press bureau uses PostScript Type 1, this difference can alter the text flow in your document. Problems of font mis-match can also arise if you use simulated styles, such as bold or italic, and those variations are not available to the imagesetter. In some cases, your desktop application may have altered the appearance of the font, on screen or on proofs, but the PostScript interpreter may ignore these simulated styles and your text will all come out as one font, with no boldened or italicised parts.

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Linked files When you use an image on your page, you can create a link between the image file and the DTP file, rather than embedding it in the DTP file. Doing this makes file transfer easier, because instead of being part of one big file, the linked images are separate smaller files. However, you must ensure all the linked files are enclosed with the DTP document. Linked files are also used in Open Prepress Interface (OPI), a technique which creates a low-resolution preview file of each the images. You use these to position and scale the images on the page. The preview files act as place-holders; when the job is printed on an imagesetter, they are automatically replaced by a high-res version of the same file. One advantage of this is that the DTP document can be proofed quickly on low-resolution printers, and is not slowed down by the high-resolution images until the time comes to run the job to an imagesetter. Transferring a job from your computer to the imagesetter can be laborious if the files are very large. While the floppy disk is not necessarily extinct, its capacity limit means it is rarely used for any serious file transfer. Currently, the portable formats used include CD’s, memory sticks and ZIP disks. The factors to consider here are storage capacity, storage and retrieval speed, compatibility with the pre-press bureau’s system, and any equipment required to store your files. You can also send your files down the phone line using a modem, but your should ensure that this is a dedicated line, used only for data transfer. Archiving your job is a different task. Some larger companies maintain back-up files on large tape drives, others use sets of CD’s or other disks, kept in a secure fireproof store, and others simply keep a folder on their computers called “Previous Jobs”. The best principle in archiving is simply to make sure there is more than one copy, and that these are in physically different places.

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i-dtp master course production

File formats for imagesetters When a job is ready to be sent to an imagesetter, you can choose between two options: either a Postscript file format (for example, .ps or .eps file extensions) or the file format of the application in which you created the document (for example, .qxd or .indd file extensions). If you create a PostScript file for the imagesetter, ensure you use the imagesetterâ&#x20AC;&#x2122;s printer driver as the default driver, and print the document to file. If you send a PostScript file, your pre-press bureau does not need a copy of the original software you used to create the document. They will also not need the exact fonts, provided you set up the PostScript file to include the fonts. The disadvantage, or danger, to this is that all the responsibility for error-free printing lies with you: your pre-press bureau canâ&#x20AC;&#x2122;t do anything with your PostScript file except print it. If you choose to leave the document in the application in which you created it, the imagesetter will need files, fonts and critical information, including: 1) paper size and orientation, 2) number of pages, 3) specific version of the application used, 4) exact colours used (whether process or specific spot colours), 5) the fonts used (including the font technology - TrueType or Postscript, the exact name, manufacturer and version), and 6) a list of all the files required to produce the job. If your imagesetter is willing to accept the file format of the application in which you created it, one advantage is that they can check your prepress settings and correct any errors. However, this can also be a source for concern, because you have relinquished control, and errors can arise if, for example, you neglect to enclose an image or the right version of a typeface. It comes down to trust, and a good working relationship.

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i-dtp master course recycling

section 1.7

Recycling helps conserve

natural resources and energy. It also helps countries without sustainable wood resources build a paper and packaging industry locally and develop their exports to global markets. Once paper is used, it can be recycled and the whole process can start again. Over 70% of the corrugated cardboard manufactured is recovered, recycled and made into new corrugated products throughout the world. Old corrugated containers are an excellent source of fibre for recycling. They can be compressed and baled for cost effective transport to anywhere in need of fibre for papermaking. The baled boxes are put in a hydropulper, a large vat of warm water, for cleaning and processing. The pulp slurry is then used to make new paper and fibre products.

Each new type of recycled paper gets a new name:

(Top, left to right) “Beige” “Embedded Junk” “Generic Towel” (Bottom, left to right) “Unsmooth Cream” “Moon Paper”

Many extraneous materials are easily removed. Twine, strapping, etc. are removed from the hydropulper by a ragger. Metal straps and staples can be screened out or removed by a magnet. Film-backed pressure sensitive tape stays intact: the adhesive and backing are both removed together. Materials which are more difficult to remove include the wax coatings which are used on corrugated boxes and stickies - particles of soft rubbery glue which can clog the paper maker and contaminate the recycled paper.

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section 1.7

i-dtp master course recycling

Recycling Categories Paper recycling is the process of recovering waste paper and remaking it into new paper products. There are three degrees of quality in the original paper that can be used for making recycled paper. Theses are mill broke, pre-consumer waste, and post-consumer waste. Mill broke is paper trimmings and other paper scrap from the manufacture of paper, and is recycled internally in a paper mill. Mill broke is the cleanest source for recycling. Pre-consumer waste is material that was discarded before it was ready for consumer use. Post-consumer waste is material discarded after consumer use, including OM (old magazines), OTD (old telephone directories), and RMP (residential mixed paper). Used paper suitable for recycling is known as scrap paper. The high rates of post-consumer recycling reflect the efficiency of recycling mills to clean and process the incoming materials. Several technologies are available to sort, screen, filter, and chemically treat the recycled paper.

Recycling Processes While there are differences depending on the specific type of paper being recycled, recycling processes include most or all of these steps: 1

Collection: The paper is collected, either by Local Authorities,

Sorting & Grading: The paper is then sorted, graded and

Pulping: Having reached the paper mill it is then â&#x20AC;&#x2DC;slushedâ&#x20AC;&#x2122; into pulp by adding water and applying mechanical action to separate fibres from each other.

Screening: It is filtered using screens, with either slots or holes, to remove contaminants that are larger than pulp fibres, and make it more suitable for papermaking.

Recovered Paper Merchants or directly from manufacturers.

delivered to a paper mill.

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i-dtp master course recycling

Centrifugal cleaning: Spinning the pulp slurry in a centrifugal

Flotation: Passing air bubbles through the pulp slurry, with a

Kneading or dispersion: Mechanical action is applied to fragment contaminant particles.

Washing and Bleaching: Small particles are removed by

Papermaking: The clean (and/or bleached) fibre is made into

Dissolved air flotation: Process water is cleaned for reuse.

Waste disposal: The unusable material left over, mainly ink,

section 1.7

cleaner causes denser materials to move outward and be rejected. surfactant present, causes ink particles to collect with the foam on the surface. By removing contaminated foam, the pulp is made brighter. This step is sometimes called deinking.

passing water through the pulp. If white paper is desired, bleaching, using peroxides or hydrosulfites, removes colour from the pulp.

a â&#x20AC;&#x153;newâ&#x20AC;? paper product in the same way that virgin paper is made. Depending on the quality of paper being produced, quantities of virgin pulp (ideally from from sustainable sources) may be added. Some papers such as newsprint and corrugated materials can be made from 100% recycled paper.

plastics, filler and short fibres, is called sludge. This sludge is either buried in a landfill, burned to create energy at the paper mill or used as a fertilizer. About 35% of municipal solid waste (before recycling) by weight is paper and paper products.

Recycling one tonne of newspaper can reduce pollution, prevent methane and eliminate three cubic metres of landfill.

The Environmental Protection Agency has found that recycling causes 35% less water pollution and 74% less air pollution. Paper and card are organic materials, so that if they are left to slowly decompose in landfills, methane, a greenhouse gas, will be released. Many larger landfills now collect this methane for use as a biogas fuel, in an effort to offset the damage caused if the gas is not contained.

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section 1.7

i-dtp master course recycling

Recycling and Waste Paper The paper industry has recycled used paper and board for over 600 years. After using rags for centuries, wood became the main raw material source for papermaking in the 19th century. In recent decades, used paper has become an increasingly important raw material source and, compared to many other materials, is easy to recycle. Environmentally, nearly half the pulp and paper industry is based on truly renewable resources, with recovered fibres now representing some 46.5% of the industryâ&#x20AC;&#x2122;s raw materials in Europe. Waste paper, or recovered paper, is the most important raw material. It represented 68% of the fibre used throughout this industry in 2004. As a result, the paper industry is the UKâ&#x20AC;&#x2122;s most successful recycler. The French paper industry has also obtained the first place for recycling in France, with 49.1% of paper and cardboard it uses being recovered. There are over 60 recognised grades of waste paper in Europe. It is the grade that determines how the waste paper can be used. In almost any household, waste paper can be recycled, including used newspapers, cardboard, packaging, stationery, direct mail, magazines, catalogues, greeting cards and wrapping paper. It is important that these papers are kept separate from other household waste, as contaminated papers are not acceptable for recycling. Before paper can be recycled and transported to the mill, it needs to be collected, sorted, graded and baled. Recovered paper is generally sorted by recovered paper merchants or waste management companies. Papermakers can purchase their raw material for recycling into new papers from recovered paper merchants which specialise in particular qualities or grades of recycled paper, or which operate in a particular geographical location. They often work closely with the Local Authority for the area.

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i-dtp master course recycling

section 1.7

Recovered paper Most recovered paper comes from industrial and commercial sources because they are the easiest, cleanest and most economical to collect. However, with the growing demand for recycled paper products, additional sources need to be tapped. The 60 grades of waste paper in Europe consist of five main groups: 1

Ordinary grades: Contain substantial amounts of short fibres.

Medium grades: Unsold newspapers without any inserts,

High grades: Predominantly white papers made from virgin

Kraft grades: Generally come from brown unbleached

Special grades: A mixed category of papers which are not

Subcategories: paper and board, newspapers and magazines, corrugated paper and board, and sorted paper for de-inking.

printed white shavings, sorted office paper, coloured letters, white books, coloured magazines, as well as continuous computer print-out paper.

fibres. Subcategories: mixed lightly coloured printer shavings, binders, letters, white business forms, white computer print-out, printed multi-ply board, white shavings and unbleached board.

packaging materials such as paper sacks and corrugated cases. Their long, strong fibres make them suitable for recycling into new packaging.

economic to sort and so are used in the middle layers of packaging papers and boards. Includes mixed recovered paper, mixed packaging, wet-strength papers and labels.

ADDitiOn OF viRGin PulP: Although recycling makes economic and environmental sense, recovered paper cannot be used in all paper grades, nor can it be used indefinitely. Three criteria must be considered: 1

Strength: Every time a fibre is recycled it loses some of its strength and the fibre length decreases. After being re-used about six times the fibres become too short for papermaking;

Quality: Some grades make little or no use of recycled fibre

utility: It is not possible to recover all paper; cigarette paper,

because they need certain qualities provided only by new pulp. However, some recycled papers can have a high whiteness, a good smoothness, excellent run-ability, and be compatible with laser, inkjet and copier printing; for example, is burnt.

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section 1.7

i-dtp master course recycling

An alphabet of acronyms

Websites worth a look: www.cepi.org www.erpa.info www.fefco.org www.paperrecovery.org www.wrap.org.uk

CEPI

The Confederation of European Paper Industries

DEHLG

Dept. of the Environment, Heritage and Local Government (Republic of Ireland)

DOE

ERPA

ERPC

EUGROPA FEAD

FEFCO NAPM

INTERGRAF WRAP

CEPI is a non-profit-making organisation, representing 17 EU Member States (plus Norway and Switzerland) and some 900 pulp, paper and board-producing companies across Europe, from small-sized enterprises to multinationals.

Dept. of the Environment (UK)

The European Recovered Paper Association The European Recovered Paper Council

The European Paper Merchants Association

The European Federation of Waste Management and Environmental Services The European Federation of Corrugated Manufacturers

The National Association of Paper Merchants (UK)

The NAPM Recycled Paper Mark guarantees that paper comprises at least 75% genuine recycled paper and board.

The International Confederation for Printing and Allied Industries The Waste and Resources Action Programme

WRAP aims to boost the demand for recycled products and increase the use of recycled materials by working with manufacturers, retailers, researchers and local authorities. One recent initiative is their North-South Study on the feasibility of establishing a cross-border paper mill, which has been co-sponsored by DEHLG and DOE.

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i-dtp master course design principles

In this section we will consider:

und the

p at

Design Tips

• Design tips • Artwork • Ensuring a document is print-ready • Bleed • Making PDF files • Registration marks • Dealing with printers • Paper types and weights

Indesign In design gradients exercise plus text on a path

o ur tex n y t

Indesign exercise

section 1.8

K TSID BOX N I U H HE E

i a c t ’s e L e a r n i n g c o n t e n t i s u n i q u e

final_roundup_exercise.indd 1

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There are a number of design problems that make it easy to spot the difference between the amateur DTP enthusiast and the professional. This is a list of design tips, do’s and don’t’s that should help your documents look better. Always start with why “If you start with the “why” as in “Why am I doing this? What is it meant to accomplish?” you will already be about 100 times ahead of designers who are just wondering “how should it look?” Not only are you far more likely to come up with something effective as well as attractive, you’re less likely to make one of the most basic design errors: to say something with your design that contradicts the message of your text.” -Daniel Will-Harris, http://www.will-harris.com/index.html After you work out why, then you need to ask: Who will be reading it? Are they (the Target Audience) young, old, retired, active, inactive? Is it a serious issue or a fun issue? Should bright colours or pastel colours, warm colours or deep colours be used? What is the main visual element? Is it typography, a logo, imagery or colour? Where will they be reading it? (Poster? Brochure?) If it is a poster, then what size should it be? Where will it be displayed? Will it need a laminated finish? Should it be gloss or matt? (Strong lights can cause a shine on a gloss finish). If it’s a brochure, then what size should the brochure be? Is it single or double-sided? Will it be distributed through the door? Does it need to fit in an envelope ? Will it be a hand-out, and if so, does the paper need to be heavier and more durable? Will it be displayed in a stand? If so, what size is the stand? Does the logo need to be on the top part of the brochure in case the bottom part will be obstructed by other leaflets?

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section 1.8

i-dtp master course design principles

When? (How much time do you have?) There is always a deadline set for design jobs. You need to be able to work within a deadline. Before you start the design of a project, it is recommended that you speak with your printers first. Tell them what you will be sending them, how many you are getting printed, etc. and ask them how long it will take to print. Some printers take longer, as they may send part of the printing job out for specialised work. You need to know exactly how long you have to design a layout, in order to get it printed and delivered to the client within their deadline. This is crucial. Project Costs How many colours? To lower the cost, you can have one colour on one side and 2 colours or full colour on the other side. How thick is the paper? Lighter paper weights are cheaper to print and cheaper to post. Paper size: Is it a standard size (e.g. A5, A4, A3, A2 etc) design or is it an unusual shape? Generally, an unusual shape will cost more than using standard sizes. Matt or Gloss, or a matt special paper printed with a gloss finish? Laminated? First printed, then laminated. How many sides? One or both sides print. When is the deadline? This can also affect the price. Paper Weights 80 gsm – Indian food over-the-counter leaflets, everyday use print paper, cheap. 100 gsm – good photocopy paper 120 gsm – letter headed quality paper 150 gsm, 160 gsm – business cards 200 gsm, 250 gsm – stiff cardboard (boxes, book covers, etc.) Thicker paper if both sides print, better with one solid colour on one of the sides.

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i-dtp master course design principles

section 1.8

Resolution – at least 300dpi (dots per inch) if the item is going to be printed at 100% size. Make it 600dpi if it is going to be printed at a larger size. Colour mode – make sure it’s CMYK if the item or image is going to be physically printed. RGB is only used for items which will not be printed: that is, only shown on a TV screen. File format – EPS is best for full colour images, TIFF is best for greyscale or black & white images. Designing for Big Posters or Billboards Try to design on A3 and use a higher resolution, because it is going to be scaled up. Typography Some people enjoy fancy fonts. Most don’t. Remember your readers are interested in the message; not how cool the font is. A good rule of thumb is to have no more than three or four fonts per document. Serif fonts (such as, for example, Times New Roman) work better as body text, while sans serif fonts (such as, for example, Arial) work best as headlines. Four Things to Avoid! 1. Long lines of small text or short lines of large text. Either of these combinations are hard to read. Aim for no more than 40 characters per line. 2. ALL CAPITALS type - it slows reading speed. 3. Making the text too big. Be aware of your target audience, because it should affect your choice of type size. Size 14pt to 18pt may be necessary for over 65’s, while for a general audience, 10pt or 11pt is good. Newspapers traditionally use 8 or 9 point. 4. ‘Widows’ and ‘Orphans’. ‘Widows’ are where the sentence beginning a new paragraph or section starts at the bottom of a column or page. ‘Orphans’ are where the last line of a paragraph or section comes at the top of a new column or page.

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section 1.8

i-dtp master course design principles

Layout Every element should align with something else on the page! Use guides, grids, etc. to ensure a good layout. Only break alignment sparingly – use it for emphasis (e.g. photos that stretch over part of two columns). Make sure there is sufficient contrast between page elements (e.g. headlines and body text) to avoid the page looking bland. White space makes pages more attractive. Consider large white margins with occasional ‘pull quotes’. Avoid excessive text wraps. Text wrapping photos, etc. can be a neat effect, but avoid using it too much as it jumbles up columns. Alignment Left aligned text is much easier for the designer, but care should be paid to hyphenation so it’s not too ragged. Justified text can look terrible in narrow columns – make sure you control word spacing and hyphenation to avoid ugly results. Left aligned is considered more informal and friendly. Some people are attracted to the neatness of justified type. There is no right or wrong alignment. Just do what looks best for your document. Colour Text in colour is generally harder to read than black. Keep colour for background elements Too much colour is confusing Margins The amount of white space surrounding printed text affects both its appearance and its legibility. All the above are only guidelines and every single one of them is meant to be broken at some point. The best way to learn good design is to emulate good designs you see in the real world!

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i-dtp master course design principles

section 1.8

Artwork for the printers. It is vital that you get this right. At the end of the day, you can have an amazing design, but if you don’t get the artwork right, then that all goes out the window. When working with DTP, you need to be able not only to design efficiently and effectively but also to be able to work within deadlines and have the artwork correct for the printers. If you can’t get the design printed, it is no good to anyone. The stages of working on a design project: Step 1: Thumbnail sketches of design ideas and layout. Step 2: Organise all your images in Photoshop. Manipulate, edit and change them to have ready for your layout. Step 3: Have all logos, maps, etc. that were designed in Illustrator, ready and saved as Illustrator EPS files to bring into InDesign for layout. Step 4: Do all your layout in InDesign, using the images, graphics, logos, etc. you have prepared. Step 5: Make sure everything is aligned correctly, and that all information is showing, with nothing hidden under an object or image. Step 6: The Finished Artwork a) Check that all images are correct resolution for print (300dpi at 100%) and the correct colour format (CMYK for print). You can do this by using the ‘links’ panel in InDesign (Window - Links). b) Check all the fonts. Go to Type - Find Font to check all the fonts are OK. c) Allow for bleed. We recommend at least 3mm on all bleed edges. Step 7: Preflight the InDesign Document Step 8: Save the artwork for print. There are two ways to do this: a) You can save the InDesign document as a ‘package’ where you will be asked to make a new folder. Name this folder ‘brochure_artwork’. The InDesign document will now be packaged into this ‘brochure_ artwork’ folder, including all the fonts and linked images used. Write this ‘brochure_artwork’ folder onto a CD. Send this CD and a printout of the design (as a “proof ”) to the printers.. b) You can save the InDesign document as a high resolution PDF file, and send this to the printers. To save the InDesign document as a pdf, we need to export it. Go to File - Export (Ctrl E).

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section 1.8

i-dtp master course design principles

DESIGN AND COLOUR The elements and principles of design are the building blocks used to create a work of art. They can be thought of as the things that make up a painting, drawing or design. Whether it is good or bad, it will probably contain most of (if not all of ) the seven elements of design. The principles of design can be thought of as what we do to the elements of design. How we apply the principles of design determines how successful we are in creating a work of art. THE ELEMENTS OF DESIGN 1

LINE

Line can be considered in two ways. The linear marks made with a pen or brush or the edge created when two shapes meet. 2

SHAPE

A shape is a self contained defined area of geometric or organic form. A positive shape in a painting automatically creates a negative shape. 3

DIRECTION

All lines have direction - Horizontal, Vertical or Oblique. Horizontal suggests calmness, stability and tranquillity. Vertical gives a feeling of balance, formality and alertness. Oblique suggests movement and action. 4

SIZE

Size is simply the relationship of the area occupied by one shape to that of another. 5

TEXTURE

Texture is the surface quality of a shape - rough, smooth, soft hard glossy etc. Texture can be physical (tactile) or visual. 6

COLOUR or HUE

VALUE or TONE

Value is the lightness or darkness of a colour.

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i-dtp master course design principles

section 1.8

THE PRINCIPLES OF DESIGN 1

BALANCE

Balance in design is similar to balance in physics. A large shape close to the centre can be balanced by a small shape close to the edge. A large light toned shape will be balanced by a small dark toned shape (the darker the shape, the heavier it appears to be). 2

GRADATION

Gradation of size and direction produce linear perspective. Gradation of colour from warm to cool and tone from dark to light produce aerial perspective. Gradation can add interest and movement to a shape. A gradation from dark to light will cause the eye to move along a shape. 3

REPETITION

Repetition with variation is interesting, but without variation, repetition can become monotonous. 4

CONTRAST

Contrast is the juxtaposition of opposing elements e.g. opposite colours on the colour wheel (red / green, blue / orange, etc.), contrast in tone or value (light / dark) or contrast in direction (horizontal / vertical). The major contrast in a painting should be located at the centre of interest. Too much contrast scattered throughout a painting can destroy unity and make a work difficult to look at. Unless a feeling of chaos and confusion are what you are seeking, it is a good idea to carefully consider where to place your areas of maximum contrast. 5

HARMONY

Harmony in painting is the visually satisfying effect of combining similar, related elements. e.g. adjacent colours on the colour wheel, similar shapes, etc.. 6

DOMINANCE

Dominance gives a painting interest, counteracting confusion and monotony. Dominance can be applied to one or more of the elements to give emphasis

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section 1.8

i-dtp master course design principles

UNITY

Relating the design elements to the idea being expressed in a painting reinforces the principal of unity, e.g. a painting with an active aggressive subject would work better with a dominant oblique direction, course, rough texture, angular lines etc. whereas a quiet passive subject would benefit from horizontal lines, soft texture and less tonal contrast. Unity in a painting also refers to the visual linking of various elements of the work. 8

DIRECTION

The element of direction can have a powerful influence on the mood of a design. It is something often overlooked, but making a conscious decision about the dominant direction in a painting can have a noticeable effect on the atmosphere of the work. Sometimes the subject will dictate the dominant direction. Sometimes the subject will allow you to impose a direction on it. In the paintings below, the subject dictates the direction. The strong horizontal lines of the water, boats and buildings in the first example give a feeling of stillness and calm. In the second example, the diagonal lines of the shoreline and the rocks reinforce the feeling of movement. The third example has a dominant vertical direction which adds a static orderly influence to what might be a random chaotic painting.

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i-dtp master course design tips

section 1.9

Design Tips In this section we will be looking at some design tips and tricks and the steps to take when working on a design project.

• Steps to take to design a project • Design Tips • Paper types and weights

Steps to take when working on a design project

Step 1:

Thumbnail sketches of design ideas and layout

Step 2:

Organise all your images in Photoshop. Manipulate and edit and change them to have them ready for your layout.

Step 3: Have all logos, maps, etc. that were designed in Illustrator, ready and saved as Illustrator eps files to bring into InDesign for layout. Step 4:

Layout in InDesign. Do all your layout in InDesign using the images, logos etc. which you have prepared.

Step 5:

Alignment: Make sure everything is aligned correctly and that all information is showing, with nothing hidden under an object or image.

Step 6:

Artwork:

a) Check that all images are the correct resolution for print (300dpi at 100%) and the correct colour format (cmyk). You can do this by using the ‘Links’ panel in InDesign (Window - Links)

b) Check all the fonts. Go to Type - Find Font to check that all the fonts are ok.

c) Allow for bleed. We recommend at least 3mm bleed.

Step 7:

Preflight the InDesign document.

Step 8:

Save the artwork for the printers. There are two ways to do this. 1) Save the InDesign document as a ‘package’ along with all links and fonts used, and send this to the printers. 2) Save the InDesign document as a high resolution PDF file, and send this to the printers.

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section 1.9

i-dtp master course design tips

Design Tips and Tricks

“If you start with the ‘why’ as in ‘Why am I doing this: what is it meant to accomplish?’ you will already be about 100 times ahead of designers who are just wondering ‘how should it look?’ Not only are you far more likely to come up with something effective as well as attractive, you’re less likely to make one of the most basic design errors: to say something with your design that contradicts the message of your text.” - Daniel Will-Harris, http://www.will-harris.com/index.html After you work out why, then you need to ask: who will be reading it (the target audience)? Are they young, old, retired, active, inactive? Is it a serious issue or a fun issue? Should bright colours be used, or pastel colours? Should it be warm colours or deep colours? What is the main visual element? Is it typography, a logo, imagery or colour? where will they be reading it? (A poster? A brochure?) If it is a poster, then what size should it be? Where will it be displayed? Will it need a laminated finish? Should it be gloss or matt? Remember, strong lights can cause a shine on a gloss finish. If it is a brochure, then what size should the brochure be? Is it single sided or double-sided? Will it be distributed through the door? Does it need to fit in an envelope ? Will it be a hand-out (and if so, does the paper need to be heavier and more durable)? Will it be displayed in a stand? If so, what size is the stand? Does the logo need to be on the top part of the brochure, in case the bottom part will be obstructed with other leaflets? when? How much time do you have? There is always a deadline set for design briefs. You need to be able to work within a deadline. Before you start the design of a project, it is recommended that you speak with your printers first. Tell them what you will be sending them, how many your getting printed, etc., and ask them how long it will take to print. Some printers take longer as they may send part of the printing job out for specialised work.

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i-dtp master course design tips

section 1.9

You need to know exactly how long you have to design a layout in time to get it printed and delivered to the client withing their deadline. This is crucial. ProJeCT DeTAILS how many colours? To lower the cost you can have one colour on one side, 2 colour or full colour on the other side. how thick is the paper? Lighter paper weights are cheaper to print and cheaper to post. Paper size and shape? Is it a standard size design (e.g. DL, A5, A4, A3, A2 etc.) or is it an unusual shape? Generally, any unusual shapes can cost more than using standard sizes Matt or Gloss? Will it be printed on matt or gloss paper? Will it be laminated? If so, will that be a matt laminate or gloss laminate finish? Deadline? Make sure you can have it designed, printed and delivered within the deadline. PAPer weIGhTS 80g – Indian food over-the-counter leaflets, everyday-use print paper, cheap. 100g – Good photocopy quality paper 120g – Letter-headed paper 150g, 160g – Business cards 200g, 250g – Stiff, cardboard (boxes, book covers, etc.) Thicker paper if both sided, better with one solid colour on one of the sides. resolution – At least 300dpi if it is going to be printed at 100% size. Make it 600dpi if it is going to be resized and printed at a larger size. Colour mode – make sure it’s CMYK Designing for big posters or billboards

Try to design on A3 and use a higher resolution, because it’s going to be scaled up.

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section 1.9

i-dtp master course design tips

Typography

Some people enjoy fancy fonts. Most don’t. Remember that your readers are interested in the message, not how cool the font is. A good rule of thumb is to use no more than three or four fonts per document. Serif fonts (such as Times New Roman) work better as body text. Sansserif fonts (such as Arial) work best for short text, or as headlines. Things to avoid

Long lines of small text or short lines of large text. Long lines of text are hard to read. Aim for no more than 40 characters per line Type set in ALL CAPITALS; it slows reading speed. Making the text too big. Be aware of your target audience. Use size 14pt to 18pt for the over-65’s. For general audiences, 10pt or 11pt is good. For newspapers, use 8pt or 9pt. Avoid ‘widows’ and ‘orphans’. ‘Widows’ are sentences beginning new paragraphs or sections at the bottom of a column or page (“all past but no future”). ‘Orphans’ are sentences or hyphenated words ending a paragraph at the top of a new column or page (“all future but no past”). Layout

Every element should align with something else on the page! Use guides, grids, etc. to ensure a good layout. Only break alignment sparingly – use it for emphasis e.g. photos that stretch over part of two columns Make sure there’s sufficient contrast between page elements (e.g. headlines and body text) to avoid the page looking bland. White space makes pages more attractive. Consider large white margins with occasional “pull quotes.” Avoid excessive text wraps. Text-wrapping around photos, etc. can be a neat effect, but avoid using it too much as it jumbles up columns. Alignment

Left-aligned text is much easier for the designer, but care should be paid to hyphenation so that it’s not too ragged.

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Justified text can look terrible in narrow columns â&#x20AC;&#x201C; make sure you control word spacing & hyphenation to avoid ugly results. Left-aligned is considered more informal and friendly. Some people are attracted to the neatness of justified type. There is no right or wrong alignment. Just do what looks best for your document. Colour

Text set in a colour is generally hard to read. Too much colour is confusing. Margins

The amount of white space surrounding printed material affects its appearance and its readability. You need to come up with something that is effective as well as attractive. One of the most basic design errors is to say something with your design that contradicts the message of your text. These are only guidelines, and every single one of them is meant to be broken at some point. The best way to learn good design is to emulate good designs you see in the real world!

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section 2

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section 2.1

2.1 The InDesign Interface In this lesson we will learn about:

• InDesign Workspace • Docked Palettes • Floating Palettes • Default Workspace • Saving your own Workspace • Palette Attributes • Help Menu • Top Menu Bar

The interface The first thing we are going to learn when it comes to InDesign is the interface. There are many floating windows and options and once we master these we can customise our workspace for our own needs.

The workspace How the palettes work: When we open InDesign we will see our main tool bar (on the left hand side of the window) and our main menu bar on the top of the screen. These are the two main palettes we will primarily be working from. It’s always a good idea when learning a new programme to start as you mean to go on. In other words, start by setting good habits that will be helpful as you go along, and don’t start with any ‘bad’ habits. The InDesign tools

For example, our main tool bar is on the left hand side of our page. We should at this stage get in the habit of keeping this tool at on the left hand side of the page. The tool bar can be moved by clicking the top are of the palette and dragging it into a new position. What commonly happens is people move the tool bar when it is blocking a view of something. Then when they go back to use the tool bar they can’t find it. It’s not the end of the world, but it takes up unnecessary time to be searching for your tool bar. Try and keep it on the left hand side of the page, so you always can find it.

The Default Palettes in InDesign

If your tool bar is not showing, go to the window menu at the top menu bar. All your palettes or floating windows can be found under this menu. Scroll down to ‘tools’ and the tool bar will appear.

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Expanding and collapsing docked palettes

Generally there will be many other default palettes on display when you open up InDesign. The default palettes will be docked to the left hand side of your screen. This is your main palette system. You can expand (or view) these palettes by simply clicking on the palette you choose with your mouse.

B C

For an example, let’s open the swatches palette. To do this, click on the palette named ‘swatches’. A new floating palette will appear, as seen here. To put this swatch back into the side panel (collapsing the palette) simply click the arrow on the top of the palette as indicated at ‘A’ in the diagram, and it will collapse back into the docked palette.You will also find on your palette that you have a few shortcut icons on the bottom of the palette.

Floating Palettes

If you want to pull this palette out completely from the side panel, simply click on the ‘tag’ named Swatches and drag this tag away from the box (as indicated at ‘B’ in the diagram). This palette is now what we call a ‘floating’ palette, as it is ‘floating’ out on its own. To close the palette, click the little x indicated at ‘C’ in the diagram. To familiarise yourself with the palettes, practice opening and closing palettes and turning your side palette into ‘floating‘ palettes as described above.

Re-arranging your docked palette

InDesign has the docked palettes in groups, keeping similar palettes together. For example, Character, Character Styles, Paragraph and Paragraph Styles are all docked together, as seen here. When you click on Character, you will see the character window opens and also you can see these other options behind, but on the same palette. Character Palette showing other palette options behind

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You may want to change these palettes around and make your own. You can do this by simply dragging and dropping. For example, if you decided you wanted your â&#x20AC;&#x2DC;floatingâ&#x20AC;&#x2122; swatches palette in with your character palette then simply and drag and drop it on to the character palette. Default Workspace

When working with InDesign, sometimes other people may use the same computer as you are using, and when you open InDesign it will open with the palettes as the last person had set them. If this happens, you can set the workspace to default by going to the Window menu, down to Workspace and click Default. Saving your own workspace

Now that we have worked the Default workspace, we will now learn how to save our own workspace settings. If you want to save your own workspace, simply move and change the palettes around as we desire, then go to Window - Workspace - Save workspace. This is very handy, especially if others are using your computer. You can simply go to Window - Workspace and click your saved workspace, and all your designated palettes will appear. Remember, at any time you can add and delete palettes as described above. Palette Attributes

Now that we have familiarised ourselves with the workspace, we are going to learn more about the specific palettes in InDesign. Although each palette has a different function (e.g. Swatches is for colour, Character is for all your character options, etc,) they all have certain similarities.

Click this arrow for more options

Each palette has shortcut icons on the bottom of the palette as seen here. For example, the trash can is for deleting items from your palette. On the top of each palette there is also a little arrow which indicates that they are more options available when we click on this arrow. The options that will appear are specifically for the palette we are dealing with. We will go into each of these Fig Similar Palette Options individually later in the course.

Shortcut options for your palette

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The Help menu

All of the Adobe applications have a Help menu on the top of the main menu bar. This is very useful if you encounter any problems or have a question. You simply go into the Help menu bar and click InDesign Help - a new window will appear and you can either type in your query or go through the index.

Top menu bar

The other main palette we use in InDesign is the top menu bar. It is a very good habit to get into at this stage to ALWAYS look up at your top men bar. The options that display in this top menu bar depend on what tool you are on. For example, when you have an picture on the page in InDesign, the options above will appear, giving you more options on sizing, positioning, and adding strokes to the image. Now that we understand the InDesign interface and how the palettes work, lets open up a new document and get started!

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section 2.2

2.2 New Documents in InDesign In this section we will consider:

• New Documents • Page Sizes • New Document from Template • Pre-built Templates • Books • Libraries • Columns and Margins • Bleed • Rulers • Pasteboard

New Documents

When opening a new document in InDesign you have a few choices. You can open a blank new document, a new document from template, a new book or a new library. New Document from Template

Choose File - New - Document From Template. A window will appear (Adobe Bridge) with many options, such as Flyers, Certificates, Brochures, Catalogues, etc. Simply double-click on the one you want to use, then double-click the template file. New Book

‘Books’ in InDesign are a collection of linked documents where you can manage the multiple files as one project. Each document has the usual file name ending of .indd, while books have the file ending .indb. This allows for different chapters to be opened and altered on different machines at the same time, and each can be pasted into or deleted from the book as chapters. When the time comes for output, page numbers and other unifying details can be applied to the entire book. New Library

You can also make a new library. Libraries are great for organising images. They are particularly useful for magazine and newspaper layout work, where images that are used on a regular basis can be stored in a library for easy access. We will go into this in detail at a later stage and see how to make our own libraries.

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The InDesign tools

New Document

To open a new document go to File - New - Document. The following window will appear. It is crucial that we understand all the options on this palette in order to setup our document correctly.

You need a calculator and a good steel ruler!

Facing pages

This gives us the option of using facing pages when we are working with multiple page documents. Facing pages literally means the pages will display as they would if you were reading a book â&#x20AC;&#x2DC;facing each otherâ&#x20AC;&#x2122;. Non-facing pages

Master Text Frame

The master text frame is only relevant when working with multiple pages. We will be going into this in detail at a later stage when dealing with Master Pages.

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Page size

You can scroll down and use some of the default page sizes that InDesign has already set up, by clicking on the arrow beside the ‘page size’ window. One standard default size is ‘letter’, as seen here. You can also change the width and height by typing in the required dimensions in these boxes. Orientation

We can also choose if the page will be landscape or portrait. Default (12.7mm) Margins, 2 columns with default (4.233mm) gutter width Columns

Columns are crucial in DTP, especially in Newspaper and Magazine layout. If we look at a newspaper, we will notice the columns used. We can see the columns used and we can also see the gutter (the area between the columns).

Margins

The margins are vital when it comes to layout and DTP. Generally margins are used as a guide for text. Text should never run to the edge of the page, so margins are used as a guide and text stays within the margins.

0mm Margins, 3 columns with default gutter width

The Lock icon can be very convenient when you want all the margins to The be the same. Type in the measurement once and click the lock icon and be it will add that measurement to all the rest of the margins. You will notice that on this ‘new document’ window there is a button named ‘more options’. When we click this, we get more options, among which Bleed and Slug appear. We shall consider these next.

5mm Margins with 6 columns with 5mm gutter width

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Layout requires bleed

FigFig Layout Layout requires requires bleed bleed (ink(ink goes goes (ink goes to the edge of the page) to to thethe edge edge of of thethe page) page) Bleed area

Layout requires no bleed

FigFig Layout Layout requires requires noof no bleed bleed (no(no inkink (no ink to edge page) to to edge edge of of page) page)

This is a printing term and it means that whenever there is printing up to the edge of the trimmed page, the same printing needs to continue ‘off the page’ when the paper is cut. Primarily this is because the actual paper can move in the cutting machines. If no bleed area is allocated then, when the paper is cut, there is a chance that the paper won’t cut exactly at the edge of the page. This could leave a thin white line on the page edge. To prevent this, the standard bleed area to allocate would be 3mm to 5mm. A newspaper is a good example of a layout that requires no bleed as no printing to the edge of the page is required on a newspaper. The cover of this book is a good example of a layout that requires bleed as the printing goes right to the edge of the trimmed glossy cover. Slug Area

The slug area is the place for print job information, such as crop marks and registration marks. Here we can see an example of and registration marks. Here we can see an example of a typical file saved as a pdf for the printers with all a typical file saved as a pdf for the printers with all the printer’s marks; e.g. Crop Marks, Registration the printer’s marks; e.g. Crop Marks, Registration Marks, Marks, Bleed Marks, Colour Bars, Page Bleed Marks, Colour Bars, Page Information Information and Slug Area. and Slug Area.

~THE DESIGN TIMES~ JUNE 2008

COLOUR Me Beautiful

How Design Helps Your Business

MK DESIGN, experts in the graphic design industry highlight how important colour is to every level of communication. From corporate identity to individual logos, signage to advertising, colour is introduced to reflect the overall attributes of the brand. At MK DESIGN, Marleen and her team endeavour to work with the client to ensure the work is both contemporary and individual yet embraces the colour that defines who the client is and what they are trying to communicate. “Colour is a universal language that can say as much about you and your company as your product,” says Marleen Kiely, MD of MK DESIGN. “For example, White imparts purity and simplicity while purple is a glorious yet complex colour that communicates creativity and eccentricity. Colour is central to every design and at MK DESIGN we see it as fundamental.”

IN THE current economic climate underestimating the role design has to play in your business might be a costly mistake. In an economic slowdown it might be more tempting than ever to neglect the role of design in your business. As companies become increasingly focused on curtailing spending and improving the balance sheet as much as possible, extra pressure may fall on activities that can all too easily get classified as icing on the cake. But working from the premise that design is no more than an optional extra for your business could be an error. If you take design to mean a special type of planning which takes aesthetic and ethical considerations, serviceability and marketing into account, then the immense range of design activities is clear. Whether the results of that planning take the form of products, services, corporate communications or built environments, design is at the heart of all business. In a contracting economy, design remains the most efficient way to communicate with your customers. It can help you differentiate your offerings from those of your competitors, making it clear exactly why they are need to choose your products or services - as well as demonstrating that you have the sharpest vision of what your customers want. When integrated with a business, design can provide an arsenal of tools for uncovering new directions and development strategies. When the future of a business depends entirely on finding the right directions for development, it is

Registration Marks

Colour Bars

HE DESIGN TIMES~ - POSTERS - FLYERS - LEAFLETS TS - BROCHURES - NEWSLETTERS - PHOTOGRAPHY - CORPORATE IDENTITY - E-MAIL TEMPLATEAS - WEBSITES - PACKAGING

Crop Marks for page size

Crop Marks for Slug Area

Bleed (ink going beyond where page will be cut)

certainly not the time to neglect this aspect of your enterprise. When the future is unclear, design can lead you out of the fog. Source: Designireland.ie

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To start

To start we need a new document A4 size. We don’t need facing pages, as we are dealing with a single page only. The margins we will set at 10mm, 1 column and we will set the bleed at 5mm. Adding bleed here shows how it appears, and also how we can hide the bleed area while we are working with our document. Once we have all our settings, click OK and a new window will pop open displaying your page. Now that we have an A4 page to work with, it should look like this. You can clearly see the margins and your bleed area. The bleed area will display as an extra outer box. To hide your margins, guides and bleed area, click the Preview window at the bottom of the tool bar. To show the guides again, click back onto the Normal mode. Shortcut to Note:

A4 Document, 10mm margin, 1 column and 5mm Bleed

The shortcut for the preview option is (w). To go back to normal mode press (w) again.

Preview Mode

Rulers

At this stage we are going to learn about rulers. Rulers are very userfriendly in InDesign and a vital part of design and layout. You should never place anything on the page at random, or in some arbitrary position, with no apparent logic as to why it is there. It should always line up with other items on the page or with margins and guides, even if this ‘lining up’ is quite subtle. Rulers are useful for producing guides and for lining things up.

Normal mode

Rulers, by default, should be displayed at the top and side of the InDesign window. If they are not on display, go to the View window and scroll down to Rulers. If you want to hide the rulers again, go to Window and scroll down to Hide Rulers. Shortcut to Note: The shortcut for rulers is Ctrl - Command R. Guides

You can easily drag guides on the page by physically clicking onto your rulers and dragging a guide onto the page. The guides ‘live’ in your rulers. You can drag horizontal or vertical guides onto the page in this way. You can also click onto a guide and type in the exact measurement of where on the page you would like it to be positioned. You can do this by by typing in the exact X and Y co-ordinates in the measurements window. You will find this window on the left of the top menu bar.

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Here is a handy tip when working out your measurements in InDesign. If you have an A4 page, and you want to place a guide exactly half way on the page, simply type in 297/2 (divide by 2) into the measurements box and click Enter. Deleting guides

To delete guides, simply click on them and drag them off your page or click on them and press Delete. Pasteboard area

The pasteboard area is the bigger area around your page. It is handy for placing objects and images while working on your design. Objects and images on the pasteboard area do not print. Only what is on your actual page will print.

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section 2.3

2.3 Tools and Options In this section we will learn about:

• Basic tools • Transform Options • Images • Strokes • Line tool • Corner Options

The basic tools Making shapes

There are many shapes you can make in InDesign. The main shape tools can be found on your tool bar. These tools are very similar. They both have little arrows on them indicating that there are more options hidden in this tool. When you click and hold your mouse down on these tools the other tools appear. The main difference between these tools is that the Rectangle Frame tool draws a rectangle shape with a frame. The Rectangle tool only draws a rectangle as a guide with no frame. Now that we understand the difference between these two tools we can experiment with the different shape types. We can make Rectangle, Ellipse and Polygon shapes. Try experimenting with these yourself. Simply click on the tool you want and ‘click and drag’ on the page.

Rectangle Tool

Rectangle Frame Tool

Viewing both rectangle tools on the page with the guides ON

Viewing both the rectangle tools with the guides OFF. You can clearly see how the rectangle tool has no frame.

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The Polygon tool

The Polygon tool works slightly different to the other tools. You can actually choose how many sides you want on your polygon and the depth of the inset you require.

Sides: 3 Inset 21%

Sides: 8 Inset 80%

Sides: 6 Inset 50%

Choose the polygon tool on the tool bar and, before drawing the shape on the page, just double click the polygon tool. You will see all the polygon options appear. You can choose the number of sides you ant and the amount of inset. You can see the different types of polygon effects you would get just by changing these settings. Moving them around, and getting the ‘handles’

Rectangle Shape

Rectangle Frame Shape

Now that you have experimented with the different shapes, it’s time to consider the different attributes of these shapes. Draw a rectangle shape and a rectangle frame shape for this demonstration, as shown here. The shape that is ‘active’ here is the Rectangle Frame Shape. It is active because we can clearly see ‘handles’ around the shape. When you click on a Rectangle shape it becomes active, and ‘handles’ appear on its edges. We can use these handles to change the shape of the box, making it bigger, smaller, wider or narrower. Note: Adjusting these handles will only change the shape of the actual rectangle, it will not change the shape of the contents of the rectangle.

The ‘handles’

Adding fills and strokes

Adding colours to our fills and strokes is easy to do in InDesign. We need our Swatches palette for this. You will find the Swatches palette under the window Options - Swatches. All the floating palettes are under the Window option on your top main menu bar.

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The fill/stroke option, with Fill Colour as foreground

To change the colour of a stroke or a fill, you need to select the shape with your selection tool and click the colour you want it to be in your swatches. The option that is on top in our fill/stroke option is the option that is active. For example, in this example (left) the colour that will change will be the fill option, as this is in the foreground. If we want to change the stroke colour, we need to make sure the stroke is on the foreground (right). To do this, simply click the option you want and it will then appear on the foreground.

section 2.3

The fill/stroke option, with Stroke Colour as foreground

An Exercise Draw these three simple shapes, and colour each shape with a different fill and stroke colour.

Now that we know how to change the colours, letâ&#x20AC;&#x2122;s look at some of our other options. The top menu bar displays most of our options for the tool we are on. If we click on the rectangle shape, handles will appear, and all the options for this shape will appear on our top menu bar.

Some of these options can also be found on a separate window called Transform. This Transform option is under Window - Object and Layout - Transform. We can see many similarities in this transform window and our top menu bar. The X and Y boxes represent where our object is placed on the pages, in relation to the x and y axis. If we want to position the object in an exact place on the page, we would type in the measurements here. W and H stand for the width and height of the object. Once again, you can change the width and height by moving the handle, or by typing the exact measurements in these boxes. The boxes with the % in them represent the scale X percentage and the scale Y percentage of the contents of the object.

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Shape rotated 45 degrees

The next two boxes represent Rotation and Skew. If you want to rotate the object, type in the degree you want to rotate it by in the top rotation box. If you want to skew the object, type in the degree you want to skew it into the skew box, as shown here. To get the box back to its original state, type in 0 degrees in both boxes. Rotate counter clockwise Stroke Width Stroke Type

Rotate clockwise Flip Horizontal Flip Vertical Shape skewed 45 degrees

Selection Options

Other options we have on the top menu bar can be seen here. One of the most common options used from here is the stroke. If you want to increase the width of a frame on a box, or of a line, you would choose the stroke width here. There is also a separate Stroke window. This can be found under Window - Stroke.

The Stroke Palette (under Window - Stroke)

Try experimenting with the stroke options yourself, and see the different effects you can get.

5pt Wavy Stroke

8pt Dotted Stroke

10pt Solid Stroke

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section 2.3

Placing Images in InDesign

Now that we have learned how to make shapes, alter shapes and transform shapes, it is time to see how to place images onto the page and into our shapes. Placing an image on the page

To place an image onto the page, go to File - Place, choose the file you want and click OK. Let’s choose the file ‘tulip’. When you click OK, you will see that your cursor now carries a tiny little thumbnail of the tulip image at its tip. If we click our mouse on the page our image will display at 100% (its actual size). Now deselect this shape and go to File - Place and choose ‘tulip’ again. This time, click and hold your mouse down and draw a box. Then let go of the mouse and InDesign will automatically place the image in the box you have just drawn. To place an image inside a shape

To place an image inside a shape, go to File - Place, choose an image you want to place and click OK. Choose the file ’tulip’ and click OK, Let’s use this shape that we already made. Click on it to activate it (the handles will appear). Now go to File - Place, choose the tulip again and click OK. Now you will see that the image has gone directly into the shape you had activated, as seen here. Images automatically come into the shape at 100% size. This is why here we can only see part of the tulip image, because the original image is very big. If you want to make the image fit into the shape, you can do this a few different ways. The simplest way is to right click on the shape selected and you will see Fitting Options. These options are also on the Top Menu under Object - Fitting. You can choose the following options:

• Fit Content to Frame • Fit Frame to Content • Centre Content • Fit Content Proportionally • Fit Frame Proportionally Fitting options under the object menu on the top menu bar

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For this image choose Fit content to frame and the tulip will fit inside the circle. When placing an image of a person always use the option Fit Content Proportionally as you do not want someone’s face to look ‘warped’ in any way. Now let’s look at the selection tool and direct selection tools at the top of the tool bar. We use these tools for selecting and moving objects and points. The Selection tool

The selection tool (black arrow) is simply used for selecting and moving (black arrow) items on a page. You can click on an item and move it by using this tool. You can click on the handles of an object and move the handles with this tool. Any item on a page can be selected and moved by using the selection tool. The Direct Selection tool

The Direct Selection tool is used for directly selecting used for directly and moving specific points on an item. Notice how this tool has a black arrow on the bottom left hand corner of the icon. This indicates that there are more ‘hidden’ tools beneath this tool. Click onto the direct selection tool and hold your mouse down and you will see the position tool appear. The position tool

It is also for selecting, moving and cropping the content of an item. The position tool

The Line tool

The Line tool is used for drawing lines. You can draw horizontal, vertical or diagonal lines. Simply choose the line tool from the tool bar, click on the page drag the line the length you want it, and then let go of your mouse. To draw a straight line, hold down the shift key as you draw the line. To make the line thicker or thinner, or to change the type of line, use the Stroke options on your top menu bar. To change the colour of the line, open the Swatches palette (Window - Swatches) and simply click the colour you require.

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To fill the gap colour of a dashed line, you will need your stroke window (Window - Stroke). Go to Gap Colour and choose the colour you require. To add an arrow at the end, choose the arrow from the ‘end’ option. To add a shape at the start of the line, choose the shape from the ‘start’ menu on the Stroke palette. Corner options

There are also corner options in InDesign for our objects. Let’s put rounded corners on a rectangle. To do this, you need to draw the rectangle, then select it and go to Object Menu - Corner Options. This window will appear:

Stroke Window - gap colour

Choose rounded 5 mm, click OK and your rectangle will Choose rounded 5 click OK and now have rounded corners. See below some of the other effects you can get. Try experimenting with these yourself.

Rounded 5 mm

Fancy 5 mm

Inset 5 mm

Inverse Rounded

Bevel 5 mm

None

Exercise to recap

Practice what you have learned by making the same shapes, making shapes, images and strokes as seen here. seen here.

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section 2.4

2.4 Text Attributes In this section we will concentrate on:

• The Text Tool • Character Attributes • Importing and placing text • Linking and unlinking text • Paragraph Attributes

The Text Tool

The Text tool is used for all the text that will be going in your document. You can use the text tool in two main ways. 1) You can go to the text tool and simply click onto the page while dragging your mouse to make a box. Then you can type inside this box. 2) You can draw an object/shape on the page and then click on it with the text tool and type inside the shape 3) You can place text into your document from another application program, such as Microsoft Word. This process is similar to placing an image, but instead you will be placing text. Let’s begin by using the first option mentioned. Choose the text tool from your tool bar. Click onto the page and make a box. When you do this, you will see a flashing icon appear inside the box, indicating where you can start typing. At any stage you can alter the size of this box. To do this, simply click onto the box with the selection tool and the now familiar handles will appear. The next way we can use our text tool is by making a shape and simply clicking in to the shape with the text tool. Let’s try that here. Draw a shape like this. Click into it with the text tool, and the flashing icon will appear. Now type your text.

Draw Shape

Click into the shape with the text tool

Type your text

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Character Attributes Window Paragraph Attributes Window Character Attributes

When we type text on the page, we can edit the type by using our character attributes. We can find this on the top menu bar and we also have a floating window for the character attributes (Window - Type & Tables - Character). Note: The top menu bar will display character attributes or paragraph attributes depending on which you choose. To display Character attributes on the top menu bar, click this Character attributes icon. To display the Paragraph attributes, click the Paragraph attributes icon. Floating Character window (Window - Type & Tables - Character)

Superscript All Caps

The character attributes are very easy to use.

Font Type Font Style

Font Size Leading

Underline Strike through

Small Caps Subscript

You can change the font type, style and size. You can also edit the leading. The leading is the space between the lines and can be useful for fitting text in tight areas. You can either decrease or increase the leading, creating more or less space for the text. Type some text in a box, make the font type â&#x20AC;&#x2DC;Impactâ&#x20AC;&#x2122; and the font size 24pt with Underline.

Vertical Scale

Horizontal Scale

Text

Character Style

Kerning Tracking Baseline shift

Skew

Language

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Advanced Character Formats Many different character options can be applied, and controls for them can be found, set and adjusted on the character floating window. These include: CharaCTer STyle: The collection of character formatting attributes that can be applied to text. horizoNTal SCale: Scales the text horizontally. KerNiNG: The overhang of one letter to another, the spacing of any two characters. leaDiNG: The vertical spacing between lines of text, measured from baseline to baseline. leTTerSPaCiNG: The spacing between the letters of a word, usually intended to improve legibility. Normally only used with words set in all-capitals. SKeW: To skew the text means to distort it at a fixed angle. SUPerSCriPT and SUBSCriPT: A proportionately smaller letter, used in either a raised or lowered position. Examples include the “2” in H2O (subscript), or the “4” in SO4 (superscript). VerTiCal SCale: Scales the text vertically,. WorD SPaCiNG or TraCKiNG: The spacing added between a group of characters or words.

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Placing Text in A Document Now that we know how to change the character attributes of text, we will look at another way of placing text into an InDesign Document. This is by importing text into your document. You can either simply place the text directly on the page, or you can make a shape and place the text directly into the shape. To place text on the page, go to File - Place. Choose the file you want to place and then click OK. First we will need a blank new document. Make a new document, A4 portrait size with margins of 10mm and 1 column. Go to File - Place - ’text.doc’. You will notice that, when you click OK, the text will now be at the end of your mouse. InDesign will be waiting for you to click the mouse on the page, in the place you want the text to be. The icon will look like ThiS, showing you a preview of the text. Click at the top of the page inside your margins, and the text will be placed onto your page within the guides, as seen here. This is the simplest way to import text and place it in your InDesign document. You can also place text by drawing a shape and placing the text directly into the shape. Let’s do this now. Draw a shape on the page. Make sure it is selected (the handles should be showing, as illustrated). Now we go to File and Place, choose our Word document again ‘text. doc’ and click OK. You will see that the text goes directly into the box we have drawn and selected. The next thing you will notice is that there is a little red box with a plus sign on the bottom right hand corner of the box, as seen here. This red box symbol indicates that there is more text, and that the box is not currently big enough to display all the text. If you want to see all the text you click on the handles and drag them across and down, widening the box. When all the text appears, the red box symbol will disappear.

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Linking & unlinking text boxes Linking text is very useful when we want to place text around pictures or other items on a page and we don’t want to lose any of the text. By linking text boxes, we are free to alter the shape of a text box and the overflow text will automatically reflow into the linked box.

section 2.4

For an example, take the layout here. We are going to place text around the pictures. We will do this by linking text. We will start with the top layout and place text into the box indicated ‘A’ . Then we will link the text from ‘A’ to the area indicated ‘B’.

First open the InDesign document ‘wild_flowers’. Click on the box on the top left hand corner to select it. To place our text in this box, we need to select it and go to File - Place and choose the Word document called ‘wild_flowers’. The text now places itself into the selected box (fig A). You will notice that there is a little red box on the bottom right hand corner indicating that there is more text (text overflow). To place the rest of this text overflow into another box we need to link the text boxes. To do this click on the little plus sign in the red ‘overflow’ box with your mouse. The text overflow will now go into the end of the mouse as seen here (fig B).

B B

2 A

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section 2.4

Now click the mouse into the next box (B) and the rest of the text will flow into this box (fig C). Now these two boxes are linked. If we want to see how they are linked we need to go to our view window. Click on one of the text boxes. Go to View and Show Text Threads (fig D). To hide text threads, go back to View and un-tick Show Text Threads. The shortcut for text threads is alt+Ctrl+y.

C D

To unlink these boxes, simply click on the blue arrow unlink these boxes, simply click the blue at the top of the text box ‘B’ and the text will go back into text box ‘A’. To re-link the text boxes, click on the red box on the bottom of text box ‘A’ and then click back onto text box ‘B’, as before.

1 2

Now that you have seen how to link the text, you will notice a red box on the bottom right hand side of text box B. This indicates that there is still text overflow. In this case we just need to change the size of the font and the leading. Highlight all the text (ctrl a to Select all) and change the font to Arial, 10pt in size and 11.5 leading. You will see now that the red box disappears and the text fits into the space provided (Fig E). Now proceed to the Exercise (Fig F).

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Exercise to practise what you have learned

Now try doing the bottom section yourself. Link the text from box ‘1’ to box ‘2’. Use the same document ‘wild_flowers.doc ’ as you used before. Get the text to fit (as seen on previous page in Fig F.) When the text is all fitted, you may need to enlarge the picture box by dragging the handles to make it all fit correctly. Paragraph Attributes

Now that we have learned about placing text on a page, we are now going to look at all the paragraph attributes for our text. Once again our Paragraph attributes (like our Character attributes) can be found on the top menu bar. They can also be found under Window - Type & Tables - Paragraph. Character Attributes Window Paragraph Attributes Window Note: The top menu bar will display character attributes or paragraph attributes depending on which of these two you choose. To display Character attributes on the top menu bar, click the character attributes icon. To display Paragraph attributes, click the paragraph attributes icon. There are many different paragraph attributes on this panel. When you hold your mouse over any of the options on this palette, a yellow window will pop up indicating what each icon represents. Lists

}

Paragraph Spacing

}

} } Alignment

Indents

Drop Cap

Open up this InDesign file ‘design_times.indd’. We will use this file to demonstrate and learn the Paragraph Options. Highlight the main body of text. When you look at the character options you can see that the font is Times New Roman, 12pt with leading of 15pt. Change the font to Verdana and the font size to10pt. Next, you will make the headings bigger. Change the headings to 20pt and Bold. Save your document as ‘Design_times_new.indd’.

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Now that we have changed the character attributes, let’s look at our Now paragraph attributes. From looking at this document we can see that paragraph the the alignment is to the left. For this exercise we will leave the alignment as it is, but you could change For the alignment by clicking any of the alignment options on the paragraph the window. Highlight the first Paragraph, not including the title. window.

You want the line to indent for the first paragraph. Go to the indents on the palette and type in 3mm in the ‘first line left indent’ window. Also the space between this paragraph and the next paragraph is very tight so you need to increase the space. Put 5mm in the space after option, as seen here. The paragraph should now look like this. For the next part of the document, it is necessary to have a drop cap for the opening paragraph and a line indent for the beginning of every other paragraph. To do this, you need to highlight the first paragraph only and add a drop cap using the paragraph attributes. While you add a drop cap to any document, InDesign gives us the choice of how many characters we want as a drop cap and how many lines down we want the drop cap to be. The standard drop cap (for newspapers for example) would be the one character and three lines deep. This is what we are going to use for this example. Go to the paragraph window and type 3 in the ‘Drop cap - number of lines’ box and 1 in the ‘Drop cap - here. one or more characters’ box, as seen here.

Now we need to highlight the rest of the text and add our first line indent, in the same way as we did earlier. Now our document should look like this (left). We can see how easy it is to alter the look of any document by using the paragraph attributes.

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section 2.4

Advanced Paragraph Formats

There are few more advanced options on the paragraph window. These can be seen in the diagram below. Paragraph Style

Columns

Hyphenation

Baseline Grid Options

Paragraph Styles: Change the paragraph style here. auto hyphenation: Turn it on or off by ticking or un-ticking this box. Baseline Grid options: Lock or unlock the text to the baseline grid. Columns: Add columns to your text boxes. Add two columns to the text on your design Times document by typing 2 into the columns box. You will need to increase the leading on the text of the headings. The result should look like this (top right). Exercise to practice paragraph attributes

Change back to only one column for the text in the Design Times document. Add a drop cap to the opening paragraph of the first story and get rid of the first line indent. Take away the drop cap on the opening paragraph on the second story and make the first two words as all capitals. Add a stroke (frame) to all the text and indent the entire text by 5mm on the left and on the right. Your document should look like this when you have finished (right).

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Now that you have learned something of the main tools in InDesign, it’s time to have a look at a newspaper layout. newspaper layout. 30 LUCAN GAZETTE Wednesday 17 March 2004

Wednesday 17 March 2004 LUCAN GAZETTE 31

Holiday in Ireland

2DAY 1. Xxxx yyy xxxxx

THE BEACH

yyy xxxxx yyy xxxxx yyy xxxxx yyy. Xxxx yyy xxxxx yyy xxx

2. Xxxx yyy xxxxx

Xxxx yyy xxxxx yyy xxxxx yyy

yyy xxxxx yyy

xxxxx yyy xxxxx yyy. Xxxx yyy

xxxxx yyy xxxxx

xxxxx yyy xxxxx yyy xxxxx yyy

xxxxx yyy. Xxxx yyy xxxxx yyy

yyy xxxxx yyy xxxxx y

xxxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy xxxxx yy xxxxx yyy xxxxx

3. Xxxx yyy xxxxx

yyy xxxxx yyy. Xxxx yyy xxxxx

yyy xxxxx yyy

yyy xxxxx yyy xxxxx yyy xxxxx

xxxxx yyy xxxxx

yyy. Xxxx yyy xxxxx yyy xxxxx yyy

yyy

xxxxx yyy xxxxx yyy xxxxx yyy xxxxx yy xxxxx yyy xxxxx yyy xxxxx

4. Xxxx yyy xxxxx

yyy. Xxxx yyy xxxxx yyy xxxxx

yyy xxxxx yyy

yyy xxxxx yyy xxxxx yyy. Xxxx yyy

xxxxx yyy xxxxx

xxxxx yyy xxxxx yyy xxxxx yyy

yyy

xxxxx yyy xxxxx yyy xxxxx yy 5. Xxxx yyy xxxxx yyy xxxxx yyy

xxxxx yyy xxxxx

The Coast T

xxx yyy xxxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy. Xxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy. Xxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy. Xxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy. Xxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy. Xxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy xxxxx.

Xxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy. Xxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy. Xxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy. Yyy xxxxx yyy xxxxx yyy Xxxx yyy. Xxxx yyy xxxxx yyy x yyy xxxxx yyy. 100 words. Xxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy. Xxxx yyy xxxxx yyy

xxxxx yyy xxxxx yyy xxxxx yyy. Xxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy. Xxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy. Xxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy. Xxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy 150 wds

Photographs: asdfasdf asdf as df 1

In a newspaper layout you can clearly see use of the principal tools for In layout clearly of the principal tools for layout. Notice how everything is mainly in boxes. If we were to draw a thumbnail sketch of this newspaper layout, it would look like this (see below). When designing for layout, we work like this, making the boxes, laying them out and then adding content into them. making laying adding

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section 2.4

You now have seen all the tools and learned many of the tips needed to do layouts of this type. To lay out a standard newspaper page, you need to be able to place text and images, resize images and text, add columns and alter character and paragraph attributes. RECAP Exercise

Open up the InDesign document ‘thumbnail_layout.indd’. You will find the thumbnail layout as described earlier. For this exercise, use this thumbnail layout and add images and text. You will find all the images and text you need in the folder named ‘newspaper-recap’. You will need to use all the tools you have learned in order to complete this exercise. This is a very good exercise to show clearly that you have mastered all the tools you have come across. mastered all the tools you have come across. ch 2004 ay 17 Mar Wednesd

30 LUC

GAZETT

E 31

2004 17 March nesday ETTE Wed

eland r I n i y a Holid

AN GAZ

LUCAN

2DAY

x yyy xxxx 1. Xxxx x yyy yyy xxxx xxxxx xxxxx yyy x yyy xxxx yyy. Xxxx yyy xxx

x yyy xxxx 2. Xxxx x yyy yyy xxxx xxxxx xxxxx yyy x yyy yyy xxxx xxxxx y

30 LUCAN GAZETTE

THE BEACH

March 2004 Wednesday 17

yyy x yyy xxxx 5. Xxxx x yyy yyy xxxx xxxxx xxxxx yyy

2DDAY

2 1

xxxxx xxxxx yyy yyy xxxxx yyy xxxxx Xxxx yyy yyy. Xxxx yyy yyy. Xxxx xx xx yyy xxx xxxxx yyy xxx xxxxx yyy xxxxx yyy yyy xxxxx yyy xx . yyy xxx . Xxxx yyy xxxxx yyy yyy xxxxx yyy xxxxx yyy. xx Yyy xxx xxxxx yyy x yyy xx Xxxx yyy yyy xxx ds. 100 wor xxxxx yyy xxxxx xx yyy xxx Xxxx yyy yyy. Xxxx yyy xx yyy xxx

1. Xxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy. Xxxx yyy xxxxx

yyy xxx 2. Xxxx yyy xxxxx yyy xxxxx yyy

30 LUCAN GAZETTE Wednesday 17 March 2004

THE BEACH

f as fasdf asd phs: asd Photogra

xxxxx yyy xxxxx yyy xxxxx yyy

yyy xxxxx yyy

3. Xxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy 4. Xxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy 5. Xxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy xxxxx

xxxxx yyy xxxxx yyy. Xxxx yyy xxxxx yyy. Xxxx yyy yyy xxxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy xxxxx yy xxxxx yyy xxxxx

The Coast yyy xxxxx yyy xxxxx xxx yyy xxxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy. Xxxx yyy. Xxxx yyy yyy xxxxx yyy xxxxx yyy xxxxx yyy yyy xxxxx xxxxx yyy xxxxx yyy. xxxxx yyy xxxxx xxxxx yyy xxxxx yyy Xxxx yyy xxxxx yyy xxxxx yyy yyy xxxxx yyy. Xxxx xxxxx yyy. Xxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy yyy xxxxx yyy xxxxx xxxxx yyy xxxxx.

Wednesday 17 March 2004 LUCAN GAZETTE 31

xxxxx y

Holiday in Ireland

Xxxx yyy xxxxx yyy . Xxxx xxxxx yyy. Xxxx xxxxx yyy yyy xxxxx yyy yyy xxxxx yyy xxxxx yyy xxxxx xxxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy yyy xxxxx yyy yyy. xxxxx yyy. Xxxx xxxxx yyy xx xx yyy xxx xxxxx yyy xxx yyy xxxxx xxxxx yyy xxxxx yyy yyy xxxxx yyy xxxxx yy xxxxx xxxxx yyyxxxxx yyy xxxxx xx yyy xxxxxxxxxx yyy. Xxxx yyy xxxxx xxx yyy Xxxx yyy yyy. Xxxx yyy yyy. Xxxx yyy xxxxx yyy xxxxx yyy xxxxx xx xx yyy 150 yyy xxx xxxxx yyy xxx yyy xxxxx yyy xxxxx xxxxx yyy yyy. Xxxx yyy xxxxx yyy xxxxx yyy yyy xxxxx yyy xxxxx yyy xxxxx 1 yyy xxxxx xx yy xxxxx yyy xxxxx yyy xxx

wds

x yyy xxxx 4. Xxxx x yyy yyy xxxx xxxxx xxxxx yyy

t s a o C e Th T

LUCAN GAZETTE

yyy

d Holiday in Irelan

xxxxx yyy xxxxx yyy Xxxx yyy Xxxx yyy xxxxx yyy. xxxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy Xxxx yyy xxxxx yyy. xxxxx yyy yyy x xxxx xxxxx xxxxx yyy xxxxx yyy xxxxx yy x xxxxx yyy yyy xxxx x yyy. Xxxx x yyy xxxx x yyy xxxx xxxx yyy x x yyy yyy xxxx x yyy xxxx yyy xxxx x yyy yyy. Xxxx xxxx xxxxx yyy xxxxx xxxxx yyy xxxxx yyy xxxxx yyy x xxxxx yy x yyy xxxx yyy xxxx yyy Xxxx yyy. Xxxx yyy. x x yyy xxxx x yyy yyy xxxx x yyy xxxx xxxx xxxxx yyy xxxxx yy xxxxx yyy xxxxx yyy

xxxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy xxx yyy . Xxxx yyy xxxxxXxxx yyy . xxxxx yyy yyy xxxxx yyy xxxxx yyy xx yyy xxx xxxxx yyy xxxxx yyy xx xxxxx yyy xxxxx yyy. yyy xxx xx yyy xx xxx xxx xxxxx yyy xxxxx yyy Xxxx yyy yyy. Xxxx yyy yyy. Xxxx xx xx yyy xxx xxxxx yyy xxx xxxxx yyy xxxxx yyy yyy xxxxx yyy xx yyy xxx xxxxx. yyy xx xxx

March 2004 Wednesday 17

x yyy xxxx 3. Xxxx x yyy yyy xxxx xxxxx xxxxx yyy

yyy xxxxx yyy xxxxxx Xxxx yyy xxxxx yyy xxxxx yyy yyy xxxxx yyy. Xxxx xxxxx yyy. Xxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy yyy xxxxx yyy xxxxx

xxxxx yyy. yyy Xxxx yyy. Yyy xxxxx yyy xxxxxx yyy xxxxx yyy. yyy Xxxx yyy xxxxx

yyy xxxxx yyy. Xxxx xxxxx yyy xxxxx yyy xxxxx yyy yyy xxxxx yyy xxxxx xxxxx yyy. yyy xxxxx yyy xxxxx xxxxx yyy xxxxx yyy Xxxx yyy xxxxx yyy xxxxx yyy yyy xxxxx yyy. Xxxx xxxxx yyy. Xxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy 150 yyy xxxxx yyy xxxxx wds

30 LUCAN GAZETTE

THE BEACH

Wednesday 17

March 2004

1. Xxxx yyy xxxxx

df asdf Photographs: asdfas

xxxxx yyy xxxxx yyy. Xxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy. Xxxx yyy xxxxx yyy

xxxxx yyy xxxxx yyy. Xxxx yyy xxxxx yyy xxx

Xxxx yyy xxxxx yyy xxxxx yyy

2. Xxxx yyy xxxxx

Wednesday 17

yyy xxxxx yyy

as df

yyy xxxxx yyy xxxxx y

xxxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy xxxxx yy xxxxx yyy xxxxx

3. Xxxx yyy xxxxx

yyy xxxxx yyy. Xxxx yyy xxxxx

yyy xxxxx yyy

yyy xxxxx yyy xxxxx yyy xxxxx

xxxxx yyy xxxxx

yyy. Xxxx yyy xxxxx yyy xxxxx yyy

yyy

xxxxx yyy xxxxx yyy xxxxx yyy 4. Xxxx yyy xxxxx

xxxxx yy xxxxx yyy xxxxx yyy xxxxx

yyy xxxxx yyy xxxxx yyy xxxxx

yyy xxxxx yyy xxxxx yyy. Xxxx yyy

yyy

xxxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy xxxxx yy

5. Xxxx yyy xxxxx yyy xxxxx yyy

The Coast T

xxxxx yyy xxxxx 1 2

DAY

Xxxx yyy xxxxx

yyy xxxxx yyy xxxxx yyy xxxxx yyy. Xxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy. Xxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy xxxxx yy xxxxx yyy xxxxx yyy xxxxx yyy. Xxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy. Xxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy xxxxx yy xxxxx yyy xxxxx yyy xxxxx yyy. Xxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy. Xxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy xxxxx yy

1. Xxxx yyy xxxxx yyy xxxxx yyy

xxxxx yyy xxxxx yyy. Xxxx yyy xxxxx yyy xxx

2. Xxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy xxxxx y

Photographs: asdfasdf asdf as df

3. Xxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy xxxxx

The Coast

yyy 4. Xxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy

5. Xxxx yyy xxxxx

yyy xxxxx yyy xxxxx yyy xxxxx

xxxxx yyy xxxxx yyy yyy xxxxx yyy xxxxx xxxxx yyy. Xxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy. Xxxx yyy xxxxx yyy yyy xxxxx yyy. Xxxx xxxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy yyy xxxxx yyy xxxxx xxxxx yyy. Xxxx yyy xxxxx yyy 150 wds

113

THE BEACH

xxx yyy xxxxx yyy xxxxx yyy. Xxxx xxxxx yyy xxxxx yyy Xxxx yyy yyy xxxxx yyy xxxxx xxxxx yyy yyy xxxxx yyy yyy xxxxx yyy. Xxxx xxxxx yyy xxxxx xxxxx yyy xxxxx xxxxx yyy. Xxxx yyy yyy xxxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy yyy xxxxx yyy xxxxx xxxxx yyy. Xxxx yyy. Xxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy. yyy yyy xxxxx yyy. Xxxx xxxxx yyy xxxxx Yyy xxxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy xxxxx yyy Xxxx yyy. Xxxx yyy xxxxx yyy yyy x yyy xxxxx yyy xxxxx yyy xxxxx xxxxx yyy. Xxxx yyy. 100 words. yyy xxxxx yyy xxxxx yyy xxxxx. Xxxx yyy xxxxx yyy yyy xxxxx yyy. Xxxx xxxxx yyy xxxxx yyy xxxxx yyy

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March 2004 LUCAN GAZETTE

xxxxx yyy xxxxx

yyy. Xxxx yyy xxxxx yyy xxxxx

100 words. yyy xxxxx yyy xxxxx Xxxx yyy xxxxx yyy xxxxx yyy yyy xxxxx yyy. Xxxx

2DAY yyy xxxxx yyy

Holiday in Irelan d

Photographs: asdfasdf asdf

as df

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section 2.4

i-dtp master course indesign

The Terminology of Character and Text controls BASELINE SHIFT: A control over the base of the letter line, allowing selected letters, numerals, etc.to be raised from or dropped below the standard baseline. It follows on from the Superscript and Subscript options to cover any type sizes. CHARACTER STYLE: A collection of character formatting attributes that can be applied to selected text in a single step. DASHES: There are three standard widths of dash:

- -- ---

(hyphen) (en dash) (em dash)

A man who would letterspace lowercase text would steal sheep. Frederic Goudy Type designer

FONT TYPES: Serif, Sans-serif (literally “without serifs”), and Script were the original classes of body text, or book text. Certain fonts have come into use for titles, brands or single words which would never be considered suitable for reading long paragraphs of text: these are generally classified under Display or Decorative. Modern computers also carry font sets of Symbols and Codes and foreign language character options. GUTTER: The space between a number of columns of text, or between the columns and either the spine or the edge of a page. HORIzONTAL SCALE: Scales the text horizontally KERN or KERNING: The overhang of one letter to another which affects the spacing of two characters, and can be altered to make text more legible. A typical example is To (kerned) rather than To (un-kerned). LEADING: The vertical spacing between lines of text, measured from baseline to baseline. Originally named from the strips of lead or other soft metal used to separate lines of metal type. LETTERSPACING: The spacing between the letters of a word, usually intended to improve legibility. Normally only used with words set in all-capitals, and it should be used sparingly. It is not the same as kerning (which affects particular pairs of letters). SKEW skews the text at an angle (false italic) SUPERSCRIPT and SUBSCRIPT: A proportionately smaller letter, used in either a raised or lowered position. Examples include the “2” in H2O (subscript), or the “4” in SO4 (superscript). VERTICAL SCALE: Scales the text vertically. WORD SPACING or TRACKING: The spacing added between a group of characters or words. Usually equal in ranged-left text such as this paragraph, and so it is not usually noticed, but word spacing will vary if the paragraph is set ‘justified’ (ranged right and left).

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section 2.5

2.5 Colour In this section we will consider:

• Colours • Tints • Adding new colours • Deleting colours • Cmyk Colours and Pantone colours • Effects including Transparency • Gradients

We have seen how to colour some objects with our colour swatches. In this chapter we are going to deal with colour in more detail. We will learn how to make new colours and gradients. We will also learn how to add colour and gradients to text and objects. The SwaTcheS paleTTe

The swatches palette has the default Cmyk and RGB process colours already in place. There are also Paper, None and Registration options. The ‘Paper’ option: This colour looks like white. When you choose it, the colour that will be applied on screen is white. But, in fact, when it is printed it will be the colour of the paper you are printing on. For example, if the paper you are printing on is cream paper, then this ‘paper’ area will appear cream. ‘Paper’ represents the colour of the paper you print on. By using that swatch, you are telling InDesign not to print any colour in this area, allowing you to reveal the paper colour beneath.

Click this arrow for the drop down menu for swatches

The ‘None’ option: If you apply this swatch to an object or type, you take away any colour. The ‘Registration’ option: This is a colour which looks like black but it is not the same as black. This is a black that is formed by ALL four of the Cmyk colours, hence printing on all four plates. It’s called registration because it is used to print registration marks, which are those marks that the printer uses to align the film and plates. Note: When using black for a full colour layout for print, do not use registration, use the colour black. Only use ‘registration’ if you are required to make registration marks. Show all Swatches Show Colour Swatches Show Gradient Swatches

New Swatch

Delete Swatch

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Text Colour Fill colour Stroke colour

Tint / shade Object Colour

At the top of the Swatches palette, there are a few options you need to pay attention to: Fill Colour This option is for filling an object or text with a colour Stroke Colour This is for adding a stroke, frame or outline to objects or text. Object Colour These needs to be selected for adding colour to an object. Text Colour These needs to be selected for adding colour to Text. Tint This is used for adding tints or shades to a colour. It is very important that you are on the correct options when using the swatches. For example, if you want to colour text, you need to make sure you are on the ‘Text colour option’. If you want to add a stroke colour to your text, you need to make sure the stroke option is at the foreground. If you want to add colour to an object, you need to make sure that the ‘object colour’ is selected and that the ‘fill colour’ option’ is in the foreground. If you want to add a stroke or outline to your object, then you need to make sure that you are on the ‘object colour’ option and that the stroke option is at the foreground. Let’s demonstrate how this works. Open up the InDesign document ‘colour_exercise’. Add colour and strokes to the bottom half of the page in the same way that the top half of the page has been colourised. The background box is yellow with a tint of 20%. Draw a box, make it yellow and make the tint 20% by using your tint options. Send this box to the back, so that it is behind. Colour the first box Cyan by clicking on the box (to make it active). make sure the ‘fill colour’ option is selected on your swatches then choose Cyan. The stroke is magenta, so make sure the ‘stroke colour’ option is chosen on the Swatches palette, and choose magenta with 80% tint. The diamond shape is a 70% tint of blue.

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The text colour is green. Simply highlight the text and choose green as colour Simply choose the text colour. you can see on the top of your swatches palette that the text icon is now green.

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Text colour green as displayed on the top of the swatches palette

It is easier to see this on your tool bar. The foreground and background colours on your tool bar will also now display these options as seen here.

The ‘text outline’ The ‘text outline’ is red text with a blue stroke. Once red with again, highlight your text and choose red for the text colour. The text is now red with no stroke. To add a blue stroke, keep the text highlighted and click on the text stroke option, on your colour palette or on your tool bar. The text stroke option will now come to the foreground. Now choose blue and the text stroke will turn blue, giving you the text outline effect. The stroke is 3 pt width. you add a stroke to the text in the same way you learned how to add a stroke to an object. Go to the stroke palette (Window Stroke) and choose a 3pt stroke.

Adding a 3pt stroke to text

For the next part of this exercise, we want to reverse the colours. make sure your text is highlighted and click on to this arrow, and it will reverse the foreground and background options and apply them to your text. you can use these arrows to reverse colours on objects in the same way. The fill colour and the stroke colour make a new colour in our swatch. We want a different red - choose the colour. you have now successfully completed this exercise, and should now be very familiar with adding colour to objects and text.

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New Colours Now that we have seen how to use the colours, letâ&#x20AC;&#x2122;s now look at how you can make your own new colours. To add a new colour to the swatch, click on the drop down menu on the Swatches palette. Choose New Colour Swatch and you will get this dialogue box. To name your colour with a name, un-tick this box

colour Types

There are two main types of colours used for print. These are process colours and spot colours. Process colours are made up from the full colour process of Cmyk, involving four plates. Spot colours use only one plate, printed in one ink, for each colour. The Pantone range of solid colours are a good example of spot colours. colour modes

There are many different colour modes in this drop down menu. The main colour modes for output from DTP are Cmyk colours and Pantone colours. To add a new cMYK colour to the swatches palette:

Scroll down to Cmyk in the colour mode window. make sure the colour type is process. you will see sliders appear. you can type in the percentages of the Cmyk in the boxes provided, or you can slide the sliders across to get the colour you want. In this example the colour displayed is black. We can see that the other three colours are at 0%, and black is at 100%, giving the colour black.

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To make Cyan, drag the cyan slider to 100% and drag the remaining three colour sliders to 0%. To make magenta, drag the magenta slider to 100% and drag the remaining three colour sliders to 0%.

Cyan

To make yellow, drag the yellow slider to 100% and drag the remaining three colour sliders to 0%. To make Red (100% yellow, 100% magenta) you would keep yellow at 100% and drag magenta up to 100%. When you want to add a colour to your swatch, simply click ‘Ok’ and the colour will now go into your swatch.

Magenta

Red

There is another way of making new colours, especially when you don’t know the exact percentages of inks to be used. We can use the Colour Palette. This is where the colour palette can be used in conjunction with the swatches palette. Open the colour palette window (Window - Colours) and a new colour window will appear. Go to the drop-down window and chooses Cmyk, and your colour palette will appear. Place your cursor over the colour strip at the bottom of the window, and click onto the approximate the colour you want.

Green colour chosen from colour strip

Yellow Drop down menu

CMYK Colour palette

Darker green obtained by increasing the percentage of black ink

For example, you may want to make a deep green colour. Click the green colour on the colour strip. That colour, and all the ink percentages making this green, appear on the colour palette, as seen above. Now you can edit the green colour, by dragging the sliders. To make the green darker, increase the black by dragging the black slider across to 61% .

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Now that we have our new colour, we need to save it into our swatches. We can do this by choosing ‘Add to Swatches’ in the drop-down menu. Now you will be able to see your new colour displayed in your swatches. To name this colour ‘Green’, rather than the colour values displayed, double-click the colour in the swatches. The swatch options window will open up. Un-tick the box named ‘name with colour value’, which would generate a mathematical descriptor of the Cmyk mixture. Type in ‘Grass Green’ in the swatch name box instead, and click Ok. exercise: make three new Cmyk colours and name them Sky Blue, Tangy Orange and Deep Purple. To add a new pantone colour to the swatches palette:

There are two main types of Pantone colours used by printers: Pantone Solid Uncoated and Pantone Solid Coated. Pantone Solid Uncoated is an uncoated ink which has a matt appearance. Pantone solid Coated is a coated ink which has a shine/ gloss appearance. To add a new solid pantone coated colour to the swatch:

Click on the drop-down menu on the Swatches palette. The familiar ‘New Colour Swatch’ palette will appear. Scroll down to Pantone Solid Coated in the colour mode window. The solid coated Pantone swatch will now appear, and you can either scroll down and pick the Pantone colour you want or type in the number of the Pantone swatch you require. For this example, we are going to get the pantone colour PANTONE 272C as a swatch. To get this colour we need to type in 212 into the box and click Ok. This Pantone colour can now be seen in our swatch. Use the drop-down menu on the swatches palette To add a new solid pantone uncoated colour to the swatch:

Open the ‘New Colour Swatch’ palette again. This time scroll down to Pantone Solid Uncoated in the colour mode window. The uncoated Pantone swatch will now appear. For this example, we are going to get the colour PANTONE 102U as a swatch. To get this colour, we need to type in 102 into the box and click Ok. This Pantone colour can now be seen in our swatch.

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exercise:

make three new Pantone Solid Uncoated colours:

• Pantone 145U

• Pantone 345U

• Pantone 487U

make three new Pantone Solid Coated colours: • Pantone 143C

• Pantone 259C

• Pantone 374C

Save swatches

you can also save any swatches. To save swatches, click the dropdown menu and click Save Swatches. load swatches

When using colours in InDesign, you can also load swatches from any other InDesign documents, or load swatches you have saved. Go to the drop-down menu on the Swatches palette and click ‘Load Swatches’. A new window will appear. you can either click the Indesign document or the saved swatches you require, then click Ok. The colours from that InDesign document or saved swatches will now go into your Swatches palette. edit colours

To edit colours, double-click on the colour or click ‘Swatch Options’ in the drop down menu. A new window will appear giving you the options to edit the colour. Delete swatches

To delete a swatch, you can either click ‘Delete Swatch’ in the dropdown menu or drag the colour name into the Trash can icon on the Swatches palette.

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Gradients A gradient fill is a graduated blend between two or more colours. you can easily create your own gradients, or you can use the gradients provided by Adobe Illustrator and edit them for the desired effect. To add a gradient to an object, we can use the gradient button on the toolbar. Draw an object, select it and click this gradient button. Adding and deleting gradients is the same in Illustrator and InDesign.

A default black to white gradient fills your object. Now you can display the Gradient and Swatches palettes, so that you can select another colour. If the colour palette is not visible, choose Window | Show Colour. For the gradient palette choose Window | Show Gradient. Position your cursor on one of the colour stops (buckets) beneath the gradient slider, and drag to change the position of white and black. Notice how the gradient changes in your selected object. Standard gradients

There are two main types of gradient in InDesign; linear and radial.you can add as many colours to your gradients as you wish, and you can also delete colours from your gradients. Drag the colours you want for your gradient into these ‘buckets’.

adding colours

To make a new linear gradient, drag the colours you want onto your gradient palette. We can drag the colours into existing ‘buckets’ changing the colours, or we can add new ‘buckets’ of colour. To add new colours, you click the area below the gradient picture on your gradient palette. Deleting colours

To delete a colour from your gradient, click its ‘bucket’ on the gradient palette and drag it down off the palette. Saving a gradient into your swatch

Drag the new colour directly from your swatch and place it here.

To save a gradient into your swatch, simply drag it from the gradient swatch into your colour swatch. The default gradient type is a linear gradient, but we can also have a radial gradient by choosing this on our gradient palette. you add, delete and save gradients the same way for radial gradients as you have done for linear gradients. Gradient Button

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changing the direction of a gradient

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Drag this gradient from here and drop it into the swatches

Linear gradients

To change the direction of the gradients you make, use the gradient tool on your tool bar. Select the object that has a gradient, choose this tool LinearLinear gradients gradients on the toolbar and drag the tool over the object. The direction you drag this tool will dictate the direction of the gradient. The length you drag it will dictate the length of the gradient. Try this yourself to practise.

New gradient colour in the swatches

Changing the gradient direction by using the Gradient tool on tool bar

Changing thegradient direction of direction a Linear Changing Changing the the gradient direction by using byGradient using the Gradient the Gradient tool on tool tool onbar tool bar

Radial Gradient Changing the direction of a Radial Gradient Radial gradient

RadialRadial gradient gradient

Changing the gradient direction by using the Gradient tool on tool bar

Changing Changing the gradient the gradient direction direction by using by using the Gradient the Gradient tool on tool tool onbar tool bar

There are one or two differences when dealing with Gradients in Indesign and we are going to look at them next. Note that the gradient tool on the InDesign tool bar has a little arrow on it, indicating there are more options. There are two of these options; the Gradient Swatch tool and the Gradient Feather tool.

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Gradient Swatch tool

This particular Gradient tool works the same way in InDesign as it does in Illustrator and Photoshop. The click-and-drag-manually technique gives you the flexibility to extend or shorten the gradient effect. In InDesign, we can also add gradients to a stroke. This can give very effective results. Gradient Feather tool

The Gradient Feather tool can give you some wonderful effects. If you want to add a feathered effect to the edge of a photo, you can use the Gradient Feather tool to do this. Previously, if you wanted to fade a photo into the background, you would have to go into Photoshop, but now you can use the Gradient Feather to do this in InDesign. Let’s place a photo in an InDesign document to demonstrate how the Gradient Feather tool works. In this example, we will use a photo of an angel, which you will find in the ‘images folder’. Place it on the page as seen here. Now choose the Gradient Feather tool and place it over the angel picture. Click and drag the tool over the image. Click the Gradient Feather tool in the centre of the photo, and drag it down towards the bottom of the photo. Release the mouse and you should get the effect seen here. The direction you drag this tool will dictate the direction of the feather. The length you drag this tool will dictate the length of the feather.

an exercise to recap what you have already learned

Open the file ‘gradients_button_exercise.indd’ and make the buttons by using the InDesign gradient tools. you will need to make new gradients, radial and linear gradients, and change the direction of gradients to achieve the effects seen here. you will also need to change the stroke width of your shapes and add gradients to the actual strokes. Have fun!

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Gradients on text and text stroke

Now that you have learned how to use the gradient tool on objects and shapes, it is time to see the effects you can get when it is applied to text. We already saw how to add colour to text, and how to give an outline effect to text by adding a stroke to the text. Next we will cover the effects you can get by adding a gradient to your text. Type the word ‘gradient’ for a demonstration. Highlight the text, click a gradient colour from your swatch and it will apply to the text.

gradient

Now let’s give the text a stroke of 5pt. The stroke palette can be found under Window - Stroke. make sure the text stroke option is active.

gradient

Let’s add a different gradient to the stroke. Highlight the text, and click the gradient you want. This gradient will now apply to the text stroke, as seen here.

gradient

To reverse the effect, highlight the text and click the arrow as indicated. This will swap the fill and stroke effects. Finally, if you increase the stroke even more to 10pt, the effects will change as shown. Experiment yourself with different options.

gradient

Gradient Feather tool

gradient

you can also apply a gradient feather effect to the text by using the Gradient Feather tool, as covered earlier.

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Drop down menu

The effects palette

To get the Effects palette, go to Window - Effects and a new Effects window will appear, as seen here. you can use this palette to add effects to images, shapes, objects and text in InDesign. many of these effects are similar to those applied in Photoshop. Opacity

Clears all effects and makes the object opaque

Object effects

One of the options frequently used in the Effects palette is the Opacity option. In this box, you can reduce the opacity of an image giving it a transparent effect. This is not to be confused with the Tint option. The tint option reduces the shade of an object, but it does not make the object transparent.

Removes Letâ&#x20AC;&#x2122;s draw two boxes (as seen here). make them both blue and give box effects A 50% tint and box B 50% Opacity. To change the opacity of Box B, go

to the top right corner of the effects palette to the opacity slider - bring opacity down by 50% and press enter. At this stage our two shapes look almost identical.

BOX A

BOX B

If you draw two more boxes, make them magenta and place them behind the two blue boxes, you will clearly see how Box B is actually transparent.

BOX A

BOX B

Warning: When using any transparency effect, be aware that mixing spot colours with transparency can lead to unexpected results. As a rule of thumb, the bottom colour has to be process: spot colours can have difficulties with transparency.

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Now that we have introduced the effects lets look at some of them in more detail. On the effects palette there are object effects. you can locate these on the drop down menu or on the object effects icon on the palette. When you choose the object effects, this new window will appear with all the effects. On the left side of it are the effects options you have, while on the right are all the settings for these options. you can experiment with these to get different effects. To demonstrate these effects we will experiment with some shapes, open up the file â&#x20AC;&#x2DC;effects_exercise.inddâ&#x20AC;&#x2122;. Now use the exercise to visually see the effects options and how they work. They literally do exactly what they say. Follow the example below as a guide and have fun!

Drop shadow

Inner shadow

Outer Glow

Inner Glow

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Bevel and Emboss

Satin

Basic Feather

Directional Feather

Gradient Feather

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Organising Artwork on Layers

In this section we will consider:

• Duplicating • Copy and Paste • Arranging Objects • Align Objects • Transform palette • Free Transform tool • Pathfinder • Layers

Duplicate

Copy, Paste and Clear options under the Edit menu.

Group and Lock under the Object menu.

To duplicate an item, hold down the alt key, click the item you want to duplicate and drag the mouse. Copy and Paste

You can copy and paste an item by going to the main menu, under Edit. You can also use the shortcut ctrl C (copy) and ctrl V (paste). Grouping objects

You can group a few objects together by using the group option. You will find this option under object on your main menu bar. The shortcut for Group is ctrl G and the shortcut for Ungroup is shift-ctrl-G. This can be very useful when you want to transform a few items together. Shortcut to note: The above shortcuts are worth remembering, as you will probably use them many times. Arrange

When you make a shape on your document and then make another shape, the second shape will automatically go on top of the first shape. If you place a third shape on your document, it will go on top of the second shape, and so on. The initial stacking order of these objects or shapes reflects the sequence in which they were placed on the page.

The Arrange options.

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Shapes placed on our document. The orange shape that is selected is the first shape that was drawn.

The orange shape is now on top of everything because it was brought to the top by clicking ‘Bring to Front’.

The green shape is now at the back because it was selected and ‘Send to Back’ was clicked.

The orange shape is now behind the blue shape because it was sent one step back by clicking ‘Send Backward’.

You can see that the orange shape was the first shape placed on the document. It is under all the other shapes. The green shape was the last shape drawn, so it is on top. To ‘arrange’ these objects as you want them, you would use the ‘Arrange’ options. There are many different arrange options for moving objects below or above other objects. These can be found under Object on your main menu, under the heading ‘Arrange’. You can choose ‘Bring to Front’ and ‘Send to Back’, and you can also access these options by right-clicking with your mouse. You can also bring an object forward one step by clicking the ‘Bring Forward’ option. There is also the option of ‘Send Backward’, which sends objects back by one step, as opposed to ‘Send to Back’ . Exercise:

Try doing this yourself in a new exercise. Draw four shapes, make them different colours and use your Arrange options to bring them forward and back. Save your document as ‘Arrange’.

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The Transform palette

The Transform palette is used to ‘transform’ any object. You can specify where on the page an object is to be positioned (X and Y axis), the width and height, rotate it and skew the object. You can find the Transform palette under Window - Object or under Layout - Transform. Note: These options also appear on the top menu bar when you have an object selected. The item selected.

Now when we place the mouse over a handle on the object, arrows appear. These arrows indicate that we can drag in any direction and this will will transform the objects frame and its contents.

The Transform Tool active. Notice how the handles display differently, indicating you are on the Transform tool.

If we place the mouse just outside the object area the arrows will change into curved arrows as indicated here. These curved arrows indicate that we can now rotate the object by simply clicking here and rotating the mouse.

Holding down the shift key while using the Transform tool is a good habit to get into, and keeps things in proportion. This is very important especially if you are making an image of a face bigger or smaller. You need to make sure you dont ‘warp’ the person’s face as you transform it. Free Transform tool

The Free Transform tool can be found on the tool bar in Indesign. This tool is a manual way of transforming an object or text. Simply select the item you want to transform, click the transform tool. The Align palette

The Align palette can be found under the main window option, under ‘Object & Layout’. Click align (shift F7). This palette is used for aligning objects, images and text in InDesign. You can see clearly from the following diagram what each icon does.

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Align right edges

Align top edges Align vertical centres

Align horizontal centres Align left edges

Align bottom edges

Distribute top edges Distribute vertical centres Distribute bottom edges

Distribute right edges Distribute horizontal centres Distribute left edges The Align Palette

Align left edges. This aligns all the objects on top of each other on the left.

To demonstrate, let’s align these items.

Make five squares and have each a different colour and placed similar to the diagram above. We are going to use the Align palette to align these boxes. Select each shape by clicking one shape, holding down the shift key and clicking each other shape untill they are all selected. You will know they are all selected if you can see handles on all the shapes (as seen below).

Now click the ‘Align vertical centres’ icon on the align palette. This makes all the boxes line up on the same horizontal mid-line.

To align objects vertically, click ‘Distribute vertical centres’ and ‘Align horizontal centres’.

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Next we need to make the spacing equal between them. To do this click ‘Distribute horizontal centres’ and now all the boxes are the same height and also have the same spacing between them, as seen here.

You should draw more objects and practise aligning them in different ways to familiarise yourself with the Align palette. Recap exercise

Open up the file ‘globe_gradient_exercise.indd’. To do this exercise, you will need to use Transform, Align, Gradients and Transparency effects. All the gradients you need are already in your palette. To do this exercise we need to break the graphic down into its basic components. Step 1: Draw one oval shape, dupliate it so you have three. Bring the handles in on two of the oval shapes, making them thinner than the original.

Step 1

Step 2: Use the align palette to align them correctly. You will need to align horizontal and vertical centres. Step 3: Copy and paste the largest oval so that you have two more ovals of this size. Transform one of the oval shapes so it is on its side. Colour each oval with the specific gradients. You will find these gradients already made up for you in the swatches. You may need to use the gradient tool to alter the direction of the gradient so that it looks the same as the one in this exercise.

Step 2

Step 3

Step 4: Group the ovals, from step 2, together. Duplicate the copy and transform it 90 degrees so it is on its side.

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Step 5: Change all the strokes on the outlined graphics to white and place them over the gradient graphics. You will need to use the Align palette to align these correctly. Then group each graphic so you now have two graphics,; a grouped yellow graphic and a grouped blue graphic. Step 5

Step 6: Place the blue graphic on top of the yellow graphic. You will need to use the Align palette to align these correctly. Add a transparency effect of 50% to the blue graphic. Step 7: To finish the exercise, make the blue graphic wider.

Step 6

Step 7

The Pathfinder Palette Intersect Subtract Add

The Pathfinder Tool

Exclude Overlap Minus Back

Path Options Convert shapes will convert any existing shape into the shapes displayed

The Pathfinder tool allows you to combine and subtract shapes in different ways. To display the pathfinder palette, choose Pathfinder from the Window menu under Object. Below are two basic shapes which, when put together with the pathfinder commands, result in some interesting new shapes. Place the two shapes on top of each other and we will see how the pathfinder tool works.

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The ‘Add’ command joins two shapes and makes them a single shape. The ‘Subtract’ command subtracts the object in front from the object at the back. The ‘Intersect’ command intersects the two shapes, leaving only the overlap of the two shapes.

Add

Subtract

The ‘Exclude Overlap’ command excludes overlapping shape areas. The ‘Minus Back’ command subtracts the object at the back from the object in front. Intersect

Minus Back Exclude Overlap

Recap Exercise

To familiarise ourselves with the Pathfinder tool in InDesign, we will now go through an exercise stage by stage. Open ‘pathfinder_exercise. indd’. In it, you are going to going to draw simple shapes and use the Pathfinder to edit and transform these shapes. You are then going to add drop shadow effects to the shapes. Then finally you are going to place images into the shapes, completing the exercise. To do this exercise, you need to create the basic shapes. This is the shape you need to make first. To achieve this, you need to draw basic shapes and merge them together using the Pathfinder.

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Step 1

Step 1: Start by drawing an oval and a circle, as seen here. We are going to use the Pathfinder to subtract the circle shape from the oval shape. Place the circle over the oval in the bottom right hand corner. Step 2: Select both shapes, the oval and the circle. Go to the Pathfinder (Window - Object & Layout - Pathfinder). Click the Subtract option on the Pathfinder. Your shape should now look like this.

Step 2

Step 3: Now we need to work on the left hand side of the shape. Draw a new oval shape and place it over the green shape. Step 4: Select both shapes and click the â&#x20AC;&#x2DC;subtractâ&#x20AC;&#x2122; option on the pathfinder. Now your shape should look this. Step 3

Step 5: We now have our basic shape to work with. Make three copies of this shape Step 4 and make each one slightly smaller than the other, as seen here. Make sure to keep them in proportion as you scale them. You can scale them by pressing the Shift key while using the Transform tool or Scale tool. You can also scale them by typing in the scale dimensions in the Transform window.

Step 5

Step 6: The next thing we need to do is add drop shadows and strokes to our shapes. You will find the colours for the strokes in your swatch. To add a drop shadow, go to the Effects and choose Drop Shadow.

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Step 6

Step 7: Finally we need to place the images into the shapes. Choose the first shape and go to File - Place - Texture1.jpg. Choose the second shape and go to File - Place - Texture2.jpg. Choose the third shape and go to File - Place - Texture3.jpg.

Step 7

Well done, you have now completed this exercise!

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Drop Down Menu Eye icon to turn on or off visibility of the layer

Layers (F7)

Layers are a very good way of organising your images in InDesign. Without layers, all your objects will be automatically placed on the same layer, as seen in the last section.

Colour to indicate which layer you are on

New Layer Delete Layer

By using Layers, you don’t need to use the Arrange options. You simply make new layers for each object and then drag the layers to the position you need. Layers are very useful for isolating certain objects on a page and for hiding objects while working on specific objects. Let’s see how this works. To get your Layers palette, you need to go to the Window menu and scroll down to Layers. Here you will see that there is one layer called ‘Layer 1’ and that all the shapes from the previous ‘Arrange’ exercise are on that layer. New Layer

If you want to place each object on a separate layer, you simply make a New Layer. To do this, click on the drop-down menu on the Layers floating palette, and choose ‘New Layer’ from the options there. You can also get a new layer by clicking on the ‘new layer’ icon at the bottom of the same palette. When we choose New Layer from our menu, this new window pops up, with an automatic default name of ‘Layer 2’. Overwrite this name with the word ‘text’ and click ‘OK’. Note that you can change the colour of the layer icon by scrolling down through the options shown at ‘Colour’. This new ‘text’ layer is now visible in the Layers palette. To go to this layer, you need to click onto it in the Layers palette until the layer is highlighted in blue, as seen here.

The new ‘text’ layer is visible in the Layers palette.

The ‘text’ layer is now active as it is highlighted in blue.

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Drag the text layer below Layer 1. Moving Layers

To move layers, you just drag and drop the layers. To place the text layer below Layer 1, simply click onto the text layer and drag it down, as seen here.

Naming Layers

To give a proper name to our our Layer 1, just double-click on it and the Layer Properties window will pop open. Here we will rename it as ‘boxes’.

Viewing Layers

To view a layer, click in its eye icon position. To view any layer, click its eye on, and to hide a layer, click the eye again, which turns it off.

The ‘boxes’ layer is now hidden, as no eye icon is visible.

Deleting a Layer

To delete a layer, you can do it different ways. If you click on the arrow at the top of the layers window (in the drop-down menu), a new menu pops up in which you can choose to Delete Layer. You can also delete the layer by clicking on it and then clicking the Trash Can icon at the bottom of the Layers window. Now that you have seen how to use the layers, here is an example of a brochure designed using layers in InDesign.

All layers visible.

The heading layer is hidden on the layers palette, so the heading is no longer visible on our brochure.

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You can see how important it is to name the layers, and to name them appropriately. You can also see the advantages of showing and hiding layers.

The text and heading layers are now hidden on the layers palette, so they are both no longer visible on our brochure.

The text layer is now the only layer visible on the layers palette, so it is the only attribute visible on our brochure.

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2.7 The Pen Tool In this section we will learn about:

• Pen tool • Paths • Anchor Points • Open and closed Paths • Editing paths • Type on a path

The Pen Tool

The Pen tool is primarily a drawing tool. It works with anchor points. It can be used for drawing curved and straight objects. As we draw a shape with the pen tool, it makes anchor points that we can then go back to at any stage and convert, change, edit, move or delete. The shapes we make with our pen tool are called ‘paths’.

Anchor Points

The Pen tool can be found on your tool bar. There are many ‘hidden’ options under this tool. The pen tool is also found in Adobe Illustrator and Adobe Photoshop, and the same principles apply in all the packages.

The Selection tool and Direct Selection tool in InDesign also work hand in hand with the Pen tool. The Selection tool will select the paths we make with the Pen tool. The Direct Selection tool will directly select anchor points on our path, which we can then move and edit. Open Paths

A line drawn with the pen tool is called a path. Open paths have a distinct beginning and end. To draw a path, you click to create a starting anchor point, and click to create a finishing anchor point. You must end one path before you can draw new segments of a new path. The way you end the path is to either click on the Selection tool in the toolbox, or press Control - Click to deselect the path.

Open path selected with the selection tool

Open path selected with the direct selection tool

To move a path click on it with the selection tool and handles will appear (as seen here) allowing you to move the entire .path.

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If you hold down Shift and click a second anchor point, the path is automatically restricted to a 450 angle. This is called constraining the line. You can draw horizontal, vertical or zig-zag lines using the constrain option. You can draw a line that has as many connected points as you want. Closed Paths

A closed path selected with the Selection tool, allowing you to move it.

You can also draw closed paths and paths that loop and have no end point.

To draw a closed path, you finish your path by clicking on the first anchor point that you drew. A small “o” appears at the bottom of your pen tool when you close a path. Note: Object – path – join (ctrl) rejoins any open-ended end points.

Editing the left side of the triangle by clicking and dragging it using the Direct Selection tool.

Altering the shape by moving the anchor point using the Direct Selection tool.

Editing Paths

You can edit and move anchor points by clicking on them with the Direct Selection tool.

Editing the side of the open path by clicking on the line using the Direct Selection tool.

Editing the open path by clicking and dragging an anchor point using the Direct Selection tool.

Splitting a Path

You can split a path in between two anchor points using the scissors tool. Cuts to a path must be on a line or a curve, rather than on an anchor point. Where you click, you see a new selected endpoint. However, the scissors tool actually creates two anchor points each time you click. Because they are on top of each other, you can only see one.

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Adding Anchor Points

You can add anchor points to an existing path by using the Add Anchor using the Add Anchor Point Pen. Position the pointer on the pen in the toolbox, and drag to the right to select the Add Anchor Point Pen. Click on the path to add an anchor point. You can then drag the new anchor point with the Direct Selection tool. Subtracting Anchor Points

To remove unwanted anchor points, you can use the Subtract Anchor the Subtract Anchor Point Pen. To remove an anchor point, click on an existing anchor point with this tool. Drawing Curves

To draw a curve in InDesign, called a BĂŠzier curve, you set anchor points and drag to define the shape for the curve. Although this takes some getting used to, this type of drawing gives you the most control and flexibility in computer graphics. Click the pen tool to begin. Instead of clicking on the page to drop an anchor point, you click and drag on the Fig Drawing Curves with the pen tool page. This gives you an anchor point, and two direction lines. The next step is to click and drag a second anchor point. As you can see from the diagram, a curve is formed between the two points instead of a straight line. In this way, you can draw as long a curve as you wish.

These again, are similar to open paths. To draw the equivalent of a closed path, you repeat the same process, by clicking on the beginning Fig Drawing Curves with the pen tool point of your path. Below are the steps involved in drawing a circle.

Steps involved Fig Drawing Curves with the pen tool

to draw a circle with the pen tool

There are certain pre-set shapes in InDesign so that you will not actually have to try to draw a circle from scratch, but it is good practise to use the pen tool to try to draw a perfect circle.

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Converting Anchor Points

You can convert an anchor point from being a curve to straight. You use the Convert Anchor Point tool. Click on an existing curve with the Convert Anchor Point tool and see what happens. If you are changing a straight anchor point to a curved one, you will have to click and drag to obtain the direction lines.

Converting anchor points with the Convert Anchor Point tool.

Exercise:

Converting a star into a flower using the Convert Direction Point tool in InDesign. (1) Using the Polygon tool in InDesign, draw a star with 6 sides and star inset of 70%. (2) Select the star with the Direct Selection tool.

(3) Click on an anchor point with the Convert Direction Point tool. Click and drag, and that point will turn into a curved shape.

(4) Repeat this step until all the pointed edges are curved. Your star should now look like a flower.

(5) You can now colour your flower and add a centre point with some of the tools you have already discovered in previous chapters.

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Creating Curved Lines

Rotating these lines will adjust the curvature of the line passing through the node.

Select the Pen tool from the toolbox. You can use this tool to create lines and curves on the page. Points on paths are called anchor points or nodes. As their name implies, anchor points set the position of line segments. The line is painted with the current paint attributes.

Move the nodes by clicking and dragging with the mouse.

You can also draw curved lines by drawing a straight line with the line tool in InDesign, adding an anchor point and then converting it to a curve. Letâ&#x20AC;&#x2122;s look into this in more detail. Draw a standard line with the line tool. Add an anchor point by going to the Add Anchor Point tool on the tool bar. Click on to the line with this tool and a new anchor point will appear.

Click on this anchor point with the Convert Point tool and this line will turn into a curve. Now you have a curved line.

Exercise:

Using this technique and implementing the tools you have learned, make a stem for your flower as seen here.

TIP: The leaves were made from drawing an ellipse shape and then edited using the Direct Selection tool.

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The Type on a Path tool

Now that you have seen how to use the Pen tool to make paths, we will how the look at the Type on a Path tool. This tool can be found ‘hidden’ under the Type tool on the tool bar. In order to use this tool, you first need a path to put the text on. Draw a curved path (as you did earlier) for this demonstration.

path of any sha

on a p ath tool wor

Typ e

path of any sha

Now that you have a path to work with, click on the Type on a Path tool. Place the mouse at the beginning point of the path and click. You will see a blinking text cursor appear. Start typing!

If you want to get rid of the stroke, click on it with the Selection tool. Make sure the stroke option is on top in your swatches, and click None. You can use the Type on a Path tool on paths you make yourself, and you can also use them on shapes in your palette. For example, draw a circle with the Ellipse Frame tool. Now click on it in the same way as before with the Type on a Path tool and you will be able to have text go all around the circle. Once again, if you don’t want to see the stroke, click None.

type on a pa

e th

going around

e th

h ool ere is t ht

t ex

Experiment with this tool yourself and see the different effects you can achieve.

circle using

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2.8 Images, frames and paths In this section we will learn about:

• Fitting images • Direct selection tool and images • Clipping paths • Text wrap • Placing different file types (eg. psd, jpg, eps, tif, etc.) • Eyedropper tool

The fitting options

Fitting Images

When working with images in dtp, a lot of the time the image we will be using will either be too big or too small and we will have to resize the images (the way we learned earlier). But when it comes to actually getting an image to fit into a certain shape, we have fitting options in InDesign. These options are very useful and can make our life a lot easier. When scaling a picture of a person, we need to make sure not to warp or distort the image. When scaling images of textures or landscapes, you can get away with skewing the image a little bit. But when it comes to a picture of a person, no-one likes to see themselves looking warped because the picture has been scaled incorrectly. So, to prevent this from happening, there are a few fitting options we can use, depending on our needs.

Shapes for the fitting exercise

Let’s get a picture and place it into a box, and use our fitting options to scale the image. Open up the file ‘fitting.indd’ in the folder ‘xyz’. There are many different shapes in this document (as seen here). Now we are going to place images into each of these shapes and get them to fit using the fitting options. These can be found under the menu Object Fitting. They can also be found when you right-click on a shape.

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Let’s place the file ‘clodagh_iact’ into all the shapes. Your document should look like this. The image comes into the shape at 100% (its actual size). It does not automatically fit into the shape it is placed into. You need to use the appropriate fitting options to ‘fit’ an image into any shape. Now that you have placed the image in each shape, right click on each shape and use the different fitting options as seen here.

Right click on the image and the fitting options will appear

The fitting options

The original shapes for the fitting exercise

This This option will literally fit the image to the shape you have drawn regardless of its shape. This works fine with textured images but this is not an option that should be used when fitting images of people. We can clearly see from the sample above how the face has been distorted in order for the image to fit the frame.

This option will fit the frame (shape) to the image. This way the frame changes shape not the image. We can see from the sample above how the image is at 100% (its actual size) and the frame has expanded to fit the image/content.

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This option centres the image inside the frame. You can see an example of this from the above exercise.

This is one of the options that is used to keep an image in proportion while fitting it into a shape. You can clearly se how it firs the shape proportionally in the exercise. However you may need to scale it up a little bit yourself to get it to fit exactly into your desired shape.

This option is similar to the option above only it actually fills the shape leaving no gaps.

When you choose this option, this new window will appear. Here you can edit the fitting options and see a preview as you edit. You can also edit the crop amount and you can change the reference points for the alignment of the image. Direct Selection Tool for Fitting Images

You can also use the direction selection tool in conjunction with the fitting options. For example if we take the sample we did earlier when we used the fit content proportionally option. The image was scaled proportionally but it did not fit the frame (as seen here).

To get the image to manually fit the frame we can use the direct selection tool. Step 1: Click on to the centre of the image with the Direct Selection tool. Orange handles will appear, as seen here.

Image in proportion but not fitting the frame

Step 1

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Step 2

Step 2: Click on the bottom right orange handle, hold down the Shift key (to keep it in proportion) and drag it down. This will make the image bigger while remaining in proportion. Release the mouse when you have made the image the size you want.

Step 3

Step 3: Click on the image with the direct selection tool. Hold the mouse down for a moment and then move the image. You will be able to see a ‘ghosted’ out preview of the image that is cropped (as seen here). Now drag the image into the position you require.

Result: The image fitting in the frame proportionally by using the direct selection tool

Life Magazine: A recap exercise This is a large exercise to practise many of the tools you have learned. Use the image here as your guide and mirror this layout in a new document.

For this exercise you will find all the image you need in the folder called ‘life_times’. The magazine is to be 150mm by 200mm. Make sure to use your margins and guides to align everything. Use layers:

Have the background image on one layer, the text on another layer, etc. See below. Fitting Options:

You will need to use the fitting options to fit some of the images proportionally into the shapes. Effects:

You will need to use the effects to add drop shadows, bevel and emboss effects and feathered effects to some of the images. Text Colour

You will need to apply different colours to the text. Have fun!

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Drop Shadow and Bevel & Emboss effects applied to these images.

Life Magazine Drop shadow applied to both the text and to the background pink box

Contrast, proximity, alignment, font size...

These alone can alter the overall look of the design, making it look more professional. One further idea (to make this a good piece for your portfolio) would be to put thumbnails of other designs or magazine covers (which you can have also created in InDesign) along the bottom of this cover, for visual effect.

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Clipping Paths Clipping paths crop out parts of an image revealing only certain parts of the image. You can create clipping paths in InDesign in the following ways: 1) Place images in InDesign with Clipping Paths already applied

You can place images with a clipping path or alpha channel already applied. You can add paths and alpha channels to graphics using Adobe Photoshop and then save them. You can then place these images in InDesign and the program can read these clipping paths and alpha channels automatically. 2) Use the Clipping Path Window to detect edges

Use the Clipping Path command in InDesign to detect edges and generate a clipping path for an image in InDesign. 3) Use the Pen Tool in InDesign

Use the Pen tool to draw a path in the shape you want (as already learned earlier in this section). You can then place an image into this path. Letâ&#x20AC;&#x2122;s look at these three options in more detail. Placing Images in InDesign with Clipping Paths already applied.

When you place an image in Indesign with a clipping path already applied, InDesign reveals only the part of the image within the clipping path; all the other parts of the image stay hidden. Here is an example of an image with a clipping path already applied and placed into InDesign. We can clearly see the sign but the background is hidden. The clipping path was made areound the sign only. So only the clipping path and its contents display in InDesign. If you click on the image with the direct selection tool you will see that points appear around the sign. InDesign sees the Photoshop path and allows you to edit the path with the Direct Selection tool.

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Let’s open the Clipping Path window to see more of our options.

Go to Window - Clipping Path and this new window will appear.

When we select the image and then open up the clipping path window, straight away we can see that our menu is recognising that there is a Photoshop path. It also is displaying the actual name given to the path in Photoshop.

You also have the option to ignore the clipping path. If you scroll down the menu where it says ‘type’, you will come to the option ‘none’. Click this option and you will see that InDesign will ignore the clipping path and display the entire image (as seen here). Use the Clipping Path Window to detect edges in InDesign

You can also make your own clipping paths in InDesign by uing this window. Lets place an image on the page to demonstarte how thi9s works. This option works best with strong contrast images. Images with a white background can work the best. 1)

Place the image ‘Chinese symbol’ on the page.

A new window will appear and you can change the threshhold and tolerance untill the blue area is cropped out and only the Chinese symbol appears. This option makes a clipping path around the shape.

2) Go to Object - Clipping Path. Scroll down to ‘Detect Edges’. Clipping Path - detect edges

3) Now your image has no blue background, just the symbol itself.

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Creating Clipping Paths using the Pen Tool in InDesign

We have already learned how to make shapes using the pen tool. Let’s now look at how to use the pen tool to draw around specific areas of the image and then paste an image into that shape. Let’s place a flower image on a page in InDesign and draw a clipping path around it using the pen tool.

‘Irish_lotus.jpeg’

Exercise - Making a clipping path in InDesign using the pen tool

1) Make a new A4 document for this exercise and place the file ‘Irish_ lotus.jpeg’ on the page. Choose the Pen tool and trace around the image by clicking points around the flower (shown here in Step 1). Make sure to close up this path by clicking the last point on top of the first point. 2) Choose the Convert Point tool and convert each point into a curve. Simply click on each point with the convert point tool and drag in the direction you want the curve. Use this tool and the direct selection tool to ‘tidy up’ this shape untill it reflects the flower shape.

Step 1

3) Click on this new shape with the Selection tool and handles will appear, as seen in Step 3.

4) Move this new shape away from the flower image so that it is on its own, not on top of the image anymore.

5) Click on the flower image and copy it (Edit - Copy). Now we want to paste the image inside the new shape, so we need to select that new shape and choose ‘Paste Into’ under the Edit menu. InDesign will now paste the flower image we just copied into the new shape we just selected.

Step 2

6) Click on the centre of the shape with the Direct Selection tool and move the the flower into place.

7) To get rid of the stroke around the flower, click ‘None’ for the Stroke option in the swatches. Save this file as ‘lotus_flower_exercise’. Well done! You have just made your own clipping path using the Pen tool.

Step 3

Step 6

Step 4

Step 5

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section 2.8

Text Wrap You can wrap text around any object in InDesign. You can wrap text around text, frames, placed images, and shapes you make. In this way your text does not get hidden behind objects and shapes. You can achieve some very effective results using Text Wrap. Here you can see how the text you are reading is wrapping around the image of an Irish lotus flower. Let’s learn how to do this in InDesign by using the Text Wrap command.

The first thing we need to understand about text wrap is that it applies to the object that is being wrapped, not the actual text. For example, to achieve this effect where this text wraps around this flower, I had to select the flower image (not the text) and apply text wrap to the flower image.

Let’s do this ourselves. Open the file ‘Lotus_flower_exercise.indd’. We need to place text in a box beside the flower, so let’s first draw a box and then place the text ‘hotel.doc’ into the box. Now select the image and make sure it is on top of the text (bring to front). Your page should look something like this (A). Now make sure the image is still selected so we can apply Text Wrap to the image. You know the image is selected when blue handles appear as seen here (B).

Text wrap can be found in two places:

• When an image is selected the text wrap options will automatically appear on the top menu bar, as seen here. Sometimes, however, the text wrap options do not appear on the top menu bar, if the window on your computer screen is very small or narrow. • You can also see your text wrap window under Window - Text Wrap. This window has more options then the top menu bar.

TheText Wrap floating window

Text Wrap icons on the top menu bar

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No Text Wrap

When you place an object or text on When the page in InDesign, it automatically has no text wrap on it. If you want to take text wrap off an object, click this option. Wrap Around Bounding Box

This option applies Text Wrap to the bounding box. It does not, This however, add text wrap to the contents of the box, e.g. a clipping path. It just adds a text wrap to the actual outside bounding box. Wrap Around Object Shape

This option does not wrap around the This outside bounding box, it wraps around the contents and object shape, e.g. a clipping path. Jump Object

This option applies text wrap so that only text on the top and bottom of This the object will appear. No text can come around the sides of the object. Jump to next column

This This option only allows text above the object. Now that we have learned all the options we can see that the option we need is â&#x20AC;&#x2DC;Wrap around object shapeâ&#x20AC;&#x2122;. When we apply this form of text wrap to the image, some of the text may go in between the petals of the flower. We may also get a little red box indicating that there is more text. We simply need to increase the size of the text box and move the image around until it fits better, as seen here.

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Left: Here some of the text has gone in behind the flower and between the petals. There is also a little red box in the bottom right corner of the text box. This symbol indicates that there is more text waiting in that box, which can not currently fit.

Right: One solution is to increase the size of the text box and move the flower until the text fits better around it. Below: Two examples to demonstrate the critical dif ference between

Wrap Around Bounding Box and Wrap Around Object Shape.

Wrap around Bounding Box

Wrap around Object Shape

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The Eyedropper tool The eyedropper tool in InDesign is a very useful tool. You can do the following with the eyedropper tool:

• Apply colors using the Eyedropper tool

• Copy type and object attributes using the Eyedropper tool

• Use the Eyedropper tool to sample colours

1) Applying colours using the Eyedropper tool

Select the object you want to apply the attributes to. Click the eyedropper tool and click the object that has the attributes you want to sample. A loaded eyedropper will appear , and the selected object will automatically update with the attributes of the object you clicked. To change other objects to the same attributes, click the objects with the same loaded eyedropper. Let’s see how this works.

Step 1: Draw a rectangle and a circle with a black stroke.

Step 2: Add a yellow fill, blue stroke and a drop shadow to the rectangle.

Step 3: Now select the circle and place the eyedroper tool over the rectangle.

Step 4: Click the yellow rectangle and the eyedropper will fill with these attributes, and they will be automatically applied to the selected circle.

Step 1

Step 2

Step 3

Step 4

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2) Using the Eyedropper tool to sample colours

You can use the Eyedropper tool to add colors from placed graphics and images to your document. You simply click onto the imported image or graphic with the eyedropper tool, and it will pick up the colour you have sampled. If you hold down the eyedropper tool and move it over the image or graphic, you can see the colours it samples as you move the mouse. Let’s see this in action.

Step 1: Place the image ‘wood.jpeg’ into a InDesign Document. Step 2: Choose the eyedroper tool and click on the image.

Step 3: The colour you sample will now appear in your tool bar and your swatches. Simply save the colour in your swatches by going to ‘New Colour Swatch’ in the Swatches menu.

Step 3

Step 1

Step 2

Note: If you want to sample another colour from this same image you need to press the Alt key (to empty the eyedropper) and then you will be able to sample a new colour. 3) Copy type attributes using the Eyedropper tool

You can use the Eyedropper tool to copy type attributes and then apply those attributes to other type. You can copy type attributes using the Eyedropper tool by using the same process you learned to copy object attributes. We will now see how this works.

Open up the file ‘eyedropper_text.indd’.

Select the text you want to apply the attributes to. In this case we want to apply the attributes of the heading to other words in the document.

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Highlight the word ‘red’.

Click the eyedropper tool onto the heading text. The attributes of the heading will now automatically apply to the word ‘red’. Do this again for the words ‘blue’ and ‘green’. WHAT IS COLOUR? Our eyes combine two types of receptor cells, known as rods and cones. The more sophisticated cones are sensitive to different wavelengths within visible light; these are the different colours or hues. We call the longest visible wavelengths red light, and the shortest visible wavelengths blue light. Other colours are perceived along a scale in between. Green light, for example, comes about halfway.

Eyedropper_text.indd WHAT IS COLOUR? Our eyes combine two types of receptor cells, known as rods and cones. The more sophisticated cones are sensitive to different wavelengths within visible light; these are the different colours or hues. We call the longest visible wavelengths RED light, and the shortest visible wavelengths BLUE light. Other colours are perceived along a scale in between. GREEN light, for example, comes about halfway.

Above: Text attributes have been changed using the eyedropper tool.

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section 2.9

Tabs, Tables, Templates and Pages In this section we will be looking at:

• Tabs • Tables • Multiple Pages • Page numbering • Facing pages • Master Pages • Templates

Tabs

The tabs option is found under the ‘Type’ menu on the top menu bar. You need to highlight the text you want to tab, and then choose Type - Tabs (Ctrl - Shift - T). To demonstrate tabs, let’s type some text that will need tabs. Draw a text box on the page and type the numeral ‘1’, then press the tab key on the keyboard, then type 2 and tab, type 3 and tab, etc., as seen here. If you want to be able to see the tab and return symbols, go to the Type menu and scroll down to ‘Show Invisibles’. Choosing to see these is a matter of your preference, but they can help when setting up or reviewing tabs. Highlight all the text and go to Type Tabs, and a new tabs strip window will appear over your highlighted text, limited to the current width of the text box, and showing the measurements in whatever units you have chosen. Adding a Tab

To add your own tab, simply click the white area above the measurements, as seen here, and a tab will appear. Adding multiple tabs

Each time you click in the white area, a new tab will appear. To delete a tab, simply click on the tab and drag it up off the white area, or right-click and choose Delete.

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Exact positioning of tabs

To give each tab a specific measurement, simply click on the tab and type in the position in the ‘x’ box. If you want to repeat this measurement for all the tabs, simply right-click or click the drop-down menu and choose ‘Repeat Tab’. You can also delete tabs or clear all tabs in this drop-down menu. Tab alignment

To change the alignment of a tab, simply click on the tab and choose a different alignment, as seen here. You can choose Left alignment (which is the default), Centre alignment, Right alignment or ‘Align On’. This will align the tabs on a specific character, such as a full stop or a comma. The tab highlighted in this example is centre aligned, but all the rest of the tabs are left aligned. Notice the subtle language of the tab symbols. Adding a leader to a tab

To add a leader to a tab, click the tab you want the leader on, then type a full stop into the leader window and press Return. You will se a ‘leader’ of dots leading up to the tab you chose, as seen here.

Let’s do an exercise together to practise using the tabs. Open up the file ‘decimals_exercise.indd’.

We are going to use the tabs window to change the text from its original state (A) and tab it to look like (B).

(A)

(B)

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The first step is to check if there are tabs already in place or if we will need to put tabs in the document. Go to Type - View Invisibles and we clearly see that there are no tabs in place. Click on the text and add a tab on each line, as seen here. Highlight all the text. Go to Type - Tabs and the tabs window will open, as shown here. Place a tab in position. Choose the ‘Align On’ for alignment and type a full stop in the ‘align on’ box. Now all the text will got to this position, aligned under each decimal point.

No tabs

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Tabs in place on each line and on the top line before the number 3.0

To add the leader effect, click on to the tab to make it active. Then type a full stop in the leader box and click Enter. Your text on the page should now look like this, and the exercise is complete. RECAP EXERCISE

Here is an exercise for you to try yourself, using the tools you have just learned. Open up the file ‘recap_tab_exercise. indd’ and change the text to look like this. You will need to use the tabs window for this. You will also need to place two colour boxes behind the text to achieve this effect. One with a solid blue fill and the other with a gradient. Good luck!

Branding

Rate

C.A.R

£250,000 plus £100,000 - £249,999.99 £75,000 - £99,999.99 £40,000 - £74,999.99 £20,000 - £39,999.99

2.75% 2.65% 2.60% 2.50% 2.35%

2.78% 2.68% 2.63% 2.53% 2.38%

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TABLES

The Tables option in InDesign is very user friendly and extremely effective. You can easily transform standard tables into very professional tables using, text, colour and images using the tables option in InDesign. You can also make tables completely from scratch. You can convert existing tables and imported tables from other applications. You can even convert tables into text and convert text into tables! The options are endless.

To activate the tables option you first need to have a text box or an existing table to work with. The main to remember when working with tables is that it is mainly the ‘text’ tool that works hand in hand with the tables. Let’s start from scratch to demonstrate how the tables work.

Draw a text box with the text tool. Go to ‘Table’ on the main top menu and scroll down to ‘Insert Table’. A new window will appear, as seen here.

For this example, type in 6 rows with 4 columns and 1 header row (the top row). Your table should now appear as seen here. You can make the table bigger or smaller by using the Transform and Scale tools in the same way as you have done in past exercises.

However, to select individual cells and rows, you need the text tool. Click on the Text tool and bring your mouse over to the edge of the table, and you will see the cursor change into a big black arrow.

This arrow indicates that we can now select this row simply by clicking on it.

We can see here how we can select rows and columns by using the text tool. When the row or column is selected, we can use the Table menu to edit these rows and columns. You can also select the entire table using these arrows.

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Simply bring the text tool to the edge of the table. Click the row or column, and then go to the table menu. Scroll down to Select - Table and the entire table will then be selected.

To alter the height and width of the rows and columns manually, we also need the Text tool. Make sure the table is selected. Choose the text tool and bring your cursor over the centre of the table. Notice when you bring the cursor over the stroke of a cell or row that the cursor changes into a little arrow, as seen here. Now you can drag the line making the cells bigger or smaller. Try this yourself to get used to this tool.

You can see here how we have increased the width of the first column by using the text tool to drag the line to the right making the row wider. You can use this same process to increase the height of the rows.

To insert text into the cells, just click into the desired cell with the type tool. A flashing icon will appear and then just type. You can use the tab key to move across the table, or you can use the arrow keys on the keyboard to move around the table.

To select an entire individual cell, drag your cursor the width of the cell until the entire cell is black, indicating that it is selected.

To select all the contents in a cell, highlight the contents by clicking and dragging the cursor over the contents or using the shortcut Select All (Ctrl A).

Now that we know how to navigate through a table, letâ&#x20AC;&#x2122;s look at all the table options. When we have a row or column selected in a table, the table options will appear on the top menu bar.

Vertical alignment of text: top, centred, Number bottom or justified. of rows

Rotation of text

Number of columns

Merge cells

Unmerge cells

Stroke width

Stroke style

Cell Styles

Table Styles

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There is also a table window. Go to Window - Type & Tables - Table and a floating table window will appear. Many of the options that appear on the top menu bar are also in this floating window. Number of rows

Number of columns

Row Height Column Width Vertical alignments

Rotation of text

Cell Insets

We can also go to the drop-down table menu and scroll down and see all the options available there. You can select, insert and delete rows and columns in this menu. You can also merge cells, split cells and distribute rows and columns evenly. However, the main options we would use are under the Table options and the Cell options.

Table Options Under table options we have four main menus:

• Table Setup • Alternating Row and Column Strokes • Alternating Fills • Headers and Footers.

Table Setup

Under table setup you can add rows, columns, borders and table spacing. Alternating Row and Column strokes

Here you can change the strokes on rows and columns. You can add patterned strokes, alternating strokes, change the colour of strokes etc. Alternating Fills

You can easily and quickly change the fills of rows and columns in this menu. You can have alternating fills and change the colours, patterns and tints of fills. Header and Footers

Under this menu you can add and edit headers and footers.

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Cell Options Under this menu you can edit text, stokes and fills, rows and columns and diagonal lines. Edit Text

Under this menu you can edit text in the table. You can inset the text, align the text vertically and rotate the text. Strokes and Fills

Here you can edit the stroke type, weight, tint and colour. You can also edit fill colours. Rows and Columns

Under this menu you can edit the row height and the column width. Diagonal Lines

Here you can add diagonal lines in different directions to your table. Exercise to demonstrate the table options

Using the tools you have just learned, complete the following exercise. You can use the Tables drop-down menu, or the top Tables menu bar, or the Tables window for this exercise.

Destination Dublin Kilkenny Cork Donegal

Departures 08:00 08:40 08:30 09:00

Arrivals 16:00 16:40 16:30 17:00

Price E25 E45 E55 E35

Save this table as ‘red_table’.

Now that you have familiarised yourself with the table options, we are going to look at how we can add images to tables.

Inserting images into tables To insert images into a cell, once again we need the Text tool. Select the text tool and click into the cell you want to insert the image into. Go to File - Place (ctrl-D) and choose the picture you require. Click OK, and the image will insert into the cell of the table.

Note: It is a good ideas to have the images you require at the size they will be. There is no need to bring in an extremely large image if it is only going to be displayed as a small image in the table. If the image you insert is very big, you can scale it down the same way you scale other images in Indesign. Let’s have a go at inserting images into the table you have just made. 167

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We need to insert another column into this table to use for our pictures, so we take the text tool and select the first column.Then go to the Table drop-down menu and choose Insert - Column. Click one column to the left. A new column will now appear. We are going to use this new column to insert our pictures. Destination

Departures

Arrivals

Price

Dublin

08:00

16:00

E25

Kilkenny

08:40

16:40

E45

Cork

08:30

16:30

E55

Donegal

09:00

17:00

E35

TEXTURES AND COLOUR Visual

Name

Location

Description

Nightscape

Ireland

Warm colours. Reds, oranges and yellows

Click into the empty cell beside Dublin with the text tool. Go to File - Place, choose the image ‘surfers_ small’ and click OK. This image will now be in the first cell.

Place the other three small images into the remainder of the cells. Change the font to Arial and reduce the size of the font. ‘Tidy up’ the table so it looks like the table here.

Name

Location

Description

Nightscape

Ireland

Warm colours. Reds, oranges and yellows

Seascape

Australia

Blues, whites, Aqua

Flowers

California

Purples, pinks, whites

Sand

Spain

Deep oranges and yellows

Leaves

France

Shades of green

Flowers

England

Yellow and orange colours

Open Area

The Green

Earthy colours. Browns and greens

Seascape

Australia

Blues, whites, Aqua

Flowers

California

Purples, pinks, whites

Sand

Spain

Deep oranges and yellows

Leaves

France

Shades of green

Flowers

England

Yellow and orange colours

Open Area

The Green

Earthy colours. Browns and greens

EXERCISE

Here is an exercise to practise what you have learned. Open up the file ‘table2_exercise. indd’, shown above, and convert this into the coloured and illustrated table shown here (left). You will find the images in a folder called Table Images on the disc. Good luck!

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Multiple Pages We have learned how to work with a single page in InDesign. Let’s now look at how we can add multiple pages and the different options we have.

When you open a new document in InDesign, you are given the option to insert pages. There is also the option of Facing Pages and Master Text Frame. Let’s look into these options and understand what they mean.

Facing Pages

Facing pages literally means that the pages will insert as they will look ‘facing’ you when you read the document. A facing-page document has left and right pages as in a book, magazine, or newspaper. Non-facing pages

Non-facing pages are inserted to the document one page underneath another. They do not display side by side with a left and a right-hand side.

Facing Pages

There is a floating window for pages in an InDesign Document. You will find this under Window - Pages. This window will display differently for facing pages and non facing pages, as illustrated. You can see that facing pages display with page 1 being the front, so it is on its own. Pages 2 and 3 are side by side (as they would be if you opened the book). Page 4 (the back) is on its own as it would be in a book.

Non-facing Pages

The non-facing pages display one under the other. They do not display side by side, or as they would be in a book. When to use facing pages and non facing pages

When designing a multipage newsletter, magazine, newspaper, book or brochure, facing pages would be used. This way you can lay out and design the ‘book’ as it will be read, designing the pages as spreads.

Non-facing pages would be the right choice if you were doing a doublesided flyer or leaflet that involved one page only, but with two sides. For this, you would not require the pages to be facing.

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Drop down menu ‘None’ (No Master Applied) Facing Master Pages Non Facing Master Page

Master Page applied

Blank Page with No Master Applied

Non Facing Pages

Facing Pages

Delete Page

Create New Page

Master Pages

A master page is a page where you can set a basic layout, and then all of the other pages that you will add to your document and which are based on that master page will look the same. The master page will not print, it is used as a guide for the rest of the pages. Think of it as a piece of glass or acetate, and anything that is placed on that glass will apply to all the rest of the pages. What are Master Pages used for?

Page numbering is done on the master page. Once it is on the master page, it follows through on all the rest of the pages and automatically numbers each page. That way, you don’t need to manually put page numbering on each page.

If you want, for example, a company logo on every page, then you would place it on the master page and it would appear on all the rest of the pages in your document. Any type of headers or footers would be placed on the master page also. Let’s take a deeper look at the Pages palette, looking at all the options we have and what everything means. If we take a look at the diagrams above, we can clearly see everything is named.

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The palette is divided into two main parts: the top part and the bottom part. On the top part we can see where the master pages are located. The bottom part is where the actual pages of the document are located.

Like all floating windows in InDesign, there is a drop-down menu on the Pages window, as shown here. We can use this drop-down menu for all the options we need for multiple pages. There are options to add and delete pages and spreads. Some of these options are on the pages window (as seen in the diagram). You can also Apply Masters to pages and save and load masters using this drop-down menu. Note: Many of these options are also available if you right-click on your mouse.

Inserting pages

When we choose to ‘Insert Pages’ in any of the ways already described, this new window appears. You can specify the number of pages you require, and where they are to go. You can also choose pages that will follow the master page or you can choose blank pages that will ignore the master page. To choose pages which will follow what is on the master page, choose ‘A-Master’ from the Master drop-down window. To choose pages which will ignore the master pages, choose ‘None’ from the master drop down menu.

Drop down menu

You can also change the type of page you have inserted by using the Pages floating window. If, for example, you wanted to make page 4 blank, you simply click on the top part of the window on the ‘None’ page. Drag this down and place it on top of page 4, and page 4 should now turn into a blank page. The ‘A’ icon will disappear, as seen here.

You can use this same process if you want to change a ‘blank’ page into a ‘master page’. This time you would click onto the ‘A-Master’ page on the top of the window and you would drag it down and on top of the page you want to change. You can also use this ‘drag and drop’ technique to add and shuffle pages around. To add another page, click on the A-Master page and drag it down to the bottom part of the window and drop it where you want the pages to insert.

Making page 4 blank by dragging and dropping the ‘none’ page onto page 4.

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Now two more page are inserted as seen here. Try this yourself to get used to the dragging and dropping technique. It just takes practice to get the hang of it! Navigating between the pages and master pages

There are many ways to navigate between the pages in your document. The easiest way is to double-click on the page you want in the Pages floating window.

Inserting more pages by using the drag and drop technique.

For example, if you want to go to the master page, just double-click on the master page thumbnail at the top of the Pages window. The master pages thumbnail will go dark blue, and the text will appear with a black box around it, indicating that this is the page you are on. If you want to go to page 1 in your document, simply double-click on page 1 in the Pages window. Once again, the page will go dark blue and the text will appear with a black box around it, indicating you are now on page 1. You can also see what page you are on and navigate through the pages by going to the bottom left of the InDesign window. You will see a box indicating what page you currently are on. You can also use the dropdown menu here to navigate through the pages. Exercise to recap

Now that we understand how multiple pages work, let’s have a go at making a new document with multiple pages, using master pages and blank pages. Make a new document with 13 facing pages, A4 size - portrait. Pages 2 and 8 are to be blank. Layout all the other pages as in the diagram here. Save the entire document as ‘multiple_pages’.You will find the iact logo in the folder X, where the file is named ‘iact_logo. jpg’.

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Step 1: Go to File - New document. Make sure it is A4 in size. Choose insert 13 pages and tick the box for facing pages. Step 2: Go to the Master page. Do a layout similar to the one shown here. You will need to draw a box with a black frame (stroke 2pt). Underneath this box, place a text box with 3 columns (Text Frame options). Step 3: Draw another box beneath this with a red stroke of 2pt. Step 4: Place the iact logo on the top of the page.

Step 5: Double-click onto any of the pages in your document and you will see that this layout is on every page.

Step 6: Drag the ‘none’ thumbnail from the top of the pages window down onto page 2 and page 8. Now these two pages will become blank. Step 7: Save the document as ‘multiple_pages’. Master Text Frame

When you start a new document, you can select the Master Text Frame option so that an empty text frame is placed on the document’s default master page. This frame has the column and margin attributes specified in the New Document dialogue box. This is useful if you want to place a multiple-page Word document into InDesign. By having this option ticked, InDesign will automatically create the number of pages needed in InDesign to contain the text from the Word document. Automatic Page Numbering

One of the other options used for Master pages is inserting page numbers. We want to insert page numbers so that the page numbers will appear on each page and they will automatically be numbered. To do this, we need to first go to the master page. Draw a text box for the page number (you will need to draw a right-hand side text box and a left-hand side text box for facing pages). Go to Type - Insert special characters - Markers - Current page number. Note: You can also right click for this page numbering option.

An ‘A’ will now appear on the master page, indicating that it will automatically add in the page numbers. If this ‘A’ does not appear, it may indicate that you are not actually on the master page. Make sure you are on the master page for this to work correctly. Now double-click onto any of the pages in your document and you will see that the pages are automatically numbered. Try this yourself now.

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You can also change the type of numbering. You can have pages numbered with numbers, or you can use Roman numerals, alphabet codes, etc.. To do this, go to the drop down menu on the Pages floating palette. Make sure you are on the page you want the numbering to start. Scroll down and choose Numbering & Section Options.

A new window will appear where you can clearly change the type of numbering using the scroll down window, as seen here. Exercise

Open up the last document you saved, which was â&#x20AC;&#x2DC;multiple_pagesâ&#x20AC;&#x2122;. Insert automatic page numbers into the red box for each page.

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Styles, formats and templates In this section we will be looking at:

• Style Sheets • Paragraph Styles • Character Styles • Rules and Indents • Drop Caps and Nested Styles • Templates

Style Sheets

A style sheet is a set of paragraph or character formatting specifications that can be applied to highlighted text by a shortcut or by clicking the style sheet name on the Style Sheets Palette. If a style sheet is modified, all paragraphs or text block to which it was previously applied will reformat instantly. A document can contain up to 1,000 different style sheets! Style sheets are a very useful way of formatting text easily and efficiently. Newspapers and magazines rely on style sheets to assist with the layout. Instead of manually formatting text, you can make styles known as style sheets and use these styles for your text. For example, if you wanted all the headings in a document to be a certain style (instead of manually changing the colour, font type and font size each time), simply make a style - name it ‘Heading’ and click on this style for the heading and it will format to that style. Every new Paragraph Style Sheet automatically has a default Character Style Sheet associated with it that defines its character attributes. You can also create independent Character Style Sheets. Using style sheets has a number of advantages including:

• The style can be modified after use and all occurrences of the style will change. This makes it far easier to alter the appearance of a document in one go.

• The document is guaranteed a consistent look.

• We save time in redefining character and paragraph styles.

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How to make style sheets

There are Character Styles and Paragraph Styles. Character styles are styles with character attributes including font colour, size, style etc. Paragraph styles are for paragraph attributes including alignment, line indents, drop caps, line spacing, etc.. There are floating windows for these style sheets. Got to Window - Type & Tables - Paragraph Styles and also choose Character Styles. Two new windows will appear, as seen here. Basic Paragraph

The basic paragraph style sheet is the default style sheet for all newly created text boxes. If the basic paragraph style sheet is modified with a file open, any text with which the basic paragraph style sheet is associated will update within that document only. If the basic paragraph style sheet is modified when no documents are open, the modified style sheet will become the default for all subsequently created documents. Similarly, any new style sheet that is created when no documents are open will appear automatically on the Style Sheets. New Paragraph Style and New Character Style Windows

The diagrams here indicate the different paragraph and character style attributes for making new style sheets. To get these windows, choose New Character Style... and New Paragraph Style.... from the drop-down menus on the Style Sheets floating windows.

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All Paragraph Style Options

All Character Style Options

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Style Name

Here you can give the style a name that is appropriate. For example, you could call the style ‘body text’ if it is the style of the main body of text in your document. ‘Based On’

When one style sheet is ‘Based On’ an existing style sheet, the two remain associated. If the original style sheet is modified, any style sheets that are based on it will also change, except for any specifications that are unique to the ‘Based On’ style sheet. To base one style sheet on another, choose from the ‘Based On’ drop-down menu in the Dialogue box. Next Style

You can use this to apply successive paragraph styles automatically. Keyboard Shortcuts

You can assign a keyboard equivalent by pressing the Ctrl key and a number from the keypad. To Create A New Style Sheet

1. Highlight the paragraph and apply any character or paragraph attributes, such as font, point size, type style, colour, horizontal scaling, tracking, indents, leading, space, horizontal alignment, tabs, rules etc. that you want to be part of the style sheet. 2. With the paragraph or text still highlighted, choose New Paragraph Style or New Character Style from the drop down menu. 3. Enter as descriptive a name as you can think of for the new style sheet in the Name field. 4. If you wish to apply successive paragraph style sheets automatically as you input text, you can chain one style sheet to another. To do this, choose from the Next Style drop-down menu. When you enter a paragraph return as you input text, the Next Style sheet will apply automatically to the next paragraph you type. 5. Click OK to exit the Style Sheets dialogue box. Click Save. Make sure you apply the new style sheet to the sample paragraph, in addition to any other paragraphs.

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You can also make new paragraph and character style sheets without previously highlighting text. Go to New Paragraph Style or New Character Style and choose from any of the style options available in this window. PARAGRAPH STYLE ATTRIBUTES

CHARACTER STYLE ATTRIBUTES

• Basic Character Formats • Advanced Character formats • Indents and Spacing • Paragraph Rules • Keep Options • Hyphenation • Justification • Drop Caps and Nested Styles • Bullets and Numbering • Character Colour • Open Type Features • Underline Options • Strikethrough Options

• Basic Character Formats • Advanced Character Formats • Character Colour • Open Type Features • Underline Options • Strikethrough Options

Indents and Spacing

Indenting the first line only:

1. Choose Indents and Spacing

2. Enter a number in the First Line field. If you’re not sure what value to use, start with the point size of the text you’re indenting.

3. Click Apply to preview and, if you are happy, click OK.

Paragraph Rules

There are many reasons to use a paragraph rule. First, a paragraph rule stays anchored to its paragraph, even if the paragraph is moved or reflows, unlike a line that’s created with a line tool. A paragraph rule can also be applied using a style sheet. Unlike the Underline type style, a paragraph rule can be modified in its appearance and position.

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To insert a Paragraph Rule

1. Choose Paragraph Rules and tick the Rule Above or Rule Below box. 2. Choose a width from the Width drop down menu or enter a custom width in the Width field. 3. Choose Indents or Text from the Length pop-up menu. If you choose Text, the rule will be the width of the first line of text in the paragraph for a Rule Above, or the width of the last line of text in the paragraph for a Rule Below. If you choose Indents, the rule will be the width of the paragraph, unless you enter a number other than 0 in the From Left or From Right field. 4. Highlight the entire Offset field, and enter the fixed distance (in any measurement system that you want) to offset a Rule Above upward from the baseline of the first line of the paragraph, or to offset a Rule Below downward from the baseline of the last line of the paragraph. For a Rule Above, use an Offset at least as large as the point size of the type. 5. You can change the number in the From Left and/or From Right field to Indent, and thus shorten the rule. 6. Choose a style from the Style drop-down menu. 7. Choose a colour from the Colour drop down menu and choose a preset Shade percentage or enter a shade value. 8. Click Apply to preview, then click OK. Keep Options

To keep paragraphs together: 1. Choose the Keep options. 2. Tick the Keep with Next ¶ box. 3. Click OK. To prevent orphan and widow lines

A ‘widow’ is the last line of a paragraph that is stranded alone at the top of a column (“all past but no future”). An orphan is the first line of a paragraph that’s stranded at the bottom of a column (“All future but no past”). The Keep Lines Together command can be used to prevent orphan and widow lines. It can also be used to keep all the lines in a paragraph together.

1. Tick the Keep Lines Together box. 2. Click the All lines in ¶ button to keep all the lines of a paragraph together. Use this for subheadings or any other paragraphs that mustn’t be broken at all. 3. Click OK. 180

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Drop Caps and Nested Styles

ou can add drop caps, such as the ‘Y’ at the start of this paragraph, to one or more paragraphs at a time. The drop cap’s baseline sits one or more lines below the baseline of the first line of a paragraph. Inserting Automatic Drop Caps

1. Choose the Drop Caps and Nested Styles option. 2. Tick the Drop Caps box. 3. Click Apply to preview. 4. Click OK.

Create Nested Styles

You can set up two or more nested styles to work together, one taking over where the previous one ends. Rather than repeatedly applying individual colours, bolds and italics by hand to each part of the text, we can add nested styles to the paragraph style. To do this, you need to first create special Character Styles to apply, as Nested Styles, to a main paragraph style. Then add the Nested Styles to the main paragraph style. You do this by clicking on the New Nested Style button. There are options to control how the nested styles are applied. Choose from the numbers of characters or words, or base the nested style location on other special characters. Bullets and Numbering

Here you can make a list style using bullets or numbers. You can choose the default bullets, or load your own font for the bullets. You can also use numbers, alphabet characters or Roman numerals. Open Type Features

OpenType fonts use a single font file for both Windows® and Macintosh® computers, so you can move files from one platform to another without worrying about font substitution and other problems which can cause text to reflow. They may include a number of features, such as swashes and discretionary ligatures, that aren’t available in current PostScript and TrueType fonts.

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To Apply A Style Sheet

1. To apply a paragraph style sheet, click in a paragraph or press and drag through a series of paragraphs. 2. Click a paragraph style sheet name or the character style sheet name on the Style Sheets palette. The paragraph will reformat instantly. You can also apply a style sheet by using the keyboard equivalent, if any that was assigned to the chosen style sheet. The keyboard equivalent for each style sheet is listed next to its name on the Style Sheets palette. Text formatted using a style sheet can be locally formatted at any time using the keyboard, the Measurements palette, or the Style menu. If you insert the cursor in or highlight locally styled text, a plus sign will appear on the Style Sheets palette next to the name of the style sheet that is associated with that paragraph. You’ll also see a plus sign before a paragraph style sheet name if your cursor is inserted in text to which a character style sheet has been applied. Creating New Style Sheets by Duplicating

The Duplicate command, as you might expect, creates a copy of an existing Style Sheet. There is no linkage between a duplicate style sheet and the original. It’s just a quick way to create a variation on an existing style sheet. 1. On the Style Sheets Palette, right-click the name of the style sheet you want to duplicate, then choose Duplicate <style sheet name> from the pop up menu that opens. This option in Styles is also in the dropdown menu. 2. The Duplicate Style Sheet dialogue box will open, and the words “copy of ” will precede the name of the style sheet in the Name field. If you want to, you can edit the name. 3. At this stage you can edit the new style sheet. 4. Click OK and click Save.

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Deleting Style Sheets

To delete an existing style sheet, click on it in the style sheet palette and right-click, or use the drop-down menu and click “Delete style”. If the style sheet that you are deleting is not currently applied to any text in your documents, click OK. If the style sheet is currently applied to any characters or paragraphs in your document, a prompt will appear. Choose a replacement style sheet from the ‘Replace with’ drop-down menu or choose ‘No style’, then click OK. Note: If you choose a replacement style sheet, any local formatting will be preserved. If you choose ‘No Style’ and then apply a new style sheet, on the other hand, all local formatting will be removed. The Basic Paragraph style sheet can be edited, but it cannot be deleted. To delete All Unused Style Sheets

Choose ‘Select all unused’ from the drop-down menu on the Paragraph styles and Character styles floating windows. Click ‘Delete’ on the keyboard, or click the trash can on the floating window. Importing Styles

Choose ‘Load paragraph styles’ or ‘Load character styles’ from the drop-down window on the Styles palette. Choose the file with the style you require and click OK. A new window will open up, as seen here, and you can choose to check ‘All styles’ or you can check only certain styles to import into your document.

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Exercise to practice what you have learned

We will now make a new Paragraph Style together. Open the Paragraph Style window (Window - Type & tables - Paragraph styles). Go to ‘New Paragraph Style’ on the drop-down menu. Name it ‘Drop Cap’ and base it on “No Style”. Next style to be the same and make the keyboard shortcut Ctrl+num5. Go to ‘Basic Character Formats’ and make the font 10pt Times New Roman Regular. Now go to Drop Cap and Nested Styles to add a drop cap. Choose the drop cap to be 3 lines down and the character to be 1. Finally, change the font colour by going to Character Colour and choose Cyan. Click OK. This new paragraph will appear in the Paragraph Styles window, as seen here. You can also clearly see the assigned keyboard shortcut. Open up the InDesign File named ‘style_sheets_exercise’. Highlight the first paragraph and apply this new style to this paragraph. Simply click on the style named ‘drop cap’ in the paragraph style window or press Ctrl-num5 (the assigned keyboard shortcut). The text will now change to this style as seen here. Exercises for you to try yourself

Make the following Style Sheets using the tools you have learned: STYLE 1 - Character style Name: Heading Text size: 20pt Futura Text Colour: Pantone 278 STYLE 2 - Paragraph style Name: Intro Text Text size: 10pt Futura Text Colour: Pantone 278 First Line Indent: 5 mm STYLE 3 - Paragraph style Name: Drop Cap 2 Text size: 10pt Bodoni Text Colour: Pantone 142 Drop Cap: 1 character, 3 lines down

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Templates

We can make templates in InDesign that we can use over and over again. For example, if you were designing a newsletter that would be used on a monthly basis, you would design it as a template that you could work with each month. You would create a template that contains the layout, guides, grids, master pages, page numbers, colours, style sheets, columns, graphics, logos, etc.. Then you would use that template each month, importing the new content into the template. This way you would not have to redesign the newsletter each month but just simply use the template. Creating templates is the same as creating any document in InDesign. The only difference is in the way you save the document.

When you save a document as a default, it will save the document as an InDesign document with the tag .indd. If you scroll down under ‘Save as type’ you will see there is the option to save the document as a template with the tag .indt. When you save a document as a template, it simply means you cannot save over it. It will only let you make a copy of the layout and the original template will always remain. Final Roundup Exercise ru

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Now that you have learned how to use InDesign, here is a large exercise which will bring everything together. Open up the file ‘xxxxx’ and redesign this brochure to look the same. When you have it completed, save it as ‘final_roundup_exercise’. ru ny

Indesign Bits and peices

e xtaro u n o ur t d

The International Academy of Computer Training (IACT) is a specialist computer training company with over 10 years expert experience in the training industry. IACT provide classroom IT training, blended online learning as well as multimedia CD training materials and training guides. Throughout its history IACT has enjoyed tremendous success boasting an enviable client list featuring both large and small companies and Government agencies. Our clients include many Fortune 500 companies which include Microsoft, Intel, Dell, Citigroup, Hewlett-Packard, Compaq as well as many more. All our training materials are developed by in-house experts with practical real world experience. All our tutors have extensive qualifications in the IT field with degrees in Computer Science and Business Management with many having Masters and PhD’s. Our product designers and trainers are highly qualified

Introduction

academically but also have practical real world experience from working with our clients on a day-to-day basis. Content Development methodology The development path of IACT’s eLearning content is unique and distinguishes us substantially from other eLearning providers. All our courses are based on real classroom experience - from existing instructor led courses tested and developed in a real classroom environment. All our content has been designed, written and implemented by expert instructors (not just “subject matter experts” or “technical writers”). This fundamentally alters the structure and presentation of our material creating a more engaging, forceful and educational training experience. Uniquely all of our courses also include matching printed materials with all our eLearning content included. This also helps reinforce content learned in our eLearning system.

Digital Technological challenges Working in a digital web environment creates many technical challenges which we have successfully overcome with innovative and cost effective solutions. Our patented streaming technology allows us to broadcast most of our content at speeds as low as 28kbps. Our creative and innovative team are constantly working to push the boundaries of technology to their limit to enhance the .

CUSTOMISATION IACT also develop customised eLearning materials for our clients - enabling them to more closely mirror their business requirements and further creating awareness of digital media technology and its beneﬁts for businesses.

i a c t ’s e L e a r n i n g c o n t e n t i s u n i q u e

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Artwork In this lesson we will learn about:

• Artwork • Making a print ready document • Bleed • Making PDF files • Registration Marks • Dealing with Printers

Artwork

It is vital that you get artwork for the printers right. At the end of the day, you can make amazing designs using InDesign, but if you don’t get the artwork right then it is no good to you. The design needs to work, but the artwork needs to work also. When working with DTP and design, you need to not only be able to design efficiently and effectively, you also need to be able to work within deadlines and have the artwork correct for the printers. If you can’t get the design printed, it is no good to anyone. There are two main ways to send artwork to the printers. 1) Package the InDesign document.

This way the InDesign document, images and fonts used get packaged into one folder. This folder is then sent to the printers, and they work with the InDesign document, images and fonts supplied. 2) Save the InDesign document as a PDF file

They just get a PDF file that preserves all the information needed to print. PDF stands for Portable Document Format. Developed by Adobe, it is a universal file format that preserves the fonts, images, graphics and layout of any document, regardless of the application program used to create it. Before we can send any files to the printers we need to get the document ‘print ready’. To do this there are a few steps we have to make. a) Check all images (links)

Check that all images are linked and in the correct colour format (CMyk).

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you can do this by using the ‘Links’ palette. Go to Window - Links and a Links window like this will appear. We can see warning signs on some of the links. There are two different warning signs:

Linked File is Modified

Linked File is Missing

To fix these links, simply double-click onto the link with the warning sign and a new window will appear as seen below. In this window, it will give details about the link (image). If the image has been modified or is missing, just click ‘relink’ and find the file and then click Ok.

A Links palette showing some files modified and other files missing.

In this window you can also see other details. you need to make sure that the colour space is CMyk. If the colour space is RGB, and so is not CMyk, then you will have to go back to the original photo and make it CMyk in Photoshop.

There is a very easy way to do this in InDesign. you can simply right-click on to the image itself and choose ‘Edit Original’. The image will now automatically open up in your image editing program (Adobe Photoshop). you can make the changes in Photoshop, save the file, and the link will automatically update in InDesign. Note: you may need to set your computer up so that all editable images will open up in Photoshop rather than any other image program. A Links palette with no errors

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b) Check all fonts

To check fonts, you need to open the ‘Find Font’ window. In this window you can see what fonts you have used and also see if any fonts are missing. you can see a warning sign on the font ‘architecture’. This means the font is missing, and you will need to either install the font on your system or else replace it with a different font. Note: There are millions of fonts. Some come installed on your computer, while others you will have to buy separately and install them on your system. If you are using a font from one computer, and you change computers, that font may not be installed on the other computer. When this happens, a warning sign will appear to let you know that the particular font is missing. c) Allow for bleed

We mentioned Bleed at the beginning of this module. Whenever there is ink at the edge of the page of a document, we need to allow for bleed. This Actual size of brochure literally means that we expand the ink off the edge of the page by at least 3mm. This avoids any ‘gaps’ of ink when the paper is getting cut.

Brochure with bleed area

Now that we have made the document print ready, we can get it ready to send to the printers.

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Preflight the InDesign Document

Go to File - Preflight. This preflight option checks the document. If fonts or links are missing or modified, or the wrong colour format is used, warning signs will appear. If everything seems in order you can click ‘package’.

1) Package the InDesign Document

To package the InDesign document, you can do this through the Preflight option as discussed above. you can also go directly to Package without using the Preflight option. Go to File - Package. you will be asked to make a new folder. Make a new folder and name it ‘brochure_ artwork’. The InDesign document will now be packaged into this folder, including all the fonts and links (images) used. Write this ‘brochure_artwork’ folder onto a CD. Send this CD and a printout of the design (as a “proof ”) to the printers. 2) Save the InDesign document as a high resolution PDF file

To save the InDesign document as a pdf, we need to export it. Go to File - Export (Ctrl -E). A new window will appear. Note: The fastest way to create a pdf is by using the PDF Export presets.

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There are many options available, but we are going to concentrate on the options we need to print high quality files for printing. At the Adobe PDF preset options, scroll down to ‘Press Quality’. This is set to create Adobe PDF documents best suited for high-quality prepress printing. General

In this area, you may want to alter the options under Pages, particularly the range of pages you want to export and if they are to be facing pages (spreads) or non-facing pages. For double-sided documents, you don’t need them as spreads. If it is a book-type document, you will need the pages as spreads. Talk to your print bureau, as some printers will specifically request the entire document as single pages and not as spreads. Compression

you will see that the resolution is set at 300ppi. This is what we need for print. Also we will see that two boxes are ticked at the bottom of the window: ‘Compress text and line art’ and ‘Crop image data to frames’. These options compress the text and images, and also discard any portions of pictures not visible on screen, reducing processing and time during output. Also the image quality box is set at ‘maximum’. Marks and Bleeds

In this area you will have to make sure to add the marks and bleed you require. If you are sending a document to the printers that has bleed, then you need to allocate at least 3mm for bleed. Tick all printer’s marks (unless otherwise requested by your print bureau).

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Output

Here are the colour settings. There are many different colour settings you can use. There default colour options used under this ‘Press Quality’ setting. Colour Conversion

This specifies how to represent colour information in the Adobe PDF file. All spot colour information is preserved during colour conversion; only the process colour equivalents convert to the designated colour space. The colour conversion is ‘Convert to Destination’ and the destination is ‘Document CMyk - U.S. Web Coated - Swop v2’. This means InDesign converts all colours to this colour profile. To preserve CMyk colour numbers and avoid unwanted conversions, keep the default colour conversion as ‘Convert to Destination’ (Preserve Colour Numbers) and the destination profile as ‘Document CMyk - U.S. Web Coated - Swop v2’. Click Export to create the PDF document. To create a low resolution PDF file

Follow the instructions above, but choose ‘Smallest File’. Use these settings for files for e-mail, internet and for viewing on screen.This is the file type to choose for sending ‘proofs’ of design work by e-mail.

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What is Adobe Photoshop? Adobe Photoshop is an image-editing program that allows you to create and produce high-quality digital images. It contains a large (and everincreasing) number of tools, filters and effects for use in manipulating scanned images, slides and original artwork. As a production tool, it allows you to produce high quality colour separations and halftones for physical printing, and digital images for an ever-expanding variety of electronic media. It has become the industry-standard program for graphic designers, photographers, and a range of TV and internet content producers. It is also increasingly used by architects, fashion designers, product designers and artists in a wide range of media.

What is it used for? It is used for many different purposes in many different contexts.

For the print professional, it is a pre-press program where images are scanned, colour-corrected, converted and prepared for printing.

For the photographer, it is a virtual darkroom and processing laboratory for digital photography, full of special effects and subtle tools for retouching and manipulation. For the illustrator, it is the definitive bitmap-based program, within which increasingly distinctive and individual work can be both created and prepared for output. For architects and designers of any objects, it is a superb tool for rendering visualisations and concepts in realistic form.

It is also used by a wide variety of specialised professionals, including scientists, educators, historians, archaeologists, researchers, detectives and multimedia artists.

How are we going to learn it? We are going to learn Photoshop as any craftsman learns his craft; one tool at a time. The course will build from the simple basics to more advanced and complex techniques. At each stage, simple exercises are provided which will require mastering of a tool or procedure, and this sequence will proceed throughout the course. This sequence is outlined overleaf.

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Photoshop course sequence 1 2 3 4 5 6 7 8 9

Image types, viewing options, the tools, the toolbar. The main selection tools (marquee, move, lasso, magic wand and free transform). Layers, dragging images from one file into another, transform tools Selecting items on a layer, more transform tools, the fill tool and the blur filter. Retouching photos, the clone stamp tool, brush types, the patch tool. Colour, making a new canvas, advanced brush options, colours, swatches, the eyedropper tool. The eraser and magic eraser tools, making your own brushes. Quick masks, selected areas, masked areas. Layer styles, blend modes.

10 Text: paragraph options, character options, warping, rasterising.

11 Gradients: all types, changing gradient colours, making your own, saving & loading gradients. An introduction to masks.

12 Paths, the pen tool, freeform pen, anchor points, converting points, clipping paths, path selection and direct selection.

13 Shapes: all types, shape layers, work paths, filled regions, custom shape tools, lines and arrows.

14 Composing images: Rulers, smart objects, adjustments, blending, layer styles, filters, deleting layers, flattening & saving files.

15 Retouching photos, adjusting levels and curves, replacing colour,

adjustment layers, removing colour casts, brightness and contrast, hue and saturation.

16 More on retouching: smudge, blur and sharpen, the dodge, burn and sponge tools, the dust and scratches filter, healing and spot healing brushes, the red-eye tool.

17 The patch tool, source and destination.

18 Converting a colour photo to black and white, using the adjustment layers, hue/saturation controls and colour blending.

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Introduction to Photoshop

Here we will learn about: • Recognising image types • All the viewing options • The Toolbar

Recognising image types There are many different types of image file. In this section we are going to familiarise ourselves with the main image types. We are also going to learn how to recognise, at a glance, what type of file each image is. ‘collage.psd’ @ 66.7% (rgb/8)’ tells you this image is a Photoshop document, viewed at 66% of its actual size, and that it is in rgb colour mode with 8 bit colour depth.

Lets get started and open a file in Photoshop. Go to File - Open and open the file named collage.psd. The first thing is look at the name of the file on the blue bar. This is located at the top of the image, as seen here, and its title ‘collage. psd@66.7% (rgb/8)’ tells you a lot about your image at a glance.

The Information Bar can tell us that we are viewing our image at 66.67% size, and that the file size of the document is 1.52/1.50mb.

Firstly, .psd tells you that this is a Photoshop document, as .psd stands for a Photoshop (ps) document (d). The ‘66.7%’ tells you that you are viewing this document at that percentage of its actual size, that you are not seeing the document at 100%. When Photoshop opens a document, it fits the image on the screen so you can see the whole image. The percentage will vary depending on the size of your screen. If you want to see your photo as it will print, and to see the actual quality of the image, then you need to view your document at 100%. We will learn next how to view your document at 100%, and all your viewing options.

We can easily change our view by clicking in the box and typing in the percentage enlargement we would prefer, such as, for example, 100%, as seen here.

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‘RGB/8’ tells me that the colour format of my image is Red, Green and Blue (RGB) with an 8-bit depth. The Information Bar is positioned at the lower left hand corner of the application window. This provides, at a glance, information about the file size, resolution, view and placement on the printed page. We can glance here and see that we are viewing our image at 66.67% and that our file size is 1.52/1.50mb.

By clicking onto the bar at the bottom left hand corner of our image we can see the actual size of the image on an A4 page.

One of the easiest ways of changing our view to 100% so we can the quality of our image at its real size is to overwrite this number; that is, to highlight and delete the figure ‘66.67%’ and type in ‘100%’ instead. We can also judge how big our image will be on a page by clicking on the grey bar and holding our mouse down, as seen here. This gives us a good idea how large our image would be on an A4 page.

All the View options There are many ways to view our image in Photoshop. You will find most of your view options under View on your menu bar. There is also a zoom tool and a navigation bar which can be used for viewing. The View menu

By scrolling down the view menu, you will see that there are many view options. You can Zoom In (ctrl +), or Zoom Out (ctrl -). You can also scroll down to Fit On Screen (ctrl 0), as mentioned before; this option only fits the image into the screen you are using, it does NOT show you your image at 100%. For example, if you are using a small screen, such as a laptop, for example, the image may look quite small when it fits on screen, but if you are using a large monitor the image would look quite large when it fits on screen. This view mode literally does exactly what it says – ‘Fit Image On Screen’. Alternatively, there is a view mode called ‘Actual Pixels’ which shows your image at its actual 100% size.

The view menu has many view options, with the main ones highlighted here in blue.

Shortcut to note: The shortcut for ‘Fit On Screen’ (ctrl 0) is definitely one shortcut to take note of, as you will use it literally hundreds of times in Photoshop.

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The Navigator Window

Another way you can view your image is by using your navigation window. You will find this in your menu bar, under Window - Navigator and your navigator window should pop up. Make sure that the Navigator Palette is at the front of the palette group (you can do this by clicking on the Navigator tab). By dragging the slider back and forth you can change the magnification of your image. When you bring your mouse pointer inside the palette, it changes to become a hand symbol, and you can scroll to different parts of the image, as seen here.

The Zoom tool

Now that we have seen how to use our view options from the menu, it is time to introduce you to the Zoom tool on your main tool bar. This tool is recommended for zooming as it is very easy and quick to use. You will find the zoom tool on your tool bar (we will be learning more about the toolbar in the next lesson). The zoom tool is the little icon that looks like a magnifying glass. You can also get to this tool by simply pressing Z on the keyboard.

Navigator Palette at 349.03% then changed to100% (Note: the red box shows the visible part of the image in the active window)

Simply double click this zoom tool icon and it will display your image at 100%. When you place the zoom tool over your image you will see a + inside the zoom tool and when you now click on the image it will zoom in closer each time you click. When you want to zoom out using this tool you can press the alt key and the + inside the zoom tool will now turn into a â&#x20AC;&#x201C; and every time you now click on the image it will zoom out. At this stage, if you want to view your entire image, you would use your already learned shortcut ctrl 0 (Fit On Screen). To zoom into a specific area just hold down the mouse and click and drag or draw around that area with the zoom tool.

The Hand tool

You can use the Hand tool to scroll through an image when you have zoomed in, or when an image does not fit in the active window. You can also select this tool with a keyboard shortcut (H) or simply press and hold the spacebar.

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The Toolbar

Additional hidden tools contained within (and found under) the Rectangular Marquee tool, for example, include the Elliptical Marquee, the Single Row Marquee and the Single Column Marquee tools.

As you work in Photoshop you will become familiar with all of the tools. You can display the name of the tool and its single-letter keyboard shortcut by positioning the pointer over the tool. To select a tool, you can either click the tool in the toolbox or you can press the keyboard shortcut. For example, you can press z on the keyboard to select the Zoom tool. Some of the tools display a small black triangle in the right hand corner. This indicates that there are additional hidden tools. You can select the hidden tools in any of the following ways: • Click and hold the mouse button on a tool with additional tools and drag to the desired tool and release the mouse button. • Hold down the Alt key and click the tool in the toolbox. Each click selects the next tool. • Press the keyboard shortcut key repeatedly until you select the tool you want.

The main Tool Bar in Adobe Photoshop, and what each tool is called. Any tool with a little arrow in its bottom right hand corner indicates that there are more related tools hidden under the tool. Simply click and hold down the mouse on the tool and these hidden tool options will appear.

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3.2 The Main Selection Tools We are now going to learn the main selection tools in Photoshop. These are the Marquee tools, the Lasso tools and the Magic Wand tool. In this lesson we will learn about: • Marquee Tools Rectangular Marquee Elliptical Marquee • Move Tool • Lasso Tools Polygonal Lasso Magnetic Lasso • Magic Wand Tool Magic Selection Tool • Introduction to the Free Transform Tool

In Adobe Photoshop, you can make selections based on size, shape, and colour using four basic sets of tools — the marquee, lasso, magic wand and pen tools. In addition, you can use a fifth tool, the move tool, to reposition the selections you create. All these tool icons contain hidden tools, which you can select by holding down the mouse button on the toolbox icon and dragging to the desired tool in the pop-up menu.

A C

B D

The main selection tools on the toolbar. A. Marquee Tool B. Move Tool C. Lasso Tool D. Magic Wand Tool

The Rectangular Marquee tool lets you select a rectangular area in an image. The Elliptical Marquee tool lets you select elliptical areas. The single row and single column marquee tools let you select a 1-pixel-high row and 1-pixel-wide column. The Magic Wand tool lets you select parts of an image based on the similarity in colour of adjacent pixels. This tool is useful for selecting odd-shaped areas without having to trace a complex outline using the lasso tool. The Quick Selection tool quickly “paints” out a selection. This tool works really well with well defined edges and high contrasting images. The Crop tool is used to crop an image.

Additional hidden tools under the lasso tool include the Polygonal Lasso Tool and the Magnetic Lasso Tool.

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The Marquee Tools The first very important good habit we are going to learn is, when using any of the tools on the tool bar in Photoshop, ALWAYS LOOK UP at the menu above.

The Top Menu bar

The top menu bar, as seen here, works hand in hand with the tool bar and it needs to be checked regularly. For example, when we have clicked on the Rectangular Marquee tool and it is selected, new options for just this tool immediately appear in the top menu bar.

New selection

To add a feather effect to our selection, place a value in this box

Add to selection Subtract from selection

For no feather, type 0 px

Intersect with selection

We just want to make a new selection, so make sure that this is clicked on the top menu bar. We also don’t want any feather, so this needs to be at 0px. Now we are ready to make a new selection with the marquee tool. To use the marquee tools, we must draw around the area we want to select. We can start by selecting the flowers from our collage image. To do this we must have selected the marquee tool on the tool bar and ‘draw’ around the area we want to select as shown here. Click on the Rectangular Marquee tool and make a selection around the flowers. When you have done this, you should see ‘running ants’ around your selection, as seen here. A highlighted selection made using the Marquee Tool.

If you want to move the position of this active selection you may do so while remaining on the marquee tool by simply clicking on the image and dragging the mouse up or down. You can also use the arrows on your keyboard to nudge this active selection up, down, right or left.

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Active Selection

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Deselect

Once you have your selection as you want it, click onto the Move tool. This tool allows us to move the contents of the selection. Click the active selection with your move tool and drag. The contents of the selection will now move as you drag your mouse. When you have the selection where you want it, let go of the mouse. Your selection is now in position. The ‘running ants’ will still be active. To deselect these running ants, go to Select in the menu bar, and choose Deselect. Note: It is very important to always deselect when you are finished with

an active selection; otherwise you won’t be able to move on to the next step, as Photoshop will only concentrate on the active selection.

Shortcut to note: The shortcut for Deselect is Ctrl D. This is one

shortcut to take note of, as you will use it every time you want to deselect a selection in Photoshop. If you want to select a circular area, click the Elliptical Marquee tool, and the same rules as on the Rectangular Marquee tool will apply.

Exercise: Select a Circular image using the Elliptical Marquee tool

Select the area you want with the Elliptical Marquee tool, then use the move tool to move the image with the Elliptical Marquee tool. Click and drag to draw your elliptical selection.

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Shortcut to note: If you hold the Shift key down whilst dragging, it

allows you to draw a perfect circular selection. This also applies when using the rectangular marquee tool for a perfect square. The shift tool keeps everything in proportion if held down while using a tool in Photoshop.

You will notice that the marquee is drawn from the point where you began the click and drag action. However, you can force the marquee tool to draw from the centre out. This will be very helpful in this particular exercise. To do this, hold down the Alt key whilst dragging. Alternatively, just draw a selection area that is the size you want and then reposition the selection by dragging (and keeping the mouse button down). When you have the Elliptical Marquee tool in the position you want, go to the move tool and move your circular image. When the image is in the position you want, click ctrl D (Deselect) or go to the menu - Select â&#x20AC;&#x201C; Deselect. Well done! You have just learned and practised how to use the marquee tool. The next options to learn about in relation to the Marquee tool (and these apply for all the selection tools) are the Add to Selection, the Subtract from Selection and the Intersect with Selection tools. These tools can be found in the top menu bar when you are on any of the selection tools.

New selection Add to selection Subtract from selection Intersect with selection

When we click on the Add to Selection tool icon, this means that we can add to any active selection as demonstrated. When we click on the Subtract from Selection tool, we can take away from any active selection. And when we click on the Intersect with Selection icon, we can intersect with an active selection leaving us with only the mutual area in which the two selections intersect. 204

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We have now learned and tried exercises where we have selected defined shapes and moved shapes using the marquee tools. We are now going to learn how to select areas using these same tools but by adding a feather effect so the shape is less defined. Click on the Rectangular Marquee tool. Look at the menu above and make sure you are on the New Selection icon. Now in the Feather box, on the top menu bar, add a feather of 12px. Make your selection as demonstrated earlier, and when you move the contents of your selection, you will find that there is a feathered edge around your selection. You can experiment with this tool. The higher the feather px size, the bigger the feather effect. To have no feather, click 0 in the feather px box.

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The Lasso Tools There are three types of lasso tools on the lasso tool button; the standard Lasso tool, the Polygonal Lasso tool and the Magnetic Lasso tool.

To use any of the Lasso tools, as with the Marquee tool, you start by drawing around the area in which you want to select. Let’s start by selecting the ‘towel’ from our collage image. To do this we need to click the lasso tool and physically ‘draw’ around the towel.

As always, before you begin, make sure to look up at the top menu, checking that there is No Feather set and that you are on a New selection. When using this tool we need to make sure that we match up our beginning point with our end point.

Using the Lasso Tool to draw ‘freely’ around the towel.

Place your cursor over the towel and, at your beginning point, click the mouse and drag (keeping the mouse down) and literally draw around the towel, as if you had a pencil in your hand and you were tracing around the towel.

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Selection made from using the lasso tool

Make sure to draw right around to your first point and then let go of the mouse. Now this area is selected. You will see the now familiar â&#x20AC;&#x2DC;running antsâ&#x20AC;&#x2122; indicating that this selection is now active, as shown above. Now drag the selection over by using the Move tool and Deselect (ctrl D). NOTE: You can add, subtract or intersect with this selection using the top menu bar, as demonstrated earlier.

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The Polygonal Lasso tool The Polygonal Lasso tool is good for selecting areas with hard lines and corners. Letâ&#x20AC;&#x2122;s select the sign on our collage file with this tool. First, click on the Lasso tool button and hold it down with your mouse until the Polygonal Lasso tool appears. The way this tool works is slightly different to the other selection tools because you need to click points around your image and then join the very first point with your end point. Select the sign as seen in the diagram below and then move it using your move tool.

Step 1: Click a starting point around the sign.

Step 2: Keep clicking points around the sign until you have reached back to the very first point. Click this point and the running ants will appear indicating the selection you have just made.

Step 3: Click the Move tool and move the selection down (as seen above).

Step 4: Click Deselect (ctrl D).

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The Magnetic Lasso tool Now that you have mastered how to use the main lasso tools, it is time to learn how to use the Magnetic Lasso tool. The magnetic lasso tool works very like the other lasso tools with one main difference. This tool works best when there is a strong contrast with your image and the background. Once you start ‘drawing’ around your image with the Magnetic lasso tool, it sticks itself to the defined edges of the image, just like a magnet. You should still have the collage.psd file open. Zoom in on the flower (with your zoom tool). Now click on the magnetic lasso tool and click it at a starting point on the flower, and drag the mouse around the image (as seen below).

Step 1: Click a starting point around the flower and drag the mouse around the image.

Step 2: Drag the mouse around the entire image while clicking random points as you go. When you have returned to the very first point click on it with the mouse (this closes up the selection).

Step 3: The running ants will appear to indicate your selection. You can now move this selection with the move tool (as seen above).

As you drag the tool around the edge of the flower, notice how the magnetic lasso tool is ‘sticking’ itself to the edges of our image. We can click the mouse at certain points as we go around the edge to give ourselves a more accurate selection. Make sure, as always with the lasso tools, to close your end point with your starting point. Now we can see a very accurate selection has been made of our flower and it was very easy to do with this tool. This tool is very popular, and you can see why. It makes it very easy to select defined edges quickly, easily and accurately.

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The Magic Wand tool The Magic Wand tool and the Magic Selection tool are the last of the selection tools that we will be learning in this module. The Magic Wand tool works by selecting certain colour pixels in your image. What ever colour/shade/pixel you initially click on with the magic wand tool, it will pick up all these similar colours in your image. For example if you click on a black pixel, then the magic wand tool will pick up all the other black pixels in your image. The amount of colour (e.g. black) we want the magic wand tool to select depends on the tolerance we set. (The tolerance amount appears the on top menu bar when you have the magic wand tool selected) The default tolerance in Photoshop is 32px. That means it will pick up 32% of the shade of colour we click on. The Tolerance Option for the Magic Wand tool

The diagram below shows how the tolerance tool works. Let’s say, for example, that we want to select the colour white in our image. If we set the tolerance to 0, it will pick up no white at all. With tolerance set to 32px, it will pick up 32 shades of white. If we set the tolerance to 100px, the magic wand will pick up 100% or all of the shades of white in our image. These are just examples of tolerance amounts that you can use, as you can change the tolerance to whatever number you want, depending on how much of the colour you want to select.

Let’s select our swans using the magic wand tool. The swans look white from a distance, but in fact, their white is made up of lots of different shades of white. Let’s get the zoom tool and zoom into the white swan as much as we can. Now we can clearly see all the different pixels and shades making up our swan image.

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Zoomed in to where we can see all the pixels of colour.

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A tolerance set to 1px only selects a small area.

Select the Magic Wand tool and type in a tolerance of 1px. When we click on the ‘white’ of our image, we can see how the magic wand is only picking up a very small percent of the white pixels, as shown above. If we zoom out of the image we can see the swan and we can see the tiny selection. Now Deselect (ctrl D) and change the tolerance to 32 px (the default). Click on the ‘white ’image, we can see how the magic wand is now selecting a lot more of the shades of white. Finally, just for fun, let’s deselect again and change the tolerance to 100px. Now click on the ‘white’ part of the image and you can see that the magic wand has selected nearly the entire swan.

Tolerance of 1px.

Tolerance of 32px.

Tolerance of 100px.

At this point we have selected all the ‘white’ of the swan but the beak still needs to be selected. To do this, using the Magic Wand tool, we are going to use our Add To Selection option on our menu.

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The beak has two main colours, red and black. We are going to select the red first. Since there is no other shades of red near the beak, it is safe enough to put the tolerance at 100px. This will make sure to pick up ALL the red pixels. So we need to get our menu, click ‘Add to Selection’ and put the tolerance at 100px.

Add to selection

Tolerance at 100px

Now zoom into the image (for more accuracy) and click the beak. You will see that all the red is now selected and added to the original ‘white’ selection. The last thing you need to do now is select the darker/black parts of the beak. This part is a little more tricky as the background colour of the water is also very dark. For this, we will need to keep the area tolerance low, or else when we use the magic wand it will pick up not only the dark parts of the beak but the water also. This exercise should give you a clear understanding of how the Magic Wand tool works with the tolerance. You should exercise to practise what you have learned. Still using the collage.psd file, use the Magic Wand tool to select the other swan. Once you have it selected, move it and place it on the white canvas below the image.

When we click on the dark area of the beak with 100px tolerance, the magic wand picks up not just the dark parts on the beak, but also the background water.

When we click on the dark area of the beak with 32px tolerance, the magic wand picks up less dark area, thus picking up just the dark parts on the beak.

When we zoom out we can clearly see our entire swan is selected by using the Magic Wand tool.

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section 3.2

Introducing the Free Transform tool Now that we have learned how to select areas from our photo, we need to learn how to transform these selections; how to scale our selections, or rotate our selections, or flip our selections, etc... We are going to go into the free transform tool in more depth in the next module, but here we will learn how to use its basic functions. To access the free transform tool, go to your top menu bar, edit and scroll down to Free Transform. Shortcut to note: Ctrl T is the short cut for Free Transform. This is a

tool that you will use a lot, so it’s one to note. Select the flower in the collage. psd file (using whichever of the selection tools you prefer). Once it is selected, press ctrl T. This now puts handles on our selection, ready to be ‘transformed’.

Handles have appeared around the flower, indicating that the Transform tool is active around the flower.

If we right click, we can see all the options that are now available to us. Click on the handles and drag them. As you can see, this is how you scale a selection. Right click and click Rotate and now try rotating the selection. Now right click and choose Flip Horizontal and you can see our image will now flip horizontal. This is how easy it is to ‘transform’ your selections. Practise these few options yourself until you are familiar with them. When you are done, Double Click on the selection – this will get rid of the handles and get you out of the Free Transform option.

All the Transform options appear when you right click on the image.

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An exercise to practise all the selection tools you have learned in this module. Now we are ready for our first big exercise in Photoshop. This is a very good exercise for us to try together that will link what we have learned together and give us a chance to familiarise ourselves with the Selection and Transform tools. In this exercise, we are going to learn how to use the different selection tools together, and use some techniques for selecting areas of an image. How are we going to do this? We are going to use the components shown above on the left and use them to create the image on the right.

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Let’s begin.... Open file ‘lemon_head_end’ and open the file ‘lemon_head_start ’. We are going to use ‘lemon_head_end ’ as a reference but we are actually going to work with the file ‘lemon_head_start ’.

The Lasso Tool

We’ll start by selecting the lemon. Zoom in so that we can see the lemon much clearer. When you have done this, using your Lasso Tool click and drag around the border of the lemon to select it. Don’t be too worried about being exact in your selection. It is very difficult to make your selection accurately first time.

You will notice in the image here on the right that we have missed the lemon’s bump and we have moved a little bit outside the edge of the lemon on the bottom right. The first thing we will do is to fix these.

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Keeping your Lasso tool selected, and holding down the Alt key (you will notice, as shown on the left, a minus sign appears next to the lasso), click and drag around the area outside the edge. This is a method of subtracting this area from the selection. Next we need to add the bump to the selection. To do this (still using the Lasso Tool), hold down the Shift key (you will notice a plus sign appears next to the lasso) and click and drag to encompass the bump, as shown on the right. Note: Notice that we have not selected the shadow.

With the lemon selected we are now able to use the move tool to reposition it in the overall picture. Move the now selected lemon over to the left and place it on the white area provided. We need to rotate this image 180 degree. To do this, letâ&#x20AC;&#x2122;s go into our Free Transform option (ctrl T) right click, and select Rotate 180 degrees. Now our image is in the correct position, double click (to come out of the Free Transform option) and Deselect (ctrl D).

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The Elliptical Marquee Tool

Next we are going to select the orange slice using the Elliptical Marquee tool. Click and drag to draw your elliptical selection. If you hold the Shift key down whilst dragging, it allows you to draw a perfect circular selection. You will notice that the marquee is drawn from when you began the click and drag action. However, we can force the marquee tool to draw from the centre out. To do this, we hold down the Alt key whilst dragging. Alternatively, we can just draw a selection area that is the size we want and then, holding our Spacebar down, we can reposition the selection by dragging (and keeping our mouse button down). Whichever technique you choose, make sure it encompasses the orange, and then drag it over and position it on the lemon. We need two orange pieces (for both eyes), so, to duplicate this selection, simply press Alt and drag, and a second orange selection will appear. Place the second orange selection in position and Deselect (ctrl D). The Marquee and Magic Wand Tools

Next we are going to select the walnut using exactly the same technique. Click and drag using the marquee tool to select around the walnut. Next we are going to subtract the extra white space in this selection. Choose your Magic Wand tool and, while holding down the Alt key (you will notice a minus sign next to the wand), click on the white space. This subtracts the white space, and you will end up with the walnut alone as a selection. Place the walnut in position, to duplicate, press the alt key and drag. When you have the second walnut in position, deselect (ctrl D). Next we are going to select the banana using exactly the same technique. Note: When you deselect the

white space around the banana, the shadow will still be selected. You will need to use the same technique to subtract this from the selection.

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Now place the banana in position . You will need to transform the image and Rotate it (ctrl T). When it is in the correct position double click and Deselect it (ctrl D). The Magnetic Lasso Tool

Next we are going to use the Magnetic Lasso tool to select the pear. To use the magnetic lasso, click once and just drag around the edge of the pear. The anchor points will be set automatically and when you get back to the first point, click again to close and confirm the selection. Again we need to place the pear into position and deselect (ctrl D). Next we are going to use the Lasso tool to draw a selection area around one of the mangetout. Draw the selection loosely, there’s no need to even try and get it close – as shown here. We are now going to use the Magic Wand tool to subtract the extra white space from the selection. Now that we have the mangetout selected, we need to bring it over into position. While it is still selected, we are going to rotate it. We rotate it by using the Transform tool (ctrl T). Place it in position and double click. (Double-click gets rid of the free transform tool). We need a second ‘eyebrow’ so, as you did earlier to duplicate a selection, press Alt and drag. Now position your second ‘eyebrow’ in position and Deselect (ctrl-D). Now you decide which techniques and tools you should use to repeat this process for the hat, shoes and watermelon. Well done, you have made one lovely lemon head using all the tools we have covered in this section.

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3.3 Organising Artwork on Layers In this lesson we will learn about: • Layers • Dragging images from one file into another psd file • Transform tool in depth

Layers

• Organize your artwork on layers. • Create a new layer. • View and hide layers. • Select layers. • Remove artwork on layers. • Reorder layers to change the placement of artwork. • Apply modes to layers to vary the effect of artwork on the layer. • Link layers to affect them simultaneously. • Apply a gradient to a layer. • Add text and layer effects to a layer. • Save a copy of the file with the layers flattened.

Layer Opacity Fill Opacity

Let’s open a Photoshop file with layers. Open file ‘cottage_layers_end ’. Now go up to window in the menu bar and scroll down to Layers (shortcut Layer Apply Mode F7). This will give us a layers floating window. We will use this window for all our layers options. Active Layer

Eye Icon

We can see many layers that have already been made for us. We are going to use this file to learn all the properties of layers. This diagram illustrates how your layers window looks and the main layer Layer Link Box properties. Layer Styles

New layer Trash Layer Icon

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Organising artwork on layers Every new Photoshop file is created with a â&#x20AC;&#x2DC;backgroundâ&#x20AC;&#x2122;, which can be converted to a Layer. You can view and manipulate layers in Photoshop with the Layers palette. All new layers in an image are transparent until you add artwork (pixel values). Working with layers in Photoshop is analogous to placing portions of a drawing on layers of clear glass, one over the other. Items on individual sheets may be edited, repositioned, and deleted without affecting the other sheets and, when the sheets are stacked, the entire drawing is visible. Here the pump is under (or behind) the flowers.

Below we can see that, at first, the pump is under (behind) the flowers.

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To place the pump above the flowers, or on top, just â&#x20AC;&#x2DC;drag and dropâ&#x20AC;&#x2122; the con for that layer on the layers palette. Now, after rearranging the layers, the pump is above the flowers. To move layers, you just drag and drop the layers. Have a go yourself to familiarise yourself with the layers.

Now the pump is above (or in front of) the flowers.

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Click to get a menu with the options New Layer or Delete Layer.

To see a layer we click onto the Eye icon (as seen in the Layer diagram). To view a layer, click the Eye on, and to hide a layer, click the Eye off. To make a new layer, we can do it in different ways. If we click on the arrow at the top of our layers window, a new menu pops down and we can choose New Layer. We are given the option to name our layer here. We can also make a new layer by clicking the ‘New Layer’ icon at the bottom of our layers window. We don’t get the option to name our layer at this point, but to name the new layer, simply double-click the automatic name of the layer (which will be something like “Layer 4” if there are 3 layers already), this name becomes highlighted, and we can type over a new name.

Click the Eye icon On or Off to see or hide each layer.

To delete a layer, you can also do it in different ways. If you click on the arrow at the top of your layers window, a new menu appears and you can choose Delete Layer. You can also delete a layer by clicking on it and then clicking the Trash icon at the bottom of the Layers window.

Click to create a New Layer

Click the Trash Layer Icon to delete a layer

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section 3.4

The Transform Tools

In this section we will consider:

• Selecting items on a layer • Transform tools • The Fill tool • Blur Filter

Make your own shadow

Start Exercise

End Exercise

Now that we have learned how our layers work, we are now going to make a shadow for the pump (as shown above). Selecting Items on a layer

In order to make the shadow we need to select the outline of the “pump”. We can do this by pressing the ctrl key and clicking the thumbnail image on the Yellow Pump layer. Now we can see ‘running ants’ around our “pump”, indicating that this area is selected. Let’s turn off the layer so it is not visible, so that we can only see the outline selection. We do this by simply clicking on the eye tool. The layer will disappear from view, but the shape of the selection will remain.

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What we need to do now is fill this outline with black to make our shadow. We need to be careful here that we don’t fill black over our “pump”, so we need to make a new layer and name it ‘pump shadow’. The Fill tool

Go now to edit on the menu bar and down to the Fill option. A floating window should open, as shown. Click on the scroll bar beside “use” and scroll down to black. Note: You could also use foreground

colour if your foreground colour on your palette is black.

Now we have our shadow layer, but it is on top of our shape so we need to bring it behind our shape. To get your foreground colour to black, click the default button here. We can do this by simply dragging this layer underneath the shape layer, as seen here.

Transform tools

Our shadow now needs to be transformed. We need to rotate it, skew it, scale it and make it look as if it is flat on the ground, at an angle going towards the horizon. We can do all this by using the Transform tool. The transform tool can be also be found on the menu bar under Edit, but this time there is an option called “Free Transform”. Click this (or you can simply right click to get the Free Transform option).

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You will notice that handles haved appeared around the shadow - the shadow is now editable. Simply by clicking on the handles, you could Scale the shadow image or Rotate it. For more options, you can scroll back down the Edit menu to “Transform” and all the options will appear. Alternatively, we can simply right click and these options just pop up. Now let’s experiment with these options and see how they work. They quite simply do exactly as they say. Scale – scales the image. Rotate – rotates the image. Skew – this is like making the image italic; it slants

the image.

Distort – distorts the image; each corner can be distorted separately. Perspective – gives perspective options, such as

making your image look like it is coming towards you or going away from you.

Warp (new to CS3) – this warps our image (not a

good one to use for a shadow exercise such as this, but it can be very useful for other images we may want to warp).

The best way to get used to these Transform tools, and to understand fully how they work, is to dive in and get your hands dirty, by practising with them yourself. With practise you will come to learn how effective they are and how, by pulling the handles in different directions, you can literally transform your image. Exercise: Try this now with your shadow image to make it look more like a shadow (similar to the image here) and have fun in the process.

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Once we have our shadow the way we want it, we need to apply all the Transform options. We do this by double-clicking anywhere inside the handles. Now our handles should disappear. The last things we need to do are to apply a slight Blur to our shadow (the Blur filter softens a selection or an entire image) to give it a realistic feel, and then to reduce the Opacity of the layer (as described earlier). Applying a blur filter introduces us to the Filters menu on our menu bar. Scroll down to Blur, and within that down to Gaussian Blur. Note: you can use the Blur and Blur More options and Photoshop will

Applying Gaussian Blur to the shadow.

blur your image this way for you, but by using the Gaussian blur tool, you can adjust the amount of blur you want to your own preference.

When we click Gaussian Blur a floating window appears, as shown here. We can use the slider to add more (slide to the right) or less (slide to the left) of a blur effect. If the small Preview box here is ticked, we can also see a preview as we are adjusting the slider. When we are happy with the amount of blur, we simply click OK. Letâ&#x20AC;&#x2122;s turn on the layer with our original pump so we can see it against the shadow.

Reducing the Opacity of the shadow.

Finally, all we have to do now is go to our shadow and reduce the opacity. You have now made a realistic looking shadow from scratch, and have learned new tools in the process.

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3.5

section 3.5

Retouching Photos using the Cloning and Patch tools

In this lesson we will learn about:

• The clone stamp tool • Brushes • The patch tool

Open up the “surf ” image. We are now going to use this file to demonstrate and learn about the clone stamp tool. The Clone Stamp tool (shortcut s) is located on your toolbar. There is a little arrow on this tool indicating that when we hold the mouse down on this tool, more tools will appear. In this case, there is the Pattern Stamp tool beneath the Clone Stamp tool; we will be dealing with this tool later. They look similar, so be sure to click the Clone Stamp tool. The first thing we need to learn about before we can properly use the clone stamp tool is brush types. Most of the tools on the tool bar have brush “heads” which you can make bigger and smaller, and with a hard or soft edge. Once we master how to use these brush types, then the same rules will apply for other tools. For example, there are brush types for the clone tool, and when used they clone. There are brush types for the eraser tool, and when used they erase. There are brush types for the paint brush and the pencil tools, and they paint or draw. There are brush types for many other tools on the tool bar, so we need to learn about the brushes in order to be able to master and use all these tools correctly. Brush Types

For this exercise we are going to learn how to change the brush types for the Clone tool. Now that we are on the Clone tool option, when we look at the top menu bar we can see the word Brush and a diagram of a brush head. This is where we can change our type of brush. This same menu appears for the other tools in Photoshop that require “brush heads”. Click on the little arrow and a window opens where you can see a slider for Master Diameter and a slider for Hardness. Master diameter changes the size of your brush, e.g. bigger or smaller. Hardness changes the edge of your brush, giving softer or harder effects.

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You will also see some icons displaying brush types. These are brushes that have already been made – hard ones and soft ones, big ones and small ones, shaped and custom ones. There are many styles of brushes, but for this exercise we are just concentrating on the Hard brush and Soft brush options. When you have chosen a brush you like, and a size you want, you can place your mouse away from the window and over your image and it will display the exact size of your chosen brush size (make sure your Caps Lock is off to be able to see your brush size). This makes it easy for us to judge the size we need. Shortcut to note: A very easy way to increase and decrease the size

of your brush is to simply press the brackets [ ] on your keyboard. The right bracket ] increases the size of the brush and the left bracket [ decreases the size of the brush. This applies for all the tools that have a “brush head”.

Now that we know how to alter our brush, we can start to learn how to use the Clone Stamp tool. Clone Stamp Tool

The same image before (above) and after (below) using the Clone Stamp tool.

This is one of the most fun aspects of photo retouching. Using the clone stamp tool, you can remove an unwanted object or area by ‘cloning’ an area of the image over the area you want to eliminate. You can also clone in an area. Each stroke of the tool adds more of the sampled image. For this exercise we are going to clone out an area. Open up the file ‘potted_plan_start.jpg’. We are going to clone out the area around the pot and clean it up, as seen below. How the clone stamp tool works is relatively simple. You simply alt and click on the area you want to use to clone over with. For example, in this image we want to get rid of the extra dangling leaves. To begin, you should zoom into your image for more accurate results. Now choose a brush size appropriate for your image. In this case, a soft edged brush of about 15px should work nicely. Now we need to alt click onto the grass area in the background, place our brush over the area we want to get rid of and start painting. The clone tool will ‘paint’ over this area with the grass area that we ‘alt clicked’ on. Small slow strokes work best with this tool.

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Don’t rush. It helps to keep ‘alt clicking’ in the surrounding areas to get the tones and colours most accurate. To vary the cloning area, resample different areas of the background; this makes the completed area look more realistic. It also compensates for light and shadow. This tool is very like learning to drive. It takes practice to get the ‘feel’ for it and to get the best results.

We can see in the image above, zoomed in, that we are gradually getting rid of the leaves by cloning over with the grass area picked up on the brush (by pressing alt and click). Repeat this as many times as is needed all around your potted plant, until eventually your image should look like this.

A shadow is still evident on the base of the plant pot. This shadow can be removed by cloning.

We are nearly finished. We just need to clone over the shadow areas that are left on the base of the plant’s white container. Once again the same rules apply. Just ‘alt click’ as close to the area you are going to clone, and use gentle strokes until eventually, as you see here (bottom right), all the shadow area is gone. Well done. That’s your first exercise in cloning. Now take some time to practise what you have learned.

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Exercise to practise

In this section you are going to use the Clone tool to ‘clone in’ an area. It works exactly as above, but instead of cloning out (deleting some unwanted part of the image by cloning over it) you will be cloning in (adding some wanted part of the image by cloning it from elsewhere). Open up the file ‘clone_bench_start ’. You will clone in another person on the bench.

Original Image

Image with another person cloned in

So once again zoom into your image and choose a brush size that will work. You will change the size of your brush as you go along. We are going to use a soft edged brush again, as it makes the cloning less obvious on your image. Alt click on the guy on the bench (as seen below left) then start to paint over to his right on the bench. You will see a little cross on the left as you paint. This indicates that whatever is under the cross is what you will be painting. Continue this yourself until you have cloned in the full man on the bench (as shown below right).

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Now we will open a file called ‘Alex.psd ’. In this exercise, we are going to use the Clone tool (also called the Rubber Stamp tool) to clone out areas in this photograph. 1. Open Alex_start.psd. 2. Crop the image so that the door frame on the right of the picture is removed, and that Alex remains in the centre of the photograph. 3. Click on the Rubber Stamp tool in the toolbox. The object of this exercise is to clone the wall on the right of the image onto the wall on the left, so that the file cabinet is removed. 4. Click the brushes palette to bring the brush size to the front. It will be necessary for you to change your brush, depending on which area you are working on. Make sure your cursor preferences are set to brush size (Edit | Preferences | Display & Cursors | Brush Size). 5. To select the cloning area, hold down the Alt key and click the Rubber Stamp tool anywhere on the wall on the right in the image. 6. Begin to paint out the file cabinet on the left of the image. To vary the cloning area, resample different areas of the wall; this makes the completed area look more realistic. It also compensates for light and shadow shifting across a surface. There are several options you can use in the options palette for the Rubber Stamp tool: • Specify the blending mode and opacity. • Choose different brush sizes. • Select Use All Layers to sample data from all visible layers • Select Aligned to apply the entire sampled area once, regardless of how many times you stop and resume painting. • Deselect Aligned to apply the sampled area from the initial sampling point.

The Clone or Rubber Stamp tool options.

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The Patch tool

We can also use the Patch tool to retouch or â&#x20AC;&#x2DC;patchâ&#x20AC;&#x2122; photographs. We will go into this in greater detail later.

Original Picture.

Another pigeon added by using the patch tool.

Original Picture.

Birds added and removed using the patch tool.

Original Image.

Another chimney added.

A chimney taken out.

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3.6

section 3.6

Colour

In this lesson we will learn about:

• Making a new canvas • Advanced brush options • Colours • Swatches • Eyedropper tool

Note: When working with DTP we work in mm or cm so we need to make sure we choose this in the scroll done menu by the width and height box.

Make your own canvas To make a new canvas in Photoshop we need to go to the menu bar to file and scroll down to new (ctrl N). Shortcut to Note: The shortcut Ctrl N

for a New document, or new canvas in this case, is the same shortcut in nearly all other applications or programs. A new floating window will pop up, as seen here.You can name your canvas at this point by typing a name in the ‘name’ box. Let’s make our canvas size 20cm by 20cm for this exercise. The resolution we will need for print publishing is 300dpi. This makes it a ‘high resolution’ file. The colour format will be CMYk with an 8-bit depth. We can choose to have the background of our canvas any colour we like, but for this exercise we want it to be white. Let’s click ok and now we have a lovely white canvas, as seen here. Now we need to choose a paint brush tool to demonstrate and to clearly see on our white canvas all the functions of the brushes. We looked at brushes in an earlier section, and now we are going to go into all their attributes in detail. Note: When working on designing websites in Photoshop we would choose pixels (e.g. 1024 pixels by 720 pixels is widescreen web format for a website).

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Advanced Brush Options As we have already learned, when we choose a tool on the tool bar, all its properties pop up above on the top menu. When we choose Brush Tool on the tool bar we can clearly see the options for the brushes on the top menu bar (as seen here). our main brush options can be seen when we click the arrow beside the brush icon. As we now know, we can change the size of our brush by using the slider (right increases the size of the brush and left decreases the size of the brush). We can also change the hardness of the brush. An extremely hard edged brush would be at 100% hardness and a soft edged brush (feathered brush) would be at 0% hardness. Letâ&#x20AC;&#x2122;s paint on the canvas so we can see the different types of brushes.

Choose a hard edged brush (at 100% hardness) and a small brush size of 9 px. Now paint on your canvas and you will see a very small and hard edged brush stroke on your canvas. Now weâ&#x20AC;&#x2122;ll do the extreme opposite. Choose a large brush size of 65 px and a soft edge brush of 0%. Now, when we use this brush on our canvas, we can visually see a large brush with a feathered edge. We can also change the opacity and the flow of the brush by using the sliders on the top menu as seen here. Shortcut to note: When you are on the brush tool, you can also right

click the mouse to get the brush options window.

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Exercise: Try experimenting with these different brush options and see the effects you can get.

Now that we have become familiar with these basic brush options, let’s delve in a little deeper. Scroll the slider down on our brush window and we can see there are other styles of brushes in our palette. There are many different shapes and sizes and styles, all giving very different effects. You can choose any of these brushes and change the size by scrolling the slider left or right, as we did earlier. Photoshop has a certain number of brush types in your palette as ‘default’ brushes, but you can also load new brushes into your palette and even make your own brushes.

To load new brushes into your palette, click the arrow on the top right hand corner of the Brushes window. Another menu appears and you should click ‘Load Brushes’. You will be presented with several different types of brushes that you can load, such as Assorted, Square, Special Effects, etc., as seen here.

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Colour A. This arrow lets us flick between the foreground and background colours. At first, as a default, our foreground colour is black and our background colour is white. B. This arrow lets us go back to the default black and white colours at any time when we are using colours in Photoshop.

A B

Now that we have learned about our brushes, let’s add some colour to the picture. We have been experimenting with the brushes using the default colour ‘black’. Let’s now see how to change our colours, make new colours, save new colours and use all colours on our brush. The first thing we need to notice is the foreground colour on our tool bar. This can be seen here. The colour on the top is our foreground colour and the colour below is our background colour. We can flick between these swapping the foreground and background colours by clicking the arrows.

Shortcut to note: You can also flick between the foreground and background colours by pressing x on your keyboard. Try it! To change our foreground and background colours.

To change the foreground and background colours, click onto the one you want to change. For example, to change the foreground colour we click the foreground colour box (colour on top), and to change the background colour we click on the colour underneath (background colour). once we do this a new colour window pops open. You can choose the shade of colour you want by clicking on the big colour box (B), and you can change the actual colour by clicking on the strip of colour at the side (A). once you have your chosen colour, click ok and that colour will now be your foreground colour, as seen here. Exercise: Try changing the foreground and background colours by making your own colours by following the steps above.

When working with colours we also use the Swatches palette and the Colours palette. Let’s open these floating palettes. Go up to your main menu at the very top to the Window menu. Scroll down to Swatches and also Colours. These two windows should pop up. (All your floating windows are under this window menu).

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You can click on any colour you want on the Swatches menu and that colour now becomes your foreground colour. You can see in your Colours palette the number of colours used, and you can also pick colours from here. To save colours in your swatch

Now that we know how to pick and choose colours, let’s see how you can save them into a swatch. There are a few ways to do this, but the easiest way to do this is by just clicking them into the swatch. 1) First we need our floating swatches window. We need to drag the corner of the window down so that we have room to add our new colours. By making our swatches window larger, as seen in the diagram (Fig. 1), we are leaving room on the ‘grey’ area to place our new colours.

1. Making the swatches window larger by dragging the corners.

2) Pick the colour you want. Drag the mouse over to the swatches and over the ‘gray’ area. A paint bucket icon should appear (Fig. 2). 3) Now simply click onto the ‘gray’ area with your mouse and your new colour will save into your swatches (Fig. 3). 4) A new window will appear (Fig. 4), where you can name your new colour. 5) Your new colour will now appear in the Swatches window. By using this process, you can place as many new colours in your swatches as you choose.

2. Placing colours in the swatch.

4. Colour swatch name window Exercise: Now choose three colours yourself (from the

ways described earlier). When you have the colour you want, simply click onto the grey area on your swatches window and Photoshop saves that colour into your swatch.

3. New colour appears in our swatch.

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You can also save a colour into your swatch by clicking on the foreground colour. When you click the foreground colour on the tool bar, the colour window pops up and you simply click ‘Add to swatches’. Here’s how you do it: A: Choose the colour you want by clicking on the slider. B: Choose the shade of the colour you want. C: The new colour you have chosen will appear in this box. D: Click ‘Add to Swatches’ and this colour will be added to your swatches. Now that we know how to make new colours and save them into your swatch, here’s how you can save your entire swatch. This is very useful when you want to use these colours again in the future, you can simply load them back into your swatch again. Click on the little arrow at the top of your swatches palette (as seen here). A new window will pop up and choose Save Swatches. This will now save your swatches in a Swatches folder and they will be there for you to load back into your palette in the future. You simply load in new colour swatches by clicking ‘Load Swatches’ on this menu. If you want to reset your swatch back to the default colours click ‘Reset Swatches’. The final aspect to cover in this module is selecting colours from a picture, using the eyedropper tool, and saving those colours into your swatches.

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The Eyedropper Tool The eyedropper tool allows us to pick up colours from any existing image or photograph. Go to your tool bar and click on the eyedropper tool. When you place the eyedropper tool over an image, you can click it directly over any colour and it will pick up that colour. This colour will then automatically go in as your foreground colour. Choose the eyedropper tool. Place it over the purple flower and click onto the purple colour. our eyedropper picks up this and it goes in as our foreground colour. Save this into your swatches. Step 1: Click the eyedropper tool onto the

colour.

Step 2: This colour now goes in as your

Step 1: Click the eyedropper tool onto the image to choose a colour.

foreground colour. .

Step 3: Place the colour into your swatch.

Itâ&#x20AC;&#x2122;s as easy as that. You can repeat this action as many times as needed, and each time, the eyedropper tool will pick the colour you click on to. You can also click and hold the mouse down as you move your mouse over an image, and the colours you go over will show up on your foreground tool. Sometimes this is a more accurate way of choosing the exact colour, tone or shade you require.

Step 2: This colour now goes in as your foreground colour.

What we have learned: We have learned how to choose

colours, how to save colours and how to pick colours from an image or photograph and save them into your palette.

Step 3: Place the colour into your swatches.

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Brushes exercise To see what you have learned

Make a new canvas, 20cm by 20 cm, with a white background. Make five new colours and name them as follows: 1) Citrus Yellow 2) Tangy Orange 3) Midnight Blue 4) Emerald Green 5) Rose Pink Use these colours to make an image like the one shown here.

You will need different brush sizes and types for this exercise.

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section 3.7

3.7 The Eraser Tools In this section we will consider:

• The Eraser tool • Erasing to background colour • Erasing to transparent • The Background Eraser Tool • The Magic Eraser Tool • Making your own Eraser brush

The Eraser Tool

The Eraser tool works The Eraser tool works very like the paint brush tool, with the obvious like the paint brush tool, with the obvious difference that the paint brush paints and the eraser tool erases. The same functions apply to make our brush size bigger and smaller, and for choosing the type and shape of brush. Open the file ‘eraser_sign_exercise’. We are going to isolate the sign in this image by using our eraser tools. Start with the standard Eraser tool. You will find this tool on your toolbar underneath the clone tool. Select this tool and start erasing the sky. Use the shortcut, the brackets ( [ ] ), to increase and decrease the size of the eraser brush as needed. Notice that when you erase, the areas that you erase go white. Knowing why this happens is very important. The colour of the background is the colour that will appear when you erase. So, for example, if the background colour is black or red or blue, then that is the colour that will appear when you erase. It is only because the default background colour in this case happens to be white that the effect of erasing is to leave an area white.

The Eraser tool erasing the sky area.

You can change the type of brush head for erasing with, by going to the top menu bar (as you did with the paint brush tool). When you try to erase around the hard edges of the sign with your standard eraser tool, you will find it is not very accurate. This is because you are erasing freehand. Notice how the Eraser tool is not so good for erasing hard edges.

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The Eraser Tools

+ The Background Eraser tool pointer appears as a brush shape with a cross hair indicating the tool’s ‘hot spot’.

We can see quite clearly how the eraser tool works, but as we get in close to our sign, where there are hard straight areas, it is difficult to freehand erase successfully around the sign. This is where the next eraser tool, the Background Eraser tool, comes in. We are now going to use our background eraser tool to erase around our hard edges more accurately. You will find the background eraser tool will appear whenever you click and hold down on the eraser tool . The Background Eraser

The Background Eraser tool transparency as you click and tool erases to transparency drag, allowing you to erase the background while maintaining the edges of an object in the foreground. In this case we will be using it to erase the background (the sky) while maintaining the foreground (the sign) . The Background Eraser tool literally does what it says, it erases the background of the image. You may ask, how does it know what the background of the image is? Well, you would be correct to question this, because the answer is, it doesn’t. But, we can show Photoshop where the background is. This may need some explanation. As we already know, from earlier modules, Photoshop does not see images in a photograph; it sees pixels and colours. So, even though we can clearly see the sky is the background, Photoshop does not. The way to erase this background is by using the Background Eraser tool. Click the Eraser tool on the tool bar and scroll down to the Background Eraser tool.

Use the background eraser tool to get around edges nicely.

The Background Eraser tool pointer appears as a brush shape with a cross-hair indicating the tool’s hot spot. The Background Eraser samples the colour in the centre of the brush, also called the hot spot, and deletes that colour wherever it appears inside the brush. Click the Background Eraser tool and start erasing the sky (the background), and when we come to the edges of the sign, we erase around this very carefully, and make sure not to let the little plus sign (hot spot) at the centre of our brush go over the sign. We can see how the sky is being deleted, yet the sign remains with lovely clean edges.

Change the size of your brush as needed.

If we let the hot spot go over the edge of our sign then it will erase these parts of our image too – so you need to ensure that only the sky area is under the hot spot. You will need to change the size of the brush as you erase. This tool is great for accurate erasing of the background. Continue using the Background Eraser tool around the sign.

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Now we need to erase the remaining sky area. We will use the Magic Eraser tool to erase these areas. You will find the Background Eraser tool will appear when you click and hold down on the Eraser tool. The Magic Eraser

The Magic Eraser tool works very like the Magic Wand tool, except it selects and deletes the area. The menu bar at the top has tolerances for it, just as for the magic wand tool, and the same principles apply.

You can also use the Magic eraser tool to easily erase those awkward areas, as seen here.

Take the colour blue as an example (since our sky is mostly blue). If we choose less tolerance it will delete less blue areas and if we choose more tolerance it will delete more areas of blue. This chart gives a better idea of the tolerance tool for the magic eraser tool. Now that all the sky is deleted, we need to delete the surrounding landscape. It becomes a little more awkward here, because a lot of the tones of our landscape are similar to the tones on the pole of our sign. If we use the magic eraser tool or the background eraser tool, we may erase too much, as seen in these examples.

Background ErasEr tool: If we use the background eraser tool, it also finds it difficult to distinguish between the foreground and the background as the tones are so similar.

Magic ErasEr tool: The tones of our background are too similar to the tones of our pole, so too much has been deleted when using this tool.

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Select the area with the Marquee tool.

Delete the selected area by clicking Delete.

These tools work best with high contrast images. If you want to delete the areas at the bottom part of the image, using other tools you have learned may work for this low contrast area. So, in this case, we should use another tool that we have learned, the marquee tool, to select the left-over areas and press delete. In Photoshop, it often takes a combination of tools and options to get the final desired result. Generally no one tool alone can do everything. How to get the standard eraser tool to erase transparent:

For this exercise, when you erase, you want the background to be transparent. Let’s see how to make the background transparent when we erase. The first thing we will need to do is open our Layers window. When we open our layers window, we can see our background and it is locked. We need to change this background to a layer. The simplest way to do this is to double-click on our background in the Layers window, name it, and click OK. Now it is no longer a background ‘stuck’ to the canvas, but a layer floating above the canvas. So now, when you use your Eraser tool, you will see that it erases to transparent. Have a go yourself to see how this works.

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Now you have isolated your sign from the background by using the Eraser tools.

Use the standard Eraser to erase any left-over bits.

Exercise: Go back in your History palette to when you first opened the sign image and practice erasing the background yourself, by using these new eraser tools and other tools you have learned. Erase all the background so it is just the sign that remains. When you have this, save your sign as a Photoshop document.

Make your own Brush

The very last thing we are going to learn in this module is how to make your own brush and save your brushes. We are going to do this by using our sign and make it into a brush. The first step towards making your own brush is isolating the image you want as a brush. In this case, we have isolated the sign by erasing the background image. We now want to make this sign into a brush. All the hard work is done, so all we have to do now is go up to our menu to the Edit - Define Brush preset and a window will appear.

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You can name your brush here and then click OK. Now you have made your sign image into a brush. To find it, so we can paint with it, we simply click on our paint brush tool, go into our brush options, scroll down and you will find it’s the very last brush in your palette, with a small pictogram of its silhouette. Click on it and immediately you have a new sign brush. You can make this sign brush bigger or smaller by using your brackets (as already described) or by using the slider.

Pulling it all together

Open the Exercise ‘brush_ sign_exercise.jpg’ and make this yourself. Now that you have the brush already made, all you will need to do is create your new canvas, add colours to your palette and start to paint. Have fun!

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section 3.8

3.8 Quick Masks In this lesson we will learn about:

• Quick Masks • Selected Areas • Masked areas

Quick Mask is used to select an area or mask out an area

quickly and easily. The main way that it works is to ‘paint’ out an area under ‘Quick Mask’ mode, and then, when you come out of ‘Quick Mask’ mode, this area is then selected. Quick Mask mode lets you edit any selection as a mask without using the Channels palette, and while viewing your image. The advantage of editing your selection as a mask is that you can use almost any Photoshop tool or filter to modify the mask. For example, if you create a rectangular selection with the marquee tool, you can enter Quick Mask mode and use the paintbrush to extend or contract the selection, or use a filter to distort the edges of the selection. You can also use selection tools, because the quick mask is not a selection.

The start fruit basket image.

This will make more sense when you get hands-on experience. Open up the file ‘fruit_basket.jpg’. We are going to use the Quick Mask to select fruit from this fruit basket image. Let’s go to Quick Mask mode. Firstly, reset your foreground and background colours to their default values. When you have done this, double-Click on the Quick Mask mode button. You enter quick mask mode by double clicking on the Tool box under the Colour Box. When you have done this, the Quick Mask options dialogue box is displayed.

The fruit basket image with extra banana, lemon and mandarin, after using the Quick Mask tool.

What the defaults are telling us here is that the colour in the box will represent the selected areas. Let’s have a look at how this works.

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If we choose to ‘mask’ areas, this means the area masked out will not be touched, and only the selected areas will be painted, as in this diagram of a ‘hand’ stencil. It’s a bit like putting masking tape down on skirting board when we paint in our house – the area under the masking tape is not touched. If we choose selected areas, then the area we ‘paint’ will be the area that is selected. Click OK to close this dialogue box and enter Quick Mask mode. Selected Areas

For this exercise we are going to use ‘selected area’. We are going to select the banana from the fruit basket using the quick mask tool. Using the zoom tool, get a little bit closer to the bananas in this image to enable making our changes a little bit easier. When you are close enough to the image, select your brush tool and your brush type (a brush with a hard edge is a good choice for this exercise). Begin to paint on the picture using the brush. You will notice that even though our foreground colour shows black, we are painting in red with opacity of about 50% (if this sounds familiar, look at the Quick Mask Options dialogue box on the previous page).

Using the quick mask tool to paint around the area to be selected.

Now refine your selection. You can change brush sizes as you paint, so you can reach the harder to get areas with smaller brushes, and can paint out large areas with larger brushes. Don’t be afraid to zoom right in to get a very accurate selection. You can also use the hand tool to move around your image. You can switch between Quick Mask Mode and Standard Edit Mode by clicking on the toolbox, this is helpful to see exactly what you have selected Changing the size of the brush as we within Quick Mask. paint to suit the shape of the image.

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You can paint in more of this mask by painting in black. You can remove the mask by painting in white. This allows you to refine the selection that you make. When you are happy with the selection then switch back to Standard Edit Mode and you will notice that the area we had painted is now selected. Note: By saving your selection into a channel, you can load it at any time. This is especially good if you do not have time to complete a difficult selection in one sitting, you can save your selection, close Photoshop, and come back to it at anytime. To do this, simply go to the selection menu on your tool bar and scroll down to ‘save selection’.

Using the Quick Mask tool to paint around the area to be selected.

Painting with white to remove extra areas and to ‘tidy up’ the selection.

For this exercise we are going to make a copy of this selection and paste it on to another layer. This will make our image look like there are more bananas in the basket. To do this, we need to simply press copy (ctrl C) and paste (ctrl V). Now our selection will be on a new layer. We need to name our layer ‘banana’ and move it into position.

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Now that it is placed in position, it is time to ‘transform’ it. Go to Transform (ctrl T) and handles will appear, as seen below. Now let’s rotate it, move it into position and doubleclick (this will disable the handles). Exercise to practice what you have learned using the Quick Mask to select the banana. Try doing it yourself - select the lemon and the mandarin and place them in position, as seen below.

Masked Areas

Now that you have seen how to use the Quick Mask mode for ‘selecting’ an image, we will now use the quick mask mode to ‘mask’ out an image. Open the file ‘flower’. We are going to mask out the flower and blur the selected area, as seen here.

Original flower image.

Flower image masked out with a blurred background.

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The first thing we need to do is go into our Quick Mask settings, by double clicking the Quick Mask tool. We need to change the settings to ‘masked areas’ as seen here. Once we have this setting, we start painting our flower with the same process as before. Zoom in for more accurate results. Black paints on and white paints off, until we have selected our entire flower. When we click out of the Quick Mask mode, we will see that the flower is masked out and all the remaining area is selected. The ‘running ants’ are all around the edge of our image, as shown below.

Our flower painted in Quick Mask.

When we click out of Quick Mask mode, we will see that the flower is masked out and background is selected.

For this exercise we are going to blur the background. To do this you need to go to our menu to filter and scroll down to Blur - Gaussian Blur. A window will pop up, as shown here, and you can add as much blur as you want. You just drag the slider control.

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When you have chosen the amount of blur you want, click OK. You will see now, as shown below, that the background is blurred yet the flower has not been touched, because it was masked out.

An exercise to practise what you have learned:

Open up the file â&#x20AC;&#x2DC;Sea image startâ&#x20AC;&#x2122;. Using the tools you have learned, mask out the sign and blur the background (as seen below).

Sea image start.

Sea image masked.

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You have now seen how to use the Quick Mask tools for selections and for masking out areas. Here is one final example to tie in some of what we have learned. Exercise - Skater Quick Mask

The following exercise should give you practical experience of using quite a few tools, among them the Quick Mask mode. Locate and open Skater.jpg. Save a copy of this file to your hard drive.

The next step is to go to Quick Mask Mode. Firstly, reset your foreground and background colours to their default values. When you have done this, double-click on the Quick Mask Mode button. Now begin to paint on the picture using the brush. You will notice that, even though our foreground colour shows black, we are painting in red, with opacity of about 50% (if this sounds familiar, look above at the Quick Mask Options dialogue box). You can paint in more of this mask by painting in black. You can remove the mask by painting in white. This allows you to refine the selection that you make. Refine your selection. You can change brush sizes as you paint, so you can reach the harder-to-reach areas with smaller brushes, and paint out large areas with larger brushes. Donâ&#x20AC;&#x2122;t be afraid to zoom right in to get an accurate selection. You can also use the Hand tool to move around your image. You can switch between Quick Mask mode and standard Edit mode by clicking on the toolbox; this is helpful to see exactly what you have selected within Quick Mask.

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By saving your selection into a channel, you can load it at any time. This is especially good if you do not have time to complete a difficult selection in one sitting; you can save your selection, close Photoshop, and come back to it at anytime. However, now we are going to finish off the selection. When you have finished, it should look something like this (left). When you are happy with the selection, switch back to Standard Edit mode and you will notice that the area we had painted is now selected. Now before we do the next step, we need to copy the area inside this selection. When you have copied it, open wall.jpg. The wall image opens up and we need to paste in the skater and move him to the right hand side of the wall. Once we have done this our image should look like this (right). Next we need to duplicate the Background layer. The layers palette should look like this. The only thing wrong with the layers palette is that you havenâ&#x20AC;&#x2122;t renamed the skater layer yet, so rename this layer. Make sure to have the skater layer selected and load it as a selection. Next we will create a new layer and then hide the skater layer. Your image should now look like this (left). Next, using your airbrush, spray the inside of the selection. Do this faintly, leaving slight bits of the wall showing through. You can do this by moving the brush quickly or by changing the flow of the airbrush.

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Your image should look similar to this (above). This looks as though we have used a stencil, but we need to blend it a little so that it looks spray-painted. Go to the Select Menu | Inverse. Make sure you change the flow on your airbrush to about 50% and paint very loosely and quickly around the edges of the skater. Deselect the selection and it should now look something like this (right). You can see here that it is still a little too dark. The last step is to drag the copy of the background (that we made earlier) to the top of the layers palette. You will notice that this covers everything, making it impossible to see. To be able to view the items underneath this layer, we are going to change the opacity of this layer to about 15%.

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This gives the impression that the graffiti has actually been sprayed onto the wall and should look something like this (above). Congratulations, you have now completed the final Quick Mask exercise.

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section 3.9

3.9 Layer Styles In this section we will be looking at: • All Layer Styles • Blend Modes Layer styles are basically effects/styles you can add to your layers, such as drop shadows, colours, gradients, emboss effects, textures and many more. You can add all these effects to your layers by using the Layer Styles window.

Original fruit basket file.

Our selected fruit with drop shadow.

Open up your fruit basket file again. We are going to add a shadow to the pieces of fruit we selected earlier. The drop shadow style can be very effective. In this case, it adds depth to our fruit pieces, making them look more ‘real’. To create this effect, simply double click the layer you want the drop shadow. Let’s start with our banana, so go to the banana layer and double-click the layer. A new window called Layer Styles will pop open. There are many different styles on this window and we will look at them all later. In this example, we are only concerned with Drop Shadows. So let’s tick the drop shadow and also click on it till it goes blue, indicating that it is highlighted. This is so we can see all our drop shadow options. If we just tick it, then we don’t see these options and can’t edit it.

Drop shadow just ticked.

If we tick it and click on it, a bigger dialogue window opens up, as seen on the next page, through which we can see all our drop shadow effects and edit them.

Drop shadow ticked and clicked on (blue bar).

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Now we can see all our drop shadow options. You can change the opacity, distance, spread, etc.. When you have your drop shadow adjusted to your satisfaction, click OK and the drop shadow will apply to that layer; in this case, to your banana.

Repeat this for the mandarin and the lemon to see the different effects you can get. When you are done, take a look at your layers and you will see the effects are visible on your layers, as shown here. At any time, you can choose to turn these effects on or off by clicking on the eye icons; in a similar way to showing and hiding layers, you can show or hide the layer styles. As an example, let’s add a stroke to our fruits. Let’s start with our lemon. Once again, we need to go into Layer Styles to do so. Go to the lemon layer and double click it (as before). This time, tick and click onto ‘stroke’, and the stroke options will appear. We can increase the size of the stroke, the position of the stroke, etc.. Here we want to change the colour. So go to the colour box (its default colour is red). Click the red box and a colour window will pop up and choose the colour you want. In this case, let’s choose a bright sea green. Click OK on the colour box and OK on the layer style box, and a sea green stroke will now outline your lemon.

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Repeat this for the other fruits and changing the colour of their strokes. Your layers palette should now look as shown here Now you can clearly see all the styles that have been applied to the layers. Let’s explore some other options in layer styles. To do this let’s look at the file ‘layer_stylesEXERCISE‘. This file specifically demonstrates the Layer styles. First you will see there are many layers, all of which are named, which we shall use to understand and visually see how layer styles work. Start by clicking onto the layer ‘square’. The shape on this layer is made by simply using the marquee tool and filling it with colour. Ensure that only this layer and the white background are visible. Double-click the square layer and the Layer Styles window Double-click will open. You can also use the shortcut icon at the bottom will of your layer palette, represented by an ‘fx’ icon like this. of You can also access the layer styles by going to the main top menu, to Layers and scrolling down to Layer Style. In this case, we want to add styles to the square layer, so let’s double click this layer now. Our Layer Styles window pops up. So, by clicking on each option, you can see the effects you can get. You have already seen how Drop Shadow and Stroke work. Let’s see what some of the other effects do. Click onto the Inner Shadow. This gives our object an inner shadow. You can edit the distance and type of inner shadow by changing the options.

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Drop Shadow

Inner Shadow

Outer Glow

Inner Glow

Next is our Outer Glow. It will be easier to see how this works if we come out of the layer style, turn off the white layer and turn on the black layer instead. This will make it easier for us to actually se the outer glow effect. Now go back to your square layer and double-click it. Click onto Outer Glow and you will be able to see this effect very clearly. As always, you can edit it by changing the options on the right hand side. Un-tick the Outer Glow and tick the Inner Glow â&#x20AC;&#x201C; which does exactly the same as Outer Glow, except it does it on the inside.

Bevel and Emboss

Contour

Texture

Satin

Next is Bevel and Emboss. This is a very popular effect for a lot of Photoshop users. This gives an effect of the image coming out towards you or going into the page. You can also change the contour and add a bevelled texture as seen here. The next effect is Satin. This applies an interior shading that looks like satin. The next few effects are Colour, Gradient and Pattern Overlay. These options simply fill the layerâ&#x20AC;&#x2122;s content with a colour, gradient or pattern, as shown here. Colour

Gradient

Pattern

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There are also Blend Modes in our layer styles. Colour (colour mode)

If we set the blend mode to colour, then the colour goes onto our image as a colour overlay, not as a solid colour. The same effect happens with gradients when they are set as gradient overlays. Gradient (colour mode)

The same also happens with patterns. If we set the blend mode to overlay, then our pattern is overlaid onto the image, so it looks like the pattern is part of the image. Pattern (overlay mode)

Finally we have the stroke option, which is also one of the most commonly used options. It works very well on text. The stroke option adds a stroke or outline to the object on the layer using colour, a gradient, or a pattern.

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Image A EXERCISE: To practise what you have learned

Open up the file â&#x20AC;&#x2DC;bird_layer_styles_beginâ&#x20AC;&#x2122;. Using the Layer Styles and Quick Mask tool, change this photo from image A to image B. Remember, each element should be on a different layer. Then all you need to do is click into the Layer Styles. You will be using a gradient overlay and drop shadow for the bird, a bevelled texture for the ground and a colour overlay for the water. Have fun!

Image B

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section 3.10

3.10 Text In this section we will learn about: • Text • Warping Text • Paragraph and Character Options • Rasterising Text To place text in Photoshop we need to use the text tool. This text tool icon has a little arrow on it, indicating that there are more there options when you hold down the mouse on the icon. When you do this, you will see these 4 options. The main tool we use in Photoshop is the top tool, the horizontal type tool. The horizontal t ype tool is for text that we want going horizontally across the page. The vertical t ype tool is for vertical text. That is, each letter reads horizontally as normal, but each word is read vertically, from top to bottom rather than left to right.

The horizontal t ype mask tool is for making a horizontal selection in the shape of any text we type. The vertical t ype mask tool is for making a vertical selection in the shape of any text we type.

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To type text, we simply choose the text tool we want, in this case the horizontal text tool, click our cursor on the canvas and start to type. To alter or change our text we need to highlight it, as we would do in other application programs. When we start using the text tool, the top menu bar fills with text options.

Fig 1.1 Fig 1.1

This simple guide illustrates what each icon is for. To use any of these options, just click onto them while the relevant text is highlighted. We will now look at these in more detail. Anti-aliasing type Anti-aliasing lets you produce smooth-edged type by partially filling the edge pixels. As a result, the edges of the type blend into the background.

Note: A useful shortcut to filling an object or on a layer is as follows. Alt-backspace fills with the foreground colour. Ctrl-backspace fills with the background layer.

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The Character Palette You can get the Character window by going up to your main menu bar at the top. Choose Window > Character. You can also just click the Character/ Paragraph palette tab on your top menu bar. Your Character palette will open. Note: It is very important, when you edit a value in the character window, that you press Enter or Return, this applies it. Kerning is the process of adding or subtracting space between specific pairs of characters. Metrics kerning uses kern pairs, which are included with most fonts. Some of these are LA, P., To, Tr, Ta, Tu, Te, Ty, Wa, WA, We, Wo, Ya, and Yo. Photoshop uses metrics kerning by default so that specific pairs are automatically kerned when you import or type text. Optical kerning adjusts the spacing between adjacent characters based on their shapes. The difference between the two is Optical kerning apparent when you examine the spacing at an enlarged size, such as the â&#x20AC;&#x2DC;Ta Tu Tyâ&#x20AC;&#x2122; example here. Metrics kerning

There are many type styles available to use. These options are found near the bottom of the Character palette. The area outlined here by a red box indicates where further style are that you can apply to your text. Each icon has a different function. Applied to this typeface, they are, from left: Bold, Italic, ALL CAPS, Small Caps, Superscript, Subscript, Underline and Strikethrough.

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The examples above give a clear visual of what each of these character styles does. Having considered the character palette, it is now appropriate to look at the Paragraph palette. Once again, this can be found by going up to your main menu bar at the top and choosing Window > Paragraph. You can also just click the Character/Paragraph palette tab on your top menu bar The paragraph window will then pop up. Its functions are outlined in the diagram below.

Alignment and justification Left indent

Right indent

First line left indent Space after paragraph

Space before paragraph Hyphenation

Try doing the following exercises yourself to practise what you have learned. Exercise 1: For this exercise you will need to type the text as below, using centre alignment. You will then need to colour the text and change the font type. The font used here for â&#x20AC;&#x2DC;iactâ&#x20AC;&#x2122; is Georgia Bold 100pt size, and the rest of the text is in Georgia Italic 50pt size.

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Exercise 2: For this exercise, go into your layer styles and add a bevel effect. Exercise 3: For this exercise, go into your layer styles and add a drop shadow and a colourful gradient. NOTE: You should be able to see now how many of the tools in Photoshop link in with each other.

section 3.10

Exercise 1

Exercise 2

Recap Exercise

Now it is time for an exercise to practise many of the tools we have learned. Open up the file text_exercise. This exercise brings in many of the tools we have looked at in the last few modules. You will use Layers, Layer Styles, Text, Fill and the Marquee tool.

Exercise 3

The first thing necessary for this exercise is make a new canvas. This canvas size is 15cm by 10cm. Now fill the background with a pattern. You do this by going to Edit - Fill and choosing Pattern. Choose this pattern, then click OK.

When we go to Edit – Fill our fill window will appear. Scroll down to Pattern, then click the arrow at Custom pattern and your patterns will open. Choose the pattern you want, then click OK. Your canvas will now fill with that pattern, as seen here.

The next step is to type in the text. Go to your type tool on the tool bar. Then click on the canvas and type the word ‘and’. Position the ‘and’ on the canvas. You can do this by using the move tool. You can also do this when you are in the type tool by simply moving the cursor slightly away from the text and it will change from a flashing cursor to a move tool.

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It does not matter what colour your text is at this stage, because we are going to change it in the Layer Styles.

To get these effects - go to your layer styles window. You will need to tick Drop Shadow, Bevel & Emboss, Gradient Overlay and Stroke.

Layer styles

Choose Drop Shadow and decide the distance, spread and size you want.

Next, choose the gradient Choose your colour in the you want in the Gradient Stroke option. Overlay option.

In the Bevel and Emboss option, change the Technique to Chisel Hard. Increase the depth and make sure the direction is Up.

On the layers window, you can clearly see all the styles (filters) you have applied on the layers.

Now we are going to work on the rectangle. Make a new layer and name it ‘rectangle’. Fill it by going to EditFill-Black (it does not matter what colour we use to fill, as we will be changing it in our layer styles). We need to add styles to this layer. For this, we need the same Bevel and Emboss and Gradient options as above.

The next step is the small rectangle. Make a new layer and name it ‘small rectangle’. Fill it by going to edit-fill-black. Now we need to go into our layer styles and add the same gradient as we have been using, and we need to add bevel and emboss. The main difference in the bevel and emboss effect is that this will be going down rather than up like before.

Our rectangle should now look like this.

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Pattern Overlay

Inner Shadow

section 3.10

This time, in the Bevel and Emboss option, change the Technique to Smooth. Increase the depth and make sure the direction is down.

These handles will appear when we use the Transform tool. Double-click on the inside of the handles when you finish with the transform tool. This gets rid of the active handles.

Our small rectangle should now look like this.

Go to your text tool and type ‘&’. We need to increase the size of this ‘and’ symbol, known as an ampersand. , to fit properly. We will need to transform the text. Go to ctrl T (Free Transform) and stretch your ‘&’ symbol to fit nicely. Now all we need to do is go back into our layer styles and add our final styles. The styles we we’re going to use are Pattern Overlay and Inner Shadow. In our layer styles, we need to go to Pattern Overlay and choose the same pattern we used for the background. Then we simply need to click Inner Shadow. Well done - you have now completed this exercise.

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Warp Text

The last text option we are going to look at now is the ‘Warp Text’ option. This is a great tool for ‘warping’ your text in various ways. This option is on the main top menu for our text. Simply type your text on the canvas, click this icon and choose the style you want.

When you choose the style you want (e.g. Flag), you will be given more options for that particular form of warp, to change the blend and alter the horizontal and vertical distortion. The names of each style of warping (and what each one does) are shown here. The best way to learn these is to experiment with them yourself. Have fun!

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section 3.11

3.11 Gradients In this section we will consider:

• Gradients • All gradient types • Changing the gradient colours • Making your own gradients • Saving gradients • Loading gradients • Introduction to Modes

We have seen how we can use already made gradients in our layer styles. Now we will look at how you can manually use the gradient tool, and how to make your own gradients.

The default gradients available in your palette to use.

Once you have chosen the gradient tool on your tool bar, you will see all Once you have chosen the gradient tool on your tool bar, you will see all your gradient options appear on the top menu bar. your gradient options appear on the top menu bar. The default gradient is black and white (as seen above), but if you click the arrow beside the colour you can change the gradient colours.

To load more gradients simply click on the arrow and load in the gradients you want.

When you load your gradients they will ‘pop’ into your gradient palette as seen here.

Now we are going to use different colours to demonstrate the different gradients. Try having a go yourself at making the gradients, using the same colours as we have chosen. You will need a blank canvas for this.

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For our first demonstration we will use this type from the gradient palette. Keep changing the colours as you practise each gradient type, just for fun and for practise. Make sure you are on Linear Gradient, which is the first gradient option on your menu bar. To use the Gradient tool (and this applies for all our gradient types) simply click on the canvas, hold down the mouse in the direction you want, and for the length you want the gradient, and then let go. Have a go at experimenting and doing the linear gradients shown here. Now choose the next type of gradient, the Radial Gradient from your top menu bar.

Have a go at doing some of the radial gradients. You will need to change the colour of your gradients for this exercise.

Try using your elliptical marquee tool and placing a radial gradient inside it. This works very well with the radial gradient.

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Now choose Now choose the the next type of gradient, the Angle Gradient. Have a go at experimenting with the angle gradients. Once again, you will need to change the colour of your gradient.

The next type of gradient, is the Reflected Gradient. Have a go at doing these reflected gradients. You will, of course, need to change the colour of your gradient.

Now choose the next type, the Diamond Gradient. Have a go at experimenting and doing some diamond gradients. Once again, you will need to change the colour of your gradient.

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You should now feel comfortable using the gradient tool with different colours and different styles of gradients. You may have noticed there are more options on our Gradient tool top menu bar.

Opacity: The opacity works here the same as elsewhere – you can change the opacity of your entire gradient by using the opacity slider bar.

Reverse: When you click this option, it reverses the ‘start’ and ‘finish’ colours of the gradient. Dither: Gives a smoother blend with less banding. You should probably keep this ticked as a default. Transparency: Some of the gradients you have been given in your palette go from a solid colour to transparent. If you un-tick the transparency box, it gets rid of the transparency, so the gradient goes from a solid colour to a solid colour.

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Now that we know how to use the gradients, we are now going to learn how to make our own gradients and add them to our palette. You will need the Gradient Editor to make or edit Gradients. The easiest way to get the gradient editor is on the top menu for our gradients. Make sure your gradient tool is selected on the tool bar.

The Gradient editor displays the name and the properties of the gradient chosen.

Go to the top gradient menu bar and click onto the actual colour gradient, and whichever one is displayed is the gradient that will open. In this case we will use a gradient with a few colours already in it.

When you click on this, the gradient window will appear.

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To add a new colour to our gradient, just click the grey area beneath the colour bar and a new colour stop will appear, as seen here. You can add as many colours to your gradient as you wish by doing this.

To change the colour, we need to be on our colour stop and then click the colour box (C) and our colour window will appear. The colour we choose will go into our colour stop (B). We can change the location of the colour stop (B) by manually dragging it left or right. We can also do this by typing in a location (D). If we want to delete the colour stop, we can click delete (E) or simply drag it down and away .

We can increase or decrease the smoothness by clicking the Smoothness window (A).

We can change the Gradient Type from solid to noise (G). We can change the Opacity to parts of our gradient by clicking above the colour bar (H). We can also change the location by dragging the opacity stop (H) or by typing in a value in the location box. When we are happy with our gradient we can save it into our palette by clicking ‘new’ (F) and it will pop into our palette. When you have made any gradients that you want to keep and use again, you need to save them in our gradients folder. To do this, click ‘Save’ instead of ‘New’. A window opens in Photoshop’s gradients folder, where you name them and click Save. To load these gradients into out palette in the future, simply go to the gradient window, click the little arrow on the window and click Load.

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Modes

You can see on the gradient menu bar that you have modes. There are many types of modes. They are found in gradients, on layers, as a painting tool option, in shapes and even as blending modes in layer styles. Here are two of these modes when applied with our gradients. An exercise to practise what you have learned:

Difference Mode (with a diamond gradient)

Dissolve Mode (with an angle gradient and the opacity set to 60%)

For practise we are going to make this multi-coloured panel. Begin by making a new canvas, 15cm by 15cm. Choose the colours you want for your gradient. In this case we are going to make our own gradient. Go to your Gradient tool and click onto the gradient on the top menu bar, as seen here.

Once you click on here, your Gradient Editor window will pop open. The colours we are going to use for our gradient are (1) blue, (2) red, (3) yellow and (4) pink, as shown here. Once we have chosen these colours and placed them in the position we want, we click New to place our gradient with all the rest of our gradients (5), then click OK. Now that the gradient colour is chosen, we want to choose the gradient type. The gradient type needed for this exercise is the diamond gradient and we are going to change the mode to â&#x20AC;&#x2DC;Differenceâ&#x20AC;&#x2122; as seen here.

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Drag the diamond gradient back and forth a many times at different lengths until you have something like this.

Now go to your type tool and type â&#x20AC;&#x2DC;textâ&#x20AC;&#x2122; and make it the size and font you want. Then place it in the position you want.

Go to layer styles and add the following attributes; Shadow Drop Shadow, Glow Satin, Inner Glow, Gradient Overlay (choose one that works with your background) and Stroke (red). Your canvas should now look like this.

An exercise to try yourself

For this exercise you will need a blank canvas 15cm by 15cm. You will need the linear gradient tool, the text tool and layer styles. TIP: The linear gradient tool, when dragged only a little bit in one direction, gives the effect of a line (as seen below). The layer styles used for this exercise were Bevel & Emboss and Drop Shadow.

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section 3.12

3.12 Paths and Pens In this lesson we will learn about:

• Paths • The pen tool • Freeform pen tool • Adding and deleting anchor points • Convert point tool • Clipping paths • Path selection tool • Direct selection tool

Paths Paths provide an effective way to draw precise selection borders. A path is any line or shape you draw using the pen, magnetic pen or freeform pen tool. Unlike the bitmap shapes drawn by the pencil, paths are vector objects that do not contain pixels. As a result, paths remain separate from the image and do not print, with the exception of clipping paths. Once you have created a path, you can save it in the Paths palette, convert it to a selection, or fill or stroke the outline with colour. In addition, you can convert a selection to a path. As they take up less space than pixelbased data, paths can be used for long term storage of simple masks. Paths can also be used to clip sections of your image for export to an illustration or page layout program.

Drawing paths with the pen tool The The pen tool draws straight and curved lines called paths, which may be open (two distinct endpoints) or closed (continuous, like a circle). Paths do not print when you print your artwork. The pen tool can be found on your tool bar. It has a little arrow on the bottom left hand corner, indicating that there are more ‘hidden’ options. When we click the pen tool and hold the mouse down, our ‘hidden’ options will appear, as seen here. Let’s familiarise ourselves with the pen tool and learn how to draw and save paths. We are going to start by concentrating on how to draw straight paths.

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Straight paths Open the file Straight.psd in the Pen Tool Folder on the CD ROM. Save a copy to your hard drive. Click the pen tool on the toolbox, and the paths tab on the palette.

Drawing straight lines is done by clicking the mouse button. The first click sets the starting point for the line, each click thereafter adds a new anchor point, and a line is drawn between the anchor points to create your path. To end your path, click on the pen tool in the toolbox. Position your pen tool on point A and click the mouse, then click on point B to create a straight line path. Select the pen tool, and begin the next path. Click point C, and point D, then end the path by either clicking the pen in the toolbox or holding down ctrl and click away from the path.

Directly under the pen tool on your toolbar are selection tools for your paths. When you hold down on the arrow tool, a choice of two arrows will appear, as seen here.

Click point E to begin the next path, then hold down Shift and click points F, G, H and I. Holding Shift constrains the path to a 45 degree angle. If you make a mistake, choose Edit | Undo to undo the last anchor point, then click the pen tool to continue. End the path. Select the arrow tool from the hidden tools palette under the pen tool. Click the path in the window to select it, and move the path by dragging anywhere on the path using the Path Selection tool. To adjust the angle or length of the path, drag one of the anchor points with the Direct Selection tool. Note: You can press Shift + P repeatedly to scroll through the hidden tools under the pen tool (they have a P beside them). Path selection tool

PA H SELECTION tool moves the PAT PATH entire path. The path selection tool has a black arrow; when you are on this tool, your anchor points are black.

Direct selection tool

DIRECT SELECTION tool moves â&#x20AC;&#x2DC;directâ&#x20AC;&#x2122; points on your path. The Direction Selection tool has a white arrow; when you are on this tool, your anchor points are white.

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A temporary storage area named ‘Work Path’ appears in the Paths palette. Double click on the work path and save the path, calling it Straight Lines. When a path contains more than one segment, you can drag individual anchor points to adjust individual segments of the path. You can also select all the anchor points in a path to edit the entire path. Try dragging individual anchor points to move segments of the path you just drew. To select the entire path, press Alt+click. To draw a closed path, position the pen tool over J, and click on K and L. To close the path, position the pointer over the starting point and click. Closing the path ends the path, you don’t have to click the pen tool. Practise drawing a closed path by using the Star shape.

Painting Paths You can fill or stroke the paths and sub-paths (individual paths on a saved work path). You first must select your path, by using the arrow tool. Choose Stroke Sub-path from the Path palette menu, for tool choose Airbrush and click OK. You can select the tool and set its attributes before you select the stroke option. Click on a line and choose Stroke | Sub path from the palette menu .

To hide paths, click anywhere here

Click the triangle closed path and choose Fill | Sub paths from the palette menu.

To hide the paths, click below the path names in the blank area of the paths palette.

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Drawing Curved Paths Curved paths are created by clicking and dragging the mouse button. The first time you click and drag the mouse, you set a starting point for the curved path. As you drag your mouse, Photoshop draws direction lines with direction points from the anchor point. Direction lines and points are used to edit the shape of curves and to change their direction. Open the file pen_curves.jpg. Select the pen tool from the tool box, position the pen on point A on the first curve. Click and hold the mouse button down, then drag towards the red dot, and release. To complete the first curve, click on B, and drag from point B to the red dot. Continue to draw the curves to point D, and end the path using one of the methods you have learned. To draw a closed curve, drag up from point G to the red dot, click on point H and drag to the red dot, then position the pointer over point G and click.

Editing paths You can add points and subtract points from a path.Open pen_edit.jpg. These paths have been created and saved in the paths palette. Click the paths palette, and click the Add and Delete points path to make it the active path. Two sub paths appear in the window. Select the add anchor point pen from the toolbox (hidden under the pen options), position it over the red dot in the centre of the straight path and click. When you release the mouse button, the pointer becomes a hollow arrow which lets you manipulate the path. Select the second path with the Arrow tool, and the Delete Anchor Point pen. Position it over the red dot and click to remove the anchor point.

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Converting Points Sometimes you will want to change a curve to a corner point, or a corner to a curve. Using the convert direction point tool you can easily make the adjustment. Click the path name Convert Directions to activate it. Select the Convert Direction Point tool (hidden under the pen options) and click on a point on the outer path, and drag to convert the point to a curve. Convert the rest of the corner points to smooth points to complete the outer path, and convert the inner points to straight points using the same tool. File close, do not save changes. Exercise to practise what you have learned.

Open up the file pen_curves.jpg. This time you are going to make the curves by using the convert point tool. Using the pen tool, click a point on A then B then C then D. Now go to your covert point tool . Click on to point A with this tool and drag it up to the red dot. This will convert your point into a curve as seen below.

Now go to point B, click on it with the convert point tool and drag it to the red dot. Continue this process until you reach D. You can clearly see how the convert point tool has converted our points into curves. Drawing paths around artwork

You will try to draw a selection path around an object and saving it as a path. Open Bottles.psd in the Pen Tool Folder and save a copy to your hard drive. Select the magnetic pen tool, and draw around the first bottle in the image. When you have closed the path, double click on the path on the palette, and save it as Bottle one.

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Use the Add Anchor Points tool, the Subtract Points tool and the Arrow tool to refine the path so that the test outline is drawn. When you are happy with this, select New Path from the paths palette menu, and draw around the second bottle. Click on the new work path when it is complete, and call it Bottle Two.When both paths are complete, you can load them as selections. Go to the paths palette menu, and select Make Selection. Try to have both selected at the same time, by adding bottle two to the selection. Deselect. Here is a trick for Bottle Three. Just as you can make selections from work paths, you can make work paths from selections. Draw a selection marquee around the third bottle, making sure that it is as tight a fit as possible. Select the magic wand tool, and set the Tolerance to 99. Press down Alt, and click inside the marquee, over the background pixels. Now, only the bottle itself should be selected. On the paths palette menu, select Make work path. Double click on the work path and name it Bottle Three. If you want a challenge, open pen_pump.jpg and draw a work path around the yellow pump!

Open pen_pump.jpg

Draw a path around the pump

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When you are finished, save your path and name it ‘pump’. We are now going to learn how to make a selection of your path and use that selection to select our pump and placing a copy of our pump on a new layer.

To make a selection of your path press the ctrl key while clicking on the path.

You have now made a selection of your path (you will see running ants to indicate this).

Copy and paste this selection and it will paste the pump onto a new layer. Name the layer ‘pump’. You now have a copy of your pump on a new layer.

Clipping Paths When you export a Photoshop file to a page layout program, the entire image is opaque, including the background. Sometimes you will want to export an image and hide the background, so that only the desired portion of the image will appear. You can create a clipping path in the image before exporting it to a page layout program. Everything inside the path will be opaque, and outside the path transparent.

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To Convert a Path into a Clipping Path Here is an example of an image placed into a layout package for a brochure. The person has come in, but the background is transparent. We achieved this by making a path in Photoshop and saving it as a clipping path.

A Clipping path window appears. For path, choose the path named ‘pump’ you want to save. Go to your path window for your pump. Choose Clipping paths from the paths palette menu.

Note: Flatness setting for a clipping path determines how closely the straight line segments approximate the curve. The lower the flatness value, the greater the number of straight lines used to draw the curve and the more accurate the curve. For good results with most images, leave the flatness value blank to print the image using the printers default value. In general, a flatness setting from 8-10 is recommended for high resolution printing (1200 dpi to 2400dpi), a setting from 1-3 for low resolution printing (300 dpi to 600 dpi). Choose the Save As type to be Photoshop EPS. N Note: When saving a clipping path, name the the file filewith withaa‘CO’ ‘CO’ added at the end of of the the name name (as ininthe theexample exampleabove). above). ‘CO’ stands standsfor forcutout, cutout,and and this way way you youwill willknow knowat at a a glance that the the file file has hasbeen been ‘cut out’ as a clipping path.

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section 3.13

3.13 Shapes In this section we will learn about:

• All Shapes • Shape Layers • Work Paths • Filled Region • Custom shape tools • Line tool • Arrows

You will find the shape tools on your tool bar. The default tool is the You Rectangle tool. This tool has a little arrow on the bottom left hand corner indicating that there are more tools hidden beneath. Click on corner this tool and hold down your mouse and the other tools will appear, as seen here. When we are using the shape tools, our top menu bar appears with the options specific for those tools, as you see here.

The first option we need to consider is the type of shape we are going to use. Are we going to make just a path shape, are we going to make a filled path shape, or do we simply just want a filled region? These options are found within the first three icons of the top menu bar. 1 Create new shape layer (path with filled area). 2 Create New work path. 3 Create filled region (filled shape with no path). Shape Layers

The first decision, within the first option, Shape Layer, from the top menu bar, is your foreground colour. Whatever the foreground colour is, that is the colour that your shape will be filled with. We will start by using the standard rectangle shape for this demonstration. When you draw a shape using the ‘shape layer’ option, you get a shape, filled with the foreground colour, and you also automatically get a path of this shape.

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You can clearly see this on your layer as soon as it appears. There are two main advantages to this. Firstly, you can easily change your colour by simply clicking the colour box on your layer. Secondly, you can change and alter your path shape by using your pen tools. Change the colour of your box to blue by clicking on the colour thumbnail, as seen above.

Change the shape by clicking on the path with the Direct Selection tool. You can directly edit and move any anchor points with this tool. Alter the shape by converting the hard edges into curves, by using your Convert Point tool. You can use all your pen tools with this path. When you are on this tool, you will also see these tools appear on the top menu bar. These are just like the previously-considered selection tools where you could add, subtract, intersect and overlap areas. Here you can add, subtract, intersect and overlap your paths by using these tools. 1. Add to shape area 2. Subtract from shape area 3. Intersect with shape area 4. Exclude overlapping shape areas

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Work Paths

This This is our second option on our top tool bar. This option gives us a path only, with no fill. Shown here is a rectangular shape as a path with no fill. You can clearly see the path in your path window. You can save and edit your path in this window. Once again we can alter the shape by converting the hard edges into curves, using the Convert Point tool. We can use all our pen tools with this path.

You can also add, subtract, intersect and overlap your paths by using these tools.

Filled regions

This option lets you make a shape and fill This it with the foreground colour. It does not make a path, and it does not give you the easy option to change the colour of your shape. It places the shape on whatever layer you create it on.

Types of shapes

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Regular shapes:

Rectangle tool

Rounded rectangle tool

Ellipse tool

Polygon tool

Line Tool: If you choose the line tool, options for the line will appear on the top tool bar. If you want to increase the width of the line, simply type in a width (in px or cm) in the line weight box. If you want to add an arrowhead to your line, click the arrow on the top menu bar and your arrowhead options will appear. Note: you need to be on the line tool mode to get these options.

Custom shapes:

When you choose the custom shape tool you can make many different shapes, as seen here. To change these shapes, just click the arrow beside the box that says ‘shape’ on the top menu bar.

When you click here with your mouse, a new window appears with many different shapes. You can also load in new shapes by clicking the arrow to the right of this window (as shown above). Now that you have seen how to use the shape tools, let’s take a look at the rest of the options on the top menu bar. There is an Opacity option, as always, so you can reduce and increase the opacity of a shape. You also have the Mode option, where you can change the modes of your shapes.

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The other option on our menu is Layer Styles. We can see here that there is no layer style applied, but we can add styles to our shapes here. To add a style to our shape, simply click the arrow on the layer style box. A new floating window will pop up with styles you can use. If you want to load in more styles, just click the arrow to the right of this window. Choose the style you want then draw your shape. This style will then appear on your shape as you draw. Here are some examples of custom shapes with these styles added to them.

Try experimenting yourself with the different layer styles and your shapes. You should exercise to practice what you have learned, and to become more familiar with the filters and effects.

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Exercise: Steel Dog Tag

We are going to create the following image from scratch. It is an image of a dog tag with some text on it, with a brushed metal effect. It is quite a nice exercise and shows us the values of using layer, vectors and text together. To begin, youâ&#x20AC;&#x2122;ll create a new image.

1) Choose File | New.

2) In the new dialogue box name your new image Steel.

3) Make the image 500 pixels wide by 300 pixels high. Since we are going to be printing this at a later stage, we must make it 300 dpi. We will leave the rest of the default settings as they are. Once all of this has been done, click OK. If the Layers palette is not visible on your screen, choose Window | Layers. If you want to expand the Layers palette, click the Minimize/Maximize box at the top of the palette. You will notice that you have a background layer with a white fill. By default, the background layer is locked, so what we need to do is duplicate the background layer and delete the present locked version. To do this, select the layer you wish to duplicate, go to the Layer menu and select Duplicate Layer. Alternatively Right-Click the layer you wish to duplicate and choose Duplicate Layer from the context menu. In the pop-up dialogue box, rename this layer to BG and click OK.

Now delete the locked Background layer. To do this, select the layer and click the Trash icon in the Layers palette status bar. Alternatively, click and drag the layer to the Trash. You can also Right-Click the layer and choose Delete Layer from the context menu. We now only have one layer in our image. This layer is white and is not locked. Since we only have the one layer, it is selected by default. Go to the Edit Menu and choose Fill. In the contents area, from the Use drop-down list, choose 50% Gray and click OK. This gives our layer a grey colour.

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Next we are going to make this grey colour look like brushed steel. We are going to use filters to achieve this goal. It is quite easy to achieve similar effects to this by using the multitude of filters at our disposal. We are going to use three filters to achieve the desired look. These are the Noise filter, the Blur filter and the Lighting filter. So let’s proceed with the next part of our exercise. Go to the Filter menu, point to Noise and choose Add Noise. When the Add Noise filter dialogue box opens, make sure the Preview check box is ticked, so that you can see the image update as you adjust the settings. Choose a Noise Amount of around 25%. The precise amount is unimportant. You can do this by moving the slider left and right, or by typing in the amount directly. When you are happy that there is sufficient noise in the picture, click OK. The Noise Filter has now been applied. But this only gets us partially towards our goal. We must now apply the second of our three filters. Go to the Filter menu, point to Blur and choose Motion Blur. In the Motion Blur filter dialogue box, choose a Distance of about 70 pixels. You don’t need to change the angle, although that has been done here. An angle of about 40o looks very good. Once you have made these changes, then click OK.

Your image should look similar to this at this stage. However you can see it doesn’t quite look like brushed steel yet, although it is well on the way. We need to apply one more filter. Note: Remember to save your work.

Let’s now apply our final filter for this part of our exercise.

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Go to the Filter Menu, point to Render and choose Lighting Effects. The Lighting Effects filter dialogue box opens. The default light type is a spotlight. This is the type we want and we can slide the different sliders left and right to change the appropriate properties. We want a positive Intensity and Focus and we also want to slide the Material slider towards Metallic. We can also scale the spotlight in the preview pane by clicking and dragging on the re-size handles. Do this until you are happy with the light. You can also click and drag the centre handle in order to move the lighting effect around. When you are happy with the light intensity, positioning and the other settings, click OK. You can now see after applying these changes, that our background looks like a brushed metal background. This is the first main part of our exercise completed. Next we need to add our dog tag shape to the image. To do this we are going to use the drawing tools to form our shape. Let’s get started. On the toolbar, select the Rounded Rectangle tool. Click and drag on the background to draw your rounded rectangle. You’ll notice that when you insert the shape it goes in as another shape layer. Your shape will not look exactly like the one above just yet. We need to add the small hole where we would pass the chain through. If we were to just draw a small circle using the ellipse tool, this would go in as a separate shape layer. This is something we don’t want to do, what we want to do is to use the ellipse tool on the present shape layer and subtract the circle from the rounded rectangle we have just drawn.

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Before we draw the circle we must make sure that the Subtract From Shape Area option is selected, as highlighted above. When you have selected this, draw your circle on the rounded rectangle and you will see that, instead of being drawn as an additional layer, it is subtracted from the shape in the current layer.

Using vectors like this is one of the best ways to form abstract shapes. This is part two of our exercise almost complete. Now we must give the dog tag the same properties as the background layer, but we are not going to go through the whole process of applying our filters again. Let’s do this. Firstly we must rasterise the shape layer to turn it from a vector image into a raster or bitmap image. To do this, go to the Layer menu, point to Rasterise and choose Shape. Now that our shape is rasterised, we can select it. To select the shape, go to the Select menu and choose Load Selection. When the Load Selection dialogue box opens up, you can see that the channel we are choosing is the Shape 1 Transparency. This is fine, so click OK. You will now see that the shape is selected. Now we need to copy the background. Do not deselect the image. In the layers palette, select the BG layer. When you have done this, Copy then Paste the image without doing anything else. You will notice that another layer called ‘Layer 1’ is added to your Layers palette between your BG and Shape 1 layers. Double-click on the name ‘Layer 1’. The name becomes highlighted, rename this layer to Dog Tag and press the Enter key. Notice, however, that this layer is not visible in the actual image itself. In Photoshop, the order in which the layers of an image are organized is called the stacking order. The stacking order of layers determines how the image is viewed — you can change the order to make certain parts of the image appear in front of or behind other layers. But you can also turn on or off the Visibility. We can see that the Shape 1 layer is still visible, click the Visibility icon (the Eye) next to this layer to make it invisible. What you will notice is that you still can’t see the dog tag. This is because we pasted the area directly on top of where we had copied it from. If we just lift this slightly we will be able to see it. A good way of doing this is

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to add a drop shadow. Let’s do this. Make sure you have the Dog Tag layer selected. In the status bar of the layers palette, you will see a number of icons. Click the Add a Layer Style option button. A menu appears above this button, choose Drop Shadow. The Layer Style dialogue box appears, and here you can add, remove or change any of the layer blending options on the left. However the area we are interested is on the right. Here we can change the angle of the drop shadow, the opacity among other settings. Change these to see the effect they have. When you are happy, click OK. Here we have chosen an angle of 130o, a distance of 5, a spread of 10 and a size of 20 and you can see the result. This is the second main part of our exercise completed. Next we need to move onto the third and final part of our exercise. This involves putting some text on the dog tag itself. Choose the Type tool from the Toolbox. When it is selected, click on the image and type your required text; in this case we are typing “IACT”. If you need to change the font and size first, then do that. Here we have chosen Arial, size 24pt. When you have typed in the text, you must click the tick on the top toolbar to commit any current edits. Reposition your text where you want it on your dog tag using the Move tool. You can now see that the colour does not match our Dog Tag. We are going to do a very similar thing to the text as we did to the Dog Tag. Follow the steps we did for the Dog Tag up as far as before we added a drop shadow, although we don’t need to rasterise text in order to load it as a selection. Make sure turn off the Visibility of the type layer. Also, ensure that the new layer you have now added is above the dog tag layer. Rename this layer as ‘IACT Text .

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Note: Here we could also have used the Type Mask tool, rather than using the Type tool and loading the selection. You will notice that we canâ&#x20AC;&#x2122;t see any of the IACT Text layer. This is because of the same reason that we had before when we copied the Dog Tag layer. In order to see any difference we need to apply some Blending Options to this layer. Click the Add a Layer Style button and choose Blending Options from the pop-up menu. Click Bevel and Emboss (note the check box, it will be checked automatically). Now you can change the different settings here for the depth, size and softening of the bevel and also you can change the shading. We will leave the shading alone, choose Inner Bevel, Smooth, 100% depth and size 5. Once you have done this and are happy with your preview image, you can click OK. Congratulations, you have now completed the Steel exercise and your image should look similar to this. Make sure you save your file. The Layers palette shows Steel.psd contains four layers and the Background, some of which are visible and some of which are hidden. The eye icon to the far left of a layer name in the palette indicates that the layer is visible. You can hide or show a layer by clicking this icon.

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section 3.14

3.14 Composing Images In this section we will be practising what we have already covered, and adding new techniques, to compose images:

• Rulers • Smart Objects • Adjustments • Blending Options • Layer Styles • Filters • Deleting Layers • Flattening and saving Files

In this section we are going to use plenty of new techniques and some of the techniques we have already learned to produce the following composition. Create a new image and set it to be 25cm wide by 25 cm high, and also set it to 150dpi. A blank document will open up. The first thing you need to do is turn on your rulers. To do this, go to the View Menu | Rulers. When your rulers are showing, drag guides out from each of them. To do this, click on the ruler and drag your guides out onto the document. Firstly drag two onto the document to split in into four equal segments. Secondly drag more guides in to form the surround. Position them at 1cm in from the edge and 2cm in from the edge. The next step is to place in our four main background images. Go to the File Menu | Place and when the place dialogue box opens, choose sand.tif and click place. Once you place the image, it will be entered in the document and should look similar to this.

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When you have placed the picture into the document you can see that it is too big, we must resize it. Hold the SHIFT key when doing this, to ensure that you constrain the proportions of the image. Don’t worry about getting it the exact size as one of the large squares we have drawn using the guides. You should resize it so it is slightly larger than the square. When you are finished, you must commit the changes. You can do this by clicking the tick in the toolbar, or by choosing a different tool and when the dialogue box asks you, choose to Place the file. By default, Photoshop places the file as a Smart Object. If we want to trim this image, we must convert it to a layer. Make sure that the appropriate layer is selected and go to the Layer Menu | Smart Objects | Convert to Layer. The image is converted to a layer, but we must rename this layer to an appropriate name. It’s logical to call it ‘Sand’. The next step is to make a selection on this layer using the Marquee tool. Make the selection the same size as one of the guide squares, drag from one corner to the other (the marquee will automatically snap to the guides). Because this is the area we want to keep, go to the Select Menu | Inverse, which will select everything (on this layer) except this area. Your screen should look like this (shown here, top left) with the inverse selection. To get rid of this unwanted area of the picture, press the Delete key on your keyboard. When you have done this, your image should now look like this (centre left).

Repeat this procedure for the three other images, flowers.tif, map.tif and sky.tif. When you have done this, your image should look like this. Make sure to rename your layers as you proceed, and remember to save your file.

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You will notice we created the frame area around our image using guides at the beginning. We are now going to fill this border. Place the sky.tif image again, although this time we will resize it so that it covers most (not all) of our image. Resize it so that it covers the four pictures we already have in the document plus the 1cm all around. When you have done this, rename the layer BG and drag it to the bottom of the layer palette, so that it’s below every layer, except the Background layer. Next we are going to remove the colour from this image, so that it appears to be a greyscale border. Have the BG layer selected and go to the Image Menu | Adjustments | Hue and Saturation. When the Hue and Saturation adjustment dialogue box appears, drag the saturation slider all the way to the left to de-saturate the layer of colour. Our background is complete, next we need to add our foreground effects. Using your Text tool, type a capital letter S. Choose ‘Times New Roman’, size 72pt. Next go to the Edit Menu | Free Transform. Resize the letter S so that it fits nicely inside the sand square. When you are happy, commit the changes. Now using the technique learned in the Steel Dog Tag exercise. Load the Selection for the letter S, Copy from the sand layer and Paste back on top. Now hide the Type layer. We have the same problem as we had in the other exercise, because we pasted directly on top of the area we had copied from. In order to see the S, we must apply Blending Options to this layer. Note: Remember, name your layers and save your work. Choose the appropriate layer and click the Add a Layer Style button on the layers palette, and from the pop-up menu, choose Blending Options. Apply a drop shadow to the S and choose an Outer Bevel with a depth of approximately 600% and a size of approximately 50 pixels. When this is done, click OK. Your composition should now look like this.

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Next we are going to do the same in the top-left corner, the Map section. Repeat exactly the same steps as previously, except using the letter G. When you come to the point when you are to apply the drop shadow and bevel, choose an Outer Bevel with a depth of approximately 400% and a size of approximately 10 pixels. Now your image should look something like this. Click OK. Next, choose your Elliptical Marquee tool and draw a small elliptical selection on the sky, as shown here (centre). It is important that you have the sky layer selected for this part. It is also important to have the selection feathered. Remember, for the feather to take effect, you must change the feather value before selecting anything. We are now going to apply a filter to this selection. Go to the Filter Menu | Distort | ZigZag. The ZigZag Filter dialogue box opens and it is here we will adjust the settings. In this dialogue box, set the amount of filter to approximately 60, the number of ridges to approximately 10 and the style to Around Centre. When you are happy with the adjustments you have made, click OK. Now deselect the selection. Your image should look like this, and there is only one corner remaining to do, so letâ&#x20AC;&#x2122;s do it. Open the original image flower.tif this time, instead of just placing it. You will need to remove the white surround and the drop shadow effect in the flower image. You can do this by using the Magic Wand tool. Set the tolerance of the Magic Wand tool to about 70 and proceed to select the drop shadow and white surround, using the techniques used earlier on.

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When you are happy with your selection, go to the Select Menu | Inverse. Your selection should now look like the above. Next we will Copy this selection and Paste it into our composition. Resize it so that it fits into the composition in the topright corner, as shown. Next you will add a Drop Shadow to the flower layer to lift it slightly above the background of the other flowers. Congratulations! You have now completed your composition, and it should look like this. Deleting Layers

Now that we are happy with our composition, we can delete unwanted layers. We can delete the two type layers completely by selecting the two layer icons in the layers palette, and dragging them into the Trash. Flattening and saving files

When you have edited all the layers in your image, you can make a copy of the file with the layers flattened. Flattening a file’s layers merges them into a single background layer, thus greatly reducing the file size. Note that you shouldn’t flatten an image until you are certain you’re satisfied with all your design decisions.

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In most cases, you will also want to retain a copy of the file with its layers intact, in case you later need to change some detail on one layer. To save a flattened version of the file, you should use the Save As command. Choose File | Save As. In the dialogue box, from the format drop-down list, choose JPEG drop-down and then then type the name Flat, and and select the Save a Copy check box. Click Save. The check Save a Copy command saves Save a flattened version of the file while leaving the original file (and all its layers) intact. Your composition is now complete.

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section 3.15

3.15 Retouching Photographs In this lesson we will learn about:

• Adjusting Levels • Adjusting Curves • Colour Replacement tool • Adjusting Colour Balance • Adjustment Layers • Other Retouching Tools – Smudge, Sharpen, Blur • Removing Colour Casts • Brightness/Contrast • Hue and Saturation

There are many ways to retouch photographs and usually it takes a mixture of a few different types of effects, tools and adjustments to retouch a photograph. We are now going to look at the main tools for retouching and adjusting photographs.

Adjust Levels

The Levels in Photoshop are used to adjust the tonal levels in a photograph. Let’s open the file ‘cheese’ and have a look at the levels in this photograph, and learn how to adjust these levels. As you can see, this is a very dark, overexposed photograph. We will use the levels to brighten it up. Step 1: Choose Image | Adjust | levels

The following window will pop up. What we see here is a histogram indicating the tonal levels of the shadows (A), midtones (B) and highlights (C).

The Output sliders are at level 0, where the pixels are completely black, and level 255, where the pixels are completely white. These values are plotted along the horizontal X axis; the height of the graph at any one point represents the number of pixels in the image with that brightness level. The histogram can be used to correct an image to optimum brightness and contrast levels. You can use the levels command to set the tonal balance of an image by setting the lightest and darkest points of that image. You can use levels to affect an entire image, a selection or a channel within that image. Try this out using the cheese image.

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The Levels dialogue box displays a histogram of the image and a variety of controls that lets you change the tonal range. The three triangles at the bottom of the histogram are your manual settings for levels, the black triangle represents shadow (A), the middle one midtones (B), and the white triangle represents the highlights (C). When the black and white triangles are positioned outside the histogram (as they are in this example), the image looks flat, as there is a lack of contrast in both the highlights and the shadows of the image.

Step 2: The black triangle is right under the starting pixels in the histogram (indicating the image is dark), so you will need to drag the white slider to the left to position it under the ending pixels in the image. This lightens up our image. Now drag the middle triangle to the right to lighten the midtones, and click OK.

Now the pixels are distributed from black to white, and this adjusts the tonal range of the image. Save this image and name it â&#x20AC;&#x2DC;Cheese_levelsâ&#x20AC;&#x2122;. The Auto Levels command can also work well for adjusting images. This command adjusts the over-all contrast of an image by defining the lightest and darkest points in an image as white and black, and then distributes the remaining tones between them. This option is found under Image - Adjust - Auto Levels.

There are many adjustments we can make under Image - Adjust - Options from our menu bar.

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The main adjustments we would use on a standard photograph would be the top group of adjustments. To get any of these floating windows we simply go to our menu (Image – Adjustments) and scroll down to the command we want.

We have just looked at how you can Adjust Levels by going to this menu. We will be looking at some more adjustments, but now we are going to use our Adjustment Layers. They work in exactly the same way, except for one critical difference. The Adjustment Layers give an actual layer with the adjustments on it. This way, you can alter the adjustments as you wish with the added bonus of having all the layer attributes also. This is very useful, as we can just double-click back into this layer adjustment at any time and readjust our levels. Also, by having all the layer properties, you could, for example, reduce the opacity of the adjustment layer if you wanted to ‘tone down’ the levels. From this point on we are going to demonstrate how the adjustments work, but as adjustment layers.

Adjustment Layers Open the ‘cheese’ image again. Let’s do the same thing as we did to adjust the levels, but this time by using an adjustment layer. Go to your layer menu and scroll down to New Adjustment Layer. Choose Levels for your layer type. You can also find this option on your layers palette. The now familiar histogram appears. Make the same changes that you did for step 2, and click OK. Now you can see a new layer has been created in your Layers palette called Levels. You can click the Eye icon on and off, so you can compare the image with the new settings against the original.

It is a good idea to use the adjustment layers as you can easily delete them and try again, if you adjust the levels for the whole image the original data is lost. It is also a good idea to save a copy of the original image in case you make a mistake!

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Adjust Curves The Curves dialogue box provides the most sophisticated controls of the tonal adjustment tools. You control the midtones of an image with a greater precision using curves. You can adjust the tonality and colour of an image by changing the shape of the curve in the Curves dialogue box. Moving the curve upward or downward lightens or darkens the image, depending on whether the dialogue box is set to display levels or percentages. The steeper sections of the curve represent areas of higher contrast, while the flatter sections represent areas of lower contrast. Open up your cheese_levels image that you saved earlier. Make a New Adjustment Layer and this time choose Curves. The curves dialogue box displays a graph that represents the current relationship between the input values and output values. The bottom left corner point of the diagonal line represents the shadows in the image, the midpoint in the line represents the midtones and the top right corner point represents the highlights. Click the pointer on the ¼ tone point along the diagonal line (the curve). Drag the point upwards to lighten the image, and downwards to darken it. Experiment with the ¾ tone point as well.

Here, points have been placed at the ¼, ½ and ¾ points on the curve simply by clicking the mouse in these areas. This is a good way of adjusting the curves gently and accurately. Moving these points up or down lightens or darkens the image. Be careful, as these are very sensitive points. Little movements are all that are needed here. Move the points around until you are happy with your adjusted tones. You can see here how we have adjusted the curves to lighten up the cheese board and to ‘lift’ the image.

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There is another way to assign the black and white points of an image. Instead of using the sliders, you can enter the values directly.

Open up â&#x20AC;&#x2DC;flowers_startâ&#x20AC;&#x2122;. This image is not too dark, but could do with brightening up a little. To get good results, we are going to use our adjustment layer for levels. But this time, instead of using our sliders, we are going to us the colour picker tools in our Levels palette. Choose Layer | New Adjustment Layer | Levels.

You can manually select the darkest and brightest points in the image using the eyedropper tools. Watch how the histogram changes as you do this.

With the black eyedropper tool still selected, click on a dark area in the top left corner of the image to define this as the darkest point in the image. Click on the white eyedropper tool, and position it on the white petals. Click to define the brightest point on the image. Adjust the midtones on the histogram by dragging the midtone triangle slider. Click OK.

Compare the original image with the adjusted image by clicking the Eye icon for Levels in the Layers palette off and on again.

Original image

Adjusted image

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Landscape Exercise

Here is one more exercise to practise your layer practise your layer adjustments.

Open up the image ‘landscape’. We can see that this is quite a dull, flat image. We need to go to our layer adjustments to brighten it up.

When we go to our levels we can see by the histogram that the sliders are out of balance, so we need to drag the triangle sliders in towards the histogram.

This has adjusted our image quite well. For better and more accurate adjustments at this stage we will need to go into our curves.

By adjusting the curves (as you have done earlier) you can see how slight adjustments in the curves adjusts the picture more accurately.

Another exercise to practise what you have learned

Open up the file ‘angel_start’ and adjust the levels, curves and brightness and contrast.

angel_start

Image adjusted

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Replace colour in image areas

The Colour Replacement tool simplifies replacing specific colours in your image. You can paint over a targeted colour with a corrective colour. The Colour Replacement tool does not work in images in Bitmap, Indexed, or Multichannel colour modes, but it is a great tool for replacing colour in an image.

Let’s open up the cheese image that we improved in the Adjust Curves section. There are some over-exposed areas on the table that look purple. We want to replace the purple and over-exposed areas with the brown shades of the table. Here’s how its done. First, areas select the Colour Replacement tool . select

Choose a brush tip in the options bar. Generally, you should keep the blending mode set to Colour. For this exercise we are going to leave it at the default settings, which are the Sampling option as Continuous, the Limits option as Contiguous and the Blending mode as Colour. The Sampling options:

• Continuous Samples colours continuously as you drag.

• Background Swatch Replaces only areas containing the current background colour.

• Once Replaces the targeted colour only in areas containing the colour that you first click.

The Limits options:

• Discontiguous Replaces the sampled colour wherever it occurs under the pointer.

• Contiguous Replaces colours that are contiguous with the colour immediately under the pointer.

• Find Edges Replaces connected areas containing the sampled colour while better preserving the sharpness of shape edges.

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Zoom into the area we need to retouch. We can clearly see the ‘blue’ areas.

When we look closely at this image, we can see that parts of the table on the top left hand corner have a blue hue on them and also on the parsley image. We are going to use the Colour Replacement tool to fix these areas. Let’s zoom in on the area that needs retouching. Alt click on the ‘brown’ shade of the table that you want to use. This colour is now at the end of your mouse for when you paint. Paint over the blue areas, and the Colour Replacement tool ‘replaces’ the area beneath with the brown colour you chose.

You can see the difference from the areas painted over with the colour replacement tool (top left hand corner) compared with how it was (bottom left hand corner).

Continue painting the table with the Colour Replacement tool until you have done the entire table.

The entire table painted with the colour

Now bring up the ‘green’ of replacement tool. The table no longer has blue areas, nor is it over-exposed. the parsley using the Colour Replacement tool. You will do this the very same way we did the table, only this time you will alt-click on the green area that you want to use. An exercise to practise what you have learned:

Now we are going to use the Background Swatch option on Now our colour replacement tool to replace the entire colour of a flower. Open up the image ‘flower’. We are going to change our colour replacement options to colourise this flower and make it purple. There are a few steps we need to take. 1. The original yellow flower.

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Step 1: We need to go to the Sampling Background Swatch option, as highlighted here on the top menu bar. This option ‘tells’ Photoshop what the background colour is that we want to paint over with, and this way it only paints over this colour.

Step 2: Click on the ‘yellow’ of our flower and make this our background colour. By choosing this yellow from our flower as our background colour, we are telling Photoshop to paint over this colour. The foreground and background colours should look like this.

Step 3: Choose the purple colour 2. Click on the ‘yellow’ of our flower and we want as our foreground colour. By make this our background colour. choosing ‘purple’ as our foreground colour, we are telling Photoshop to paint over the yellow area with this new purple colour.

Step 4: Start painting on the flower. As we paint on the yellow our colour replacement tool should replace the yellow with purple. The only problem here is that it is also painting part of the background.

4. As we paint on the yellow our colour replacement tool replaces the yellow with purple.

3. Choose the purple colour we want as

Step 5: Undo what you just did by our foreground colour going in to your history palette so that we have our yellow flower again with no purple on it. We need to alter the tolerance as the tolerance is too high which is why the purple is painting on part of our background. part background.

Change the the tolerance tolerance to to 30%. 30%. This This will will decrease decrease the the spread spread Change of our purple and keep it confined to less shades of yellow. Now start to paint again. You will see now that the purple is 5. Purple is going onto the yellow areas only. only going on to the yellow areas, and not onto the background. Step 6: You may need to increase the tolerance a little more now to get those last few areas that are still revealing yellow.

Step 7: You now have a purple flower by using the colour replacement tool. 7. The final purple flower.

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Adjust Colour Balance (Removing a Colour Cast)

This adjusts the colour balance in a photograph. For example, if there is too much of one colour, you can adjust it by using the colour balance. The Colour Balance command lets you change the mixture of colours in a colour image, it provides general correction. A colour cast is an imbalance of colour which may occur during scanning, or which may have existed in the original image. You can use Adjustment Layers to remove colour casts, and this way you can make additional changes if necessary after you have seen a colour printout of the image.

Open up the table file. You can clearly see that there is too much pink in this photograph. We will now use Adjust Colour Balance to easily remove the pink hue. Go to New Adjustment Layer – Colour Balance. This window will pop up. You have the Cyan, Magenta, Yellow and Red, Green, Blue options. Select Shadows, Midtones, or Highlights to select the tonal range in which you want to focus the changes.

Note: “Preserve Luminosity” prevents any changes to the luminosity values in the image while changing the colour. This option maintains the tonal balance in the image. For this example, leave the option at Midtones. Drag the slider towards the colour(s) you want to increase, and drag the slider away from the colour(s) you want to decrease in the image.

We want to decrease the amount of magenta, so let’s drag the slider away from magenta. Click on the Eye icon to hide the Colour Balance layer, and see the difference between the adjusted colours and the original colours. Now our image looks nice and white again with no pink hue.

However, the image is still a little ‘dull’ so we are going to use one of the Adjustment layers to brighten it up. This time we are going to use Brightness and Contrast.

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Adding a Brightness/Contrast layer adjustment.

section 3.15

The table image brightened up by using Brightness/Contrast on the Adjustment layer.

Choose layer adjustment - brightness and contrast. Slide the slider to increase the brightness and contrast. These tools are not very precise compared to levels and to curves, but you can experiment with these on a new adjustment layer. Adjust Selective Colour

â&#x20AC;˘ Relative - Changes the existing amount of cyan, magenta, yellow, or black by its percentage of the total. For example, if you start with a pixel that is 50% magenta and add 10%, 5% is added to the magenta (10% of 50% = 5%) for a total of 55% magenta. (This option cannot adjust pure specular white, which contains no colour components.) â&#x20AC;˘ Absolute - Adjusts the colour in absolute values. For example, if you start with a pixel that is 50% magenta and add 10%, the magenta ink is set to a total of 60%.

Adjusting Hue and Saturation

Hue is the colour, Saturation is the purity of the colour, and Brightness is how much white or black there is in the image. You can change the hue and saturation of the entire image, on an adjustment layer, or you can change selected areas by making a selection first, then adding a new adjustment layer.

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Botanic_gardens image.

Saturation brought down to -100 makes the image black and white, as it takes all colour from the image.

Adjusting the lightness can ‘wash out’ the image, handy if you want to place dark text over it.

Using the Quick Mask tool to paint out the tree.

Adjusting the hue extremely can give you ‘surreal’ effects.

The tree actively selected after using the Quick Mask tool.

Open up the image ‘botanic_ gardens’ and use the Hue and Saturation options on this image.

Many of these adjustments work really well on selective areas. In this example, we select just the tree trunk by using Quick Mask and then adjusting the Hue of that area only. New adjustment layer of Hue and Saturation with the area clearly defined as a thumbnail image on our layer.

The saturation increased on the tree but not affecting any other part of the image.

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section 3.16

3.16 Further Retouching Tools In this lesson we will learn about:

• Smudge, Blur and Sharpen Tools • Dodge, Burn and Sponge Tools • Dust and Scratches Filter • Healing Brush Tool • Spot Healing Brush Tool • Red Eye Tool

Retouching Photographs

The Smudge tool simulates the action of dragging a finger through wet paint. The tool picks up colour where the stroke begins and pushes it in the direction you drag. The focus tools consist of the Blur tool and the Sharpen tool. The blur tool softens hard edges and the sharpen tool focuses sharp edges. The toning tools consist of the Dodge tool and the Burn tool. Used to lighten or darken areas of the image, the dodge and the burn tools are based on traditional photographer’s techniques for regulating exposure on specific areas of print. The Sponge tool subtly changes the colour saturation on an area.

Blur, sharpen and smudge tools

We will concentrate on the Blur, Sharpen and Smudge options first. These are all found on the one tool. Open up the file ‘3_flowers’. This is a great file to demonstrate how our blur, sharpen and smudge tools work. We can use each one of these three images for the three options on this tool.

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Click on the Blur tool. You can change the size of your blur tool the same way you change the size of any of your brushes, by either going to the brush menu on the top bar, by right clicking, or by using the brackets short cut [ ]. Once you have a brush the size you want, start painting with the blur tool, and where you paint becomes blurred. Here we have chosen a large brush size for the blur tool and you can clearly see the area painted over with it (top left hand side of the image) is now blurred. You can also adjust the Strength of blur by changing the settings on your top menu bar.

Here weâ&#x20AC;&#x2122;ll try the Sharpen tool. Once again, this tool is very userfriendly. It works exactly the same as the Blur tool (except, obviously, that instead of blurring, it sharpens). You can also change its strength on your top menu bar. You can see clearly that the area painted over as it is now much sharper. The spokes are more defined where we have used the sharpen tool, unlike the spokes on the lower right hand side of the image. The last option here is the Smudge tool. This tool smudges the area you paint. Once again, you can alter the strength of the smudge tool on your top menu bar. The picture below shows clearly the effect of a smudged area. The size of your brush and the strength of your smudge can alter the look of your image dramatically. You can also tick the finger painting option on the top menu bar. This option lets you choose a colour to smudge with. It works as if you had dipped your finger into paint and then smudged with your finger on a canvas. You can see to the left of this image we have used the finger painting option with a blue colour.

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TIP: These tools are great for blurring out recognisable faces in a picture, for concealing licence numbers on cars or taxis, and other such details. Here is a good example of photo retouching using the Blur, Sharpen and Smudge tools. The Taxi Licence number was concealed using the Smudge tool. The person and poster behind were blurred out using the Blur tool. The reflection on the car roof of the taxi licence number, was also blurred out using the Blur tool. We used the Sharpen tool to sharpen around the edges of the taxi sign. Dodge, Burn and Sponge tools

Once again these tools are all options within one tool on your tool bar. Open up the file old_image_start. We are going to retouch this photo using these tools.

old_image_start

old_image_finished

The first thing we need to is increase the contrast, so weâ&#x20AC;&#x2122;ll go to Image - Adjust Brightness/Contrast and increase the contrast. Now we are going to use the Burn tool to burn in more detail. The Burn tool darkens areas in an image. The default is 50% exposure, this is a good exposure to begin with.

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If you need to burn in more, you can increase the exposure. If you need to burn in less, you can decrease the exposure. You can also choose highlights, mid tones or shadows. For this exercise we are going to leave it at midtones. It is a good idea to use a feathered brush when retouching photos, as this is more subtle than using a hard edged brush.

old_image with increased contrast.

Once you have a soft-edged brush chosen and it is at the size you need, start painting the areas that need to be burnt in.

Here we will burn in some of the faces and hair. As you paint, you will see the areas A, B, C, D and E burning in more detail.

Here we have used the Burn tool to burn in these areas.

Next we are going to use the Dodge tool to lighten up dark areas of the photograph. The Dodge tool lightens areas in an image. Here we will use this tool to lighten up the ladyâ&#x20AC;&#x2122;s face in the foreground.

The Dodge tool is used here lighten up the dark area of the ladyâ&#x20AC;&#x2122;s face.

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We will now use the Sponge tool. The Sponge tool changes the colour saturation of an area. You can choose to saturate or desaturate. We can see that, even with all the tools in Photoshop, sometimes our image is too badly damaged to fix. In this case, even though our sponge tool works well to desaturate the ‘black’ arm, there is still not very much detail to retouch.

Using the sponge tool to saturate some of the light areas and desaturate the dark areas.

Here we have decided to clone out the man’s arm completely, to retouch the shadows in the background a bit, and to clone out some of the bottles in the foreground. We have used the Patch tool and the Clone tool to tidy up these parts. Finally, the image is cropped and finished. The final cropped image.

Healing Brush Tool

Open up the file eyes_start.jpg to demonstrate how the healing brush tool works. We are going to use the Healing Brush to get rid of the ‘bags’ under the eyes. The healing brush is going to heal this area, using tones of the skin that we allocate.

eyes_start.jpg

eyes_end.jpg

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Duplicate your layer. This is a very good habit to get into when you are retouching photographs; you never know when you’ll need it for adjustments. Choose a brush size, and then Alt + click on an area very close to the area you want to heal (so as to match the skin textures). Start painting with the Healing Brush tool. Small strokes of about 1cm work best with this tool. Notice how the ‘bags’ literally disappear as you paint.

Notice the difference in the left eye where we have used the healing brush tool, compared to the right eye. Now we’ll do the same with the right eye.

The healing brush healing the right eye

Now we can see that all the ‘bags’ have been cleared, but it still looks a little stark.

By duplicating our layer when we started, we can reduce the opacity of this layer, revealing ever so slightly the old image behind making our new image less stark and more realistic.

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The Spot Healing Brush

In this exercise we are going to look at touching up an old image and restoring it to a reasonable quality. We will be using the Healing Brush, the Spot Healing Brush and the Patch tools to repair an image whilst maintaining tonal values. We will also use the Unsharp Mask filter. Open the OldPhoto.jpg image (1). You can see that there are a lot of scratches on it. Letâ&#x20AC;&#x2122;s try and get rid of some of these to start. Choose your Spot Healing Brush tool and begin to use it on the scratches in the top left hand corner of the image. Make sure you only draw over small areas at a time. If you try and fix too many of them at one time, Photoshop can have trouble coping. Paint a small section (2). When you use the Spot Healing Brush, it selects colours from the adjacent pixels and matches them to the area you are painting. Continue to do this for the rest of the scratches on the image (3). Avoid trying to fix the rather large scratch on the manâ&#x20AC;&#x2122;s left shoulder; the Spot Healing Brush will have trouble with this as there is too must contrast in the surrounding colours.

We are now going to use the Patch tool on the shoulder. Choose the Patch tool from your toolbox. We start out using the Patch tool the same way as we would use the lasso tool, click and drag around the area we want to change (4). The area now becomes selected. The next step is to place the patch tool inside the selection, you will notice that the pointer for the Patch tool changes slightly, it now has a small arrow as part of it (5). Click and drag to the area we would like to replace the selection with. In this case, if we drag farther down the shoulder, it will look identical (6).

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Do this, click and drag down the shoulder to the right (it will appear as another selection) and line up the two selections by eye. When you are happy with the way itâ&#x20AC;&#x2122;s lined up, release your mouse button. Your image now has no scratches left on it. The last step now is to sharpen up the image slightly. To do this we are going to use the UnSharp Mask filter. Go to the Filter Menu | Sharpen | Unsharp Mask. When the adjustment dialogue box opens change the Amount to about 50, the Radius to 3.0 and the Threshold to 4. When you are happy with the adjustments, click OK. The next step is to adjust the brightness and contrast of the image. Go to the Image Menu | Adjustments | Brightness/Contrast.

In the adjustments dialogue box, decrease the brightness by 5 and increase the contrast by 15. When you have made these adjustments, click OK. Congratulations! You have successfully retouched and restored this old photograph.

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section 3.17

3.17 Using the Patch tool for ‘patching’ up photographs In this lesson we will learn about:

• Using the Patch Tool • Source/Destination

The Patch tool is excellent for “patching” up photographs. Open up the image ‘patchtooloriginal’. We are now going to patch up this vase very easily and quickly with the patch tool. Always look at the top menu bar when you go to a tool on the palette. You will see the following options for the patch tool:

Choosing Source means you select the area you want to fix and then Choosing Source select the fix and then drag it over to the ‘clean” area. Choosing Destination is the exact opposite, where you choose the destination (or “clean”) area and drag it on to the source (the area that needs to be patched). Making sure that Source is selected and Transparent is not ticked, drag your patch tool around the area we want to fix and then Deselect (ctrlD), as shown here.

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Exercise 2

Here is another example of using the Patch tool with the Source option. Open up the file ‘canvas’. This is an example of a canvas that needs to be ‘patched up’. We can do this easily and effectively with the patch tool. Select the patch tool and make sure ‘source ‘ is selected on the top menu bar. Now use the patch tool to draw around the patch. Then, when the area is selected, click into the centre of the selected area and drag it over to a ‘clean area’ and let go of the mouse. This clean area will now ‘patch’ over the original area.

Exercise 3

Here’s a third exercise using the patch tool. Open up the file ‘jumper_patch’. This time we are going to use Destination rather than Source from the top menu options to patch up this image.

The first thing we need to do is zoom into the area we need to patch. This way we can see more clearly what we are working with and get more accurate results. Use the Patch tool to draw around the ‘clean area’. We are going to drag this clean area over our patch. The clean area you choose should be as close to the patch area as possible so the tonal ranges will be more accurate. Once you have this ‘clean area’ selected, you want to drag it over the patch. In this example, you should hold down the shift key while dragging the clean area. This keeps the selection in its vertical position as you drag it down, so that the knitting lines stay in the same position.

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Zoom in to the area that needs retouching

Use the patch tool to draw around the ‘clean area’ close to our patch.

section 3.17

Drag the clean area over the patch while holding down the shift key..

Deselect Deselect the area and you will see that area has been ‘patched up’. Now let’s area try patching up a different area of the try jumper. Once again, we need to zoom jumper. into into the area for best results. Make sure sure the Destination option is still ticked ticked on your menu options. Using the the Patch tool, draw around a clean area near the patch. area

Zoom in to the area and draw around a ‘clean area’ close to your patch.

Drag this ‘clean area’ over the patch and deselect.

If the area shows ‘tell tale’ signs, use the patch tool again. Draw a new clean area of the same size as you need to patch.

Drag this clean area over on to the area you want to tidy up.

Deselect and you will see the area is now patched up.

Exercise: Now try patching up the rest of the jumper yourself, using the Patch tool. You can also use other tools you have learned to retouch this photo. The Clone tool and Dust and Scratches filter may help to get rid of the scratches.

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Exercise to practise what you have learned

Open up file ‘shop_front’ and use the patch tool to tidy up and patch the shop front as seen below. You will also need to adjust the levels to brighten it up.

shop_front Start

Shop_front image – patched with the patch tool

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section 3.18

3.18 Changing a Colour Photograph to Black and White In this section we will learn about:

• Adjustment Layers • Hue/Saturation • Colour Blending Mode

As a simple example of changing a colour photograph to black and white, open the image ‘o’connell_street_colour’ .

Note: It is often a good idea to duplicate the layer in the layers palette as a backup, because it can turn out to be useful in various ways. Go to Layers - New Adjustment layer - Hue/Saturation Duplicate this adjustment layer – name this top layer ”black and white”.

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Bring the saturation to -100 on the top layer. Change the mode of this layer to â&#x20AC;&#x2DC;colourâ&#x20AC;&#x2122;. Your image should look like this, because you have reduced its colour saturation to -100.

Now work on the layer beneath, and you can adjust the Hue and Saturation more accurately, as the layer above keeps the image in Black and White mode but still allows you to adjust the hue/ saturation and lightness in the layer below. Note: Double-click the histogram image on this layer to access the hue and saturation properties.

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Note: You can also turn a colour photograph to black and white by going to image in the menu and scrolling down to â&#x20AC;&#x2DC;greyscaleâ&#x20AC;&#x2122;. You can adjust the levels, contrast, etc. also in this way, but it is more limited than the way already described. Here we see the same original colour photograph converted to black and white, in each of the two ways described.

1. Converted by Image Mode - Greyscale

2. Converted using Hue/Saturation in the Adjustment Layer

Experiment yourself with the Adjustment Layer - Hue/Saturation, and you will see how effective this process can be.

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Selection Tool

Direct Selection Tool

Magic Wand Tool

Lasso Tool

Pen Tool

Type Tool

Line Segment Tool Paintbrush Tool Rotate Tool

Rectangle Tool Pencil Tool Scale Tool

WarpTool

Free TransformTool

Symbol Sprayer Tool

Column GraphTool

Mesh Tool Eyedropper Tool Live Piant Bucket Tool Crop area Tool

section 4.1 4

Gradient Tool BlendTool Live Paint Selection Tool EraserTool Zoom Tool

Fill Default Fill and Stroke

Stroke Tool

Change Screen Mode

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Selection Tool

Direct Selection Tool

Magic Wand Tool

Lasso Tool

Pen Tool

Type Tool

Line Segment Tool Paintbrush Tool Rotate Tool

Rectangle Tool Pencil Tool Scale Tool

WarpTool

Free TransformTool

Symbol Sprayer Tool

Column GraphTool

Mesh Tool Eyedropper Tool Live Piant Bucket Tool Crop area Tool

Gradient Tool BlendTool Live Paint Selection Tool EraserTool Zoom Tool

Fill Default Fill and Stroke

Stroke Tool

Change Screen Mode

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section 4.1

Creating a new file in Adobe Illustrator Creating a new file in Illustrator is the same as in Photoshop, InDesign, Quark Xpress and most other DTP applications. You can go to File New and this window will pop up, or you can use the familiar shortcut ctrl N . The options in this dialogue window are similar to other applications. You can choose page size and orientation. There are default sizes available to use, or you can type in your own page dimensions. You can also change the units of measurement; international standard measurements for DTP are metric (mm or cm) so those are the units we will use throughout this course. For an initial exercise we are going to use the standard A4 page size (210mm x 297mm) with portrait orientation. Once you have created a blank page of this size and shape to work on, we will begin by drawing some basic shapes. In order to do this, you should first become familiar with the basic tools in the Illustrator tool bar. The Adobe Illustrator tool bar has some options on it that are similar or identical to those in Adobe Photoshop and/or Adobe InDesign. Because these programs have all been designed and produced by one manufacturer, they work very well together.

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The main tools in Illustrator In this section we will learn about: • The Illustrator tool bar • Some of the main tools • The shape tools • Adding colours and strokes • Arranging, grouping, copying objects • Zoom toll and navigator window

Selection Tool

Direct Selection Tool

Magic Wand Tool

Lasso Tool

Pen Tool

Type Tool

Line Segment Tool

Rectangle Tool

Paintbrush Tool

Pencil Tool

Rotate Tool

Scale Tool

WarpTool

Free TransformTool

Symbol Sprayer Tool

Column GraphTool

Mesh Tool

Gradient Tool

Eyedropper Tool

BlendTool

Live Piant Bucket Tool

Live Paint Selection Tool

Crop area Tool

EraserTool Zoom Tool

Fill Stroke Tool

Default Fill and Stroke

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section 4.1

Some of the main tools on this tool bar include the following: Selection Tool

A solid black arrow on the top left of the tool bar, the selection tool is primarily used for selecting and moving items on the page. Direct Selection Tool

This white arrow is used for directly selecting individual points on our images and shapes on the page. Pen Tool

The Pen tool is one of the main drawing tools in Illustrator. Its options include the Add Anchor Point, Delete Anchor Point and Convert Anchor Point tools. Type Tool

The Type tool is use for entering or highlighting any text in your document. Its options include the Area Type, Type on a Path, Vertical Type, Vertical Area Type and Vertical Type on a Path tools.

Line Segment Tool

The line segment tool is used for drawing straight lines or pieces of line. Its options include the Arc, Spiral, Rectangular Grid and Polar Grid tools. Selection Tool Magic Wand Tool Pen Tool Line Segment Tool Paintbrush Tool Rotate Tool WarpTool Symbol Sprayer Tool Mesh Tool Eyedropper Tool Live Piant Bucket Tool Crop area Tool

Fill Default Fill and Stroke

Direct Selection Tool Lasso Tool Rectangle Tool Type Tool

Rectangle Tool

The rectangle tool is used for drawing squares and rectangles. Its options Pencil Tool Scale Tool include the Rounded Rectangle, Ellipse, Polygon, Star and Flare tools. Free TransformTool Column GraphTool

Free Transform Tool Gradient Tool BlendTool

Live Paint This tool is Selection used Tool for â&#x20AC;&#x2DC;transformingâ&#x20AC;&#x2122; an item, making it bigger or smaller, EraserTool or rotating it, etc.. Zoom Tool

Fill/Stroke Stroke Tool

This tool isScreen used Change Modeto add colours as fill colours and/or as stroke colours.

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Rectangle Tool

Polygon Tool

Rectangle Tool

Polygon Tool

Rounded Rectangle

Star Tool

Rounded Rectangle

Star Tool

Ellipse Tool

Flare Tool

Ellipse Tool

Now that we have seen some of the main tools on the Illustrator tool bar, we will look into the shape tools in detail. The main shapes are located on the main tool bar. There is a little black arrow on the bottom right hand corner of this tool, and this indicates that there are more tools hidden underneath. Hold your mouse down on this tool and the other â&#x20AC;&#x2DC;optionâ&#x20AC;&#x2122; tools will appear. Here we see the basic shapes created using each of these option tools, accessed via the Rectangle tool. You can edit these shapes by using the Direct Selection tool. Choose the Direct Selection tool from the tool bar. Directly select a point on the shape and drag it to alter the shape, as seen here. We will go into this procedure in more detail after we have covered the pen tool. The default Fill and Stroke on your palette is a black stroke of 1pt and a fill of white. When you draw a shape, these colours are applied to that shape. The next section looks at how different colours can be applied to the fill or stroke of any shapes you create.

Flare Tool

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section 4.2

Adding colours and strokes Adding colours to your fills and strokes is easy to do in Illustrator. You need your swatches palette for this. You will find the swatches palette under the window Options Swatches.

Note: all the floating palettes are under the Window option

on your top main menu bar.

To change a colour of a stroke or a fill, you need to select the shape with the selection tool and click the colour you want in your swatches. The option that is on top in your fill/stroke option icon is the option that is active, and it will be set by any swatches you choose. In this example, the colour that will change (shown here as orange) will be the fill option, as this is in the foreground. If we want to change the stroke colour we need to make sure the stroke option is in the foreground. To do this, simply click the option you want and it will then appear on the foreground. So now it is the stroke which is in the foreground, and it is this which will be changed (from black to any other colour) if you click any other swatch in your colour palette.

Fill Colour as foreground

Stroke Colour as foreground

Now that we know how to change the colours, letâ&#x20AC;&#x2122;s look at some of the other options. At this stage, it is good to get into the habit of using the top menu bar. The top menu bar displays most of the options for whichever tool you are on.

Here you will see how you can easily change the colours and the stroke thickness using the top menu bar. In the second half of this menu bar, you can alter the dimensions and measurements of your shape.

Top menu bar indicating that you have an orange fill with a 1pt black stroke, with opacity of 100%

Top menu bar indicating the position and measurements of your shape

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Top menu bar indicating a gradient chosen from the swatches and the stroke changed to 7pt.

If you select a shape, and want to increase the stroke width and use a gradient fill, you simply choose a gradient from the swatches and change the stroke on the top menu bar, as shown here.

Rectangle Tool

Adding a gradient fill and changing the stroke width of your shape.

Rounded Rectangle

Polygon Tool

Star Tool

Ellipse Tool

Flare Tool

You can also type in exact dimensions by choosing a shape and simply clicking your mouse on the page. A window will pop up for you to type in the dimensions you require.

Resizing shapes

Circles and other shapes can all be resized, by clicking on their drag handles and pulling outwards from the centre of the shape (to enlarge it) or moving in towards the centre of the shape (to shrink it), as shown here.

Retaining an objectâ&#x20AC;&#x2122;s shape proportions when resizing it

Hold down the shift key to constrain the proportions of a shape, to avoid stretching the shape more in one direction than another. This is also how you make a perfect circle or square, using the ellipse or rectangle tools - you hold down the shift key while using that tool. Tip: when resizing a photograph, it is particularly important to retain

the proportions exactly â&#x20AC;&#x201C; otherwise you are likely to create fat or skinnyheaded bodies on people, or other unwelcome distortions.

Exercise

Try experimenting with these options yourself. Make shapes and add colours and stroke, as in the examples shown.

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Selecting objects on the page

All the selection options are on the main menu bar under Select. When we want to â&#x20AC;&#x2DC;select allâ&#x20AC;&#x2122; we can use this menu or the shortcut ctrl + a to Select All, a very handy shortcut you will probably use frequently. If you want to select more than one item at a time, hold down the shift key and you can select a few together. Duplicate

To duplicate an item, hold down the alt key. Click the item you want to duplicate and drag the mouse. Copy and Paste

You can Copy and Paste an item by going to the main menu, under Edit. Again, the key commands ctrl + c (copy) and ctrl + v (paste) are worth remembering, because these are such frequently-used commands. Grouping objects

You can group a few objects together by using the Group option. You will find this option under Object on your main menu bar. The shortcut for group is ctrl + g and the shortcut for ungroup is shift + ctrl + g. This is handy when you want to transform a few items together. Group selection tool

This is a new option in CS3 which, when you double-click a group, brings you into a group set. You can use the normal selection tool, or you can do the same with the direct selection tool. Zoom tool

The zoom tool is the little icon that looks like a magnifying glass. You can also get to this tool by simply pressing z on the keyboard (provided you are not in a text box at the time). Simply click this zoom tool on your document to zoom in. When you place the zoom tool over your image, you will see a + inside it, and when you click on the image it will zoom in closer each time you click. When you want to zoom out using this tool, you can press the alt key and the + will turn into a -, so now every time you click on the image it will zoom out. If you want to view your entire image, use the shortcut ctrl 0 (fit on screen). To zoom into a specific area, just select the zoom tool, hold down the mouse and click and drag or draw around that area with the zoom tool.

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Navigator window

Another way you can view your image is by using your navigation window. Choose this view in your menu bar, under Window Navigator, and your navigator window will pop up. Make sure the Navigator Palette is at the front of the palette group (you can do this by clicking on the navigator tab). By dragging the slider back and forth you can change the magnification of your image. When you bring your mouse inside the palette it immediately becomes a hand, and you can scroll to different parts of the image.

Hand tool

You would use the hand tool to scroll through an image either when you are zoomed in, or when an image does not fit in the active window. You can also select this tool with a keyboard shortcut (H) or simply press and hold the spacebar. Now that you have familiarised yourself with more of the tools in Illustrator, itâ&#x20AC;&#x2122;s time to have a look at layers.

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4.3

section 4.3

Organising Artwork on Layers

In this lesson we will learn about: • Arranging objects • Layers • Making new layers • Arranging Layers Arrange

When we make a shape on our document and then make another shape, that second shape will automatically go on top of the first shape. If we place a third shape on our document, it will go on top of our second shape, and so on. In Fig. 1 you can see that the orange shape was the first shape placed on the document. It is under all the other subsequent shapes. The red shape was drawn next, and then the blue. The green shape was the last shape drawn, so it is on top. To ‘arrange’ your objects as you want them, use the ‘arrange’ options. There are many different arrange options in Illustrator for moving your objects below or above other objects. These can be found under Object on your main menu under Arrange. You can arrange objects by degrees: ‘Bring Forward’ brings an object forward by one step, while ‘Send Backward’ moves it back by one step. You can ‘Bring to Front’ and ‘Send to Back’, either of which bring the object fully to the front or to the back, no matter how many objects there are. You can access all these options by right clicking with your mouse. Fig. 2 shows how you can bring an object forward by one step, by clicking the ‘Bring Forward’ option. The orange shape is now in front of the red, although it is still behind the blue and the green.

3. The orange shape is now on top of everything because it was brought to the front by clicking ‘Bring to Front’.

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4. The green shape is now at the back because it was selected and ‘Send to Back’ was clicked.

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1. Shapes placed on a document. The orange shape that is selected is the first shape that was drawn.

2. The orange shape brought forward is now only above the red shape, because ‘Bring Forward’ brings it forward one level.

5. The orange shape is now behind the blue shape because it was sent backward (one step back).

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section 4.3

Exercise:

Now trying doing this for yourself. Draw four shapes in a similar way, make them different colours, and use the Arrange options to bring them forward and back. Save this document as ‘Arrange’. Layers (F7)

Layers are a very good way of organising your images in Illustrator. Without layers, all our objects are automatically placed on top of each other on one layer (as described in the last section) and you need to use the Arrange options to move things around. By using Layers you don’t need to use the Arrange options. You can just make new layers for each object and then drag the layers to the position you need. Layers are very useful for isolating certain objects on a page and for hiding objects while working on specific objects.

By clicking this arrow we can see all the elements on our layer. Menu

Indicates Selected Art Eye Icon Toggles Visibility

New Layer Shortcut Icon Trash Can for deleting

Some of the layer properties

To get to the layers palette, go to your Window menu and scroll down to Layers. In the ‘Arrange’ document, you will find one layer called ‘Layer 1’, and the 4 shapes are all on that layer. If you click on the arrow as indicated, you can see each element on the layer separately. By clicking on each section (named ‘path’) you can drag that section above or below the others, changing the order manually instead of using the Arrange options. If you want to place each object on a separate layer, you just make a new layer and drag each object individually. The first thing we need to do is a make a new layer for our first shape. To do this, use the layers floating palette shown here. Either click on the arrow at Menu and choose ‘new layer’, or click on the new layer icon. When we choose to make a new layer from our menu, this new window will pop up, showing the automatic temporary name of the layer (in this case, ‘Layer 2’). Type over this to name the new layer ‘Orange Shape’ and click ‘OK’.

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The new layer called ‘Orange Shape’ will now appear in your layers palette. To put your orange shape onto the new awaiting layer, you simply drag and drop. Click onto the orange ‘path’ layer as seen here. Now physically drag it up and place it on top of the new layer ‘orange shape’. Your orange shape is now on the orange shape layer.

New layer named ‘Orange Shape’.

You can select any item on a layer by clicking the blue box on the layer. You can also drag and drop layers by dragging the blue box. Simply drag the blue box on to the layer you want.

section 4.3

Physically dragging the object up onto the new layer.

Note: You need to be careful when you do this dragging. Make sure

you see a gap to drop it onto, otherwise it can drop into another layer as a sub layer, which can get quite complicated. If this happens, you can always undo (ctrl Z).

Exercise

Make three more layers. Name them ‘blue shape’, ‘red shape’ and ‘green shape’. Place each shape onto each separate layer in the same way we have just done for the orange shape. The orange shape is now not on Layer 1, but on your new layer named ‘orange shape’.

Viewing layers

Having made and named these separate layers, you can click the eye tool on the layers palette on or off to make that layer visible or invisible. To view a layer, click the eye on, and to hide a layer, click the eye off. The red shape layer is no longer visible, as its eye icon has been turned off.

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section 4.3

Menu Deleting Layers

There are various different ways to delete a layer. If we click on the menu arrow at the top right of your layers window, you can choose â&#x20AC;&#x2DC;Delete Layerâ&#x20AC;&#x2122; from the options listed there. You can also delete a layer by clicking on it and then clicking the Trash Can icon at the bottom of the layers window. Finally, as a key command, you can always right click and choose Delete Layer.

Trash Can

Selecting layers

The Padlock icon, showing that a layer is locked.

To select a layer simply click on the layer with your mouse. You will know which layer you are on, as the layer will go dark blue in colour. Note which layer you are on, and that is the layer any new shape will draw onto. Click the little circle on the layer and it selects everything on the layer. This is very useful when you have more than one object on your layer. Locking Layers

You can also lock a layer so that its contents become untouchable. To do this, you simply click on the gray box beside the eye icon as shown here, and a padlock icon will appear. To unlock the layer again, just click back on this lock icon. Merging layers

To streamline all of your artwork, you can merge the layers. Merging layers combines the contents of all selected layers onto the top selected layer. Choose merge layers from your layers palette.

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section 4.4

4.4 Combining and reshaping In this lesson we will learn about:

• Alignment • Pathfinder • Transform

The Align Palette

Alignment

Now we are going to learn about Alignment in Illustrator. The Align palette can be found under the main Window option and click Align (shift F7). This palette opens with the two other floating palettes shown here, Pathfinder and Transform. We are going to go into all of these in detail in this section. The Pathfinder Palette

Align Palette

To demonstrate the align palette and all its properties, you need to have some shapes on a document. Open a new document and do the following exercise: Exercise: Make a rectangle (no stroke). Make four of them, using alt

and drag, and make them all slightly different lengths. Then duplicate the four shapes – go to the Transform tool and rotate by 90 degrees.

The Transform Palette

The Pathfinder Tool

The Pathfinder tool lets you combine and subtract shapes in different ways. Shown here are two basic shapes which, when put together with the Pathfinder commands, will result in some interesting new shapes. To display the pathfinder palette, choose Pathfinder from the Window menu. Let’s experiment with these two shapes in Pathfinder: The Exclude command traces all non-overlapping areas of the selected objects, making the overlapping areas transparent. The Unite command joins two shapes and makes them a single shape. The Intersect command leaves only the overlap of the two shapes. The Divide separates the shapes into its component parts.

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section 4.4

Draw a green box and a red circle, group these items, and then duplicate the group.

To demonstrate some of the other functions of Pathfinder, make a red circle and a green square, group the shapes, and duplicate the group, as shown here. We will use these shapes to demonstrate our Align and Pathfinder options. Align Objects is for vertical or horizontal alignments. Distribute Objects spaces them out equally between each

other.

Distribute Spacing (vertical and horizontal) – have to choose a

shape after they are grouped before it will work

places an object on the page, centred, etc..

Artboard

Shape Modes

The Pathfinder

Add to shape

Intersect with shape

To demonstrate the Pathfinder, we will use our shapes and go through each of the options together.

Subtract from Shape

Exclude Overlapping

Pathfinders

The Transform Palette is used to ‘transform’ any object. You can specify where on the page NOTE: Object - ungroup -deselect is to be positioned canan pull object shapes apart (X and Y axis), the width and height, rotate it and skew the object.

Expand merges two shapes

together to make one shape.

Shape Modes

AddAddtoto shape shape

Intersect with shape Intersect with shape

Subtract from Subtractshape from Shape

Exclude overlapping

Exclude Overlapping

NOTE: Object - ungroup can pull shapes apart

Pathfinders Devide

Crop

Trim

Outline

Merge

Devide

MInus Bck

Trim

Merge

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Exercise: Make a flower

section 4.4

This is an exercise to help you to practise some of the tools we have considered. We are going to make a flower by drawing shapes, expanding them and transforming them. Make a new blank document, A4 size, and name it ‘make_flower.ai’. Draw this single green ellipse shape.

Duplicate this shape three times, so you have a total of four of these shapes. Keep the first one unchanged. Rotate the second one 45 degrees. Rotate the next one -45 degrees and rotate the last one 90 degrees. Your combination of shapes should now look like this.

Now place them all on top of each other to make the image look roughly like a flower (1). Now we will use the pathfinder to align them all together and make them one shape. Select all the shapes. You can do this by dragging your mouse over all the shapes. Go to your pathfinder window and select align horizontal centres (2). Then click align vertical centres (3). Now we have our flower aligned correctly, we need to merge all the shapes together into one entire shape. Open your pathfinder window and click ‘merge’.

Exercise_make flower

Now you have one shape as a flower (4).

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Exercise_make NIke Logo

An exercise to practise what you have learned:

Make your version of the well-known ‘tick’ or ‘swoosh’ Nike logo, using the tools you have already learned.

Congratulations! You have now learned and practised the Align, Transform and Pathfinder tools in Illustrator.

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4.5

section 4.5

More Drawing Tools

In this lesson we will learn about:

• Eraser Tool • Scissors • Knife Tool • Pen tool • Gradients

The Eraser, the Scissors and the Knife tools are all options within one tool. The best way to understand how they work is by demonstration. The Eraser Tool works like having an eraser in your hand. Use it to

erase out areas.

Choose the knife tool and drag it over the area you want to cut. Using the eraser tool to ‘rub out’.

By placing another box behind, you can clearly see how the eraser tool has deleted the area.

The Scissors Tool is also used for cutting, but it works by clicking

anchor points.

When you release your mouse, the area that is cut will appear.

The scissors tool works by clicking on anchor points.

To separate the area you have cut with the scissors, use the direct selection tool.

Knife Tool

If you want to cut something casually, you can use the knife tool. You simply drag the knife tool over the area you want to cut then release the mouse when you are finished.

To separate the two areas use your direct selection tool.

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The Pen Tool

The Selection and Direct Selection tools also work hand in hand with the Pen tool.

This leads us on now to the pen tool. The pen tool works with anchor points also. It can be used for drawing curved and straight objects. As we draw a shape with the pen tool, it makes anchor points that we can then go back to at any stage and convert, change, edit, move or delete. The shapes we make with our pen tool are called ‘paths’. The pen tool can be found on your tool bar. There are many ‘hidden’ can options under this tool. The same pen tool is also found in InDesign and in Photoshop, this and and the same principles apply in all the packages. The selection tool and direct selection tool also work hand in hand with the Pen tool. The and selection tool will select the paths we make with the pen tool. The direct selection tool will directly select anchor points on our path, which we can then move and edit. Open Paths

A line drawn with the pen tool is called a path. Open paths have a distinct beginning and an end. To draw a path, you click to create a starting anchor point, and click to create a finishing anchor point. You must end the path before you can draw new segments of a new path. The way you end a path is to either click on the pen tool in the toolbox, or to press ctrl + click to deselect the path. If you hold down shift and click a second anchor point, the path is automatically restricted to a 45o angle. This is called constraining the line. You can draw horizontal, vertical or zig-zag lines using the constrain option. You can draw a line that has as many connected points as you want. Closed Paths

You can also draw closed paths, paths that loop and have no end point. To draw a closed path, you finish your path by clicking on the first anchor point that you drew. A small “o” appears at the bottom of your pen tool when you close a path. Note: Object – path – join (ctrl) rejoins any open ended end points. Creating, moving and changing objects

Using the pen tool draw a match-stick man. The match-stick man is made up of several separate objects. If we wish to treat all of these objects as one we can group the separate objects into one object using the group command. From the Object menu choose Group. The object is now grouped together and will move and resize as one object. To move the object, click on it with the mouse. Click in the centre of the object and drag with the mouse. The handles around the edge of the object will allow us to enlarge or shrink the object. Match Stick Man grouped, displaying handles for resizing the entire shape

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Editing paths

Splitting a path: You can split a path in between two anchor points using the scissors tool (as shown earlier). Cuts to a path must be on a line or a curve, rather than on an anchor point. Where you click, you see a new selected endpoint. However, the scissors tool actually creates two anchor points each time you click. Because they are on top of each other, you can only see one. Adding anchor points

You can add anchor points to an existing path using the add anchor anchor point pen. Position the pointer on the pen in the toolbox, and drag to the right to select the Add Anchor Point pen. Click on the path to add an anchor point. You can then drag the new anchor point with the direct selection tool. Subtracting anchor points

To remove unwanted anchor points, you can use the Subtract Anchor Anchor Point pen. This is also found in the toolbox, behind the pen tool. To remove an anchor point, click on an existing anchor point. Drawing Curves

In a vector graphics program such as Illustrator, you draw a curve, called a BĂŠzier curve, by setting anchor points and dragging them to define the shape for the curve. Although this takes some getting used to, this type of drawing gives you the most control and flexibility in computer graphics. Click the pen tool to begin. Instead of clicking on the page to drop an anchor point, you click and drag on the page. This gives you an anchor point, and two direction lines. The next step is to click and drag a second anchor point. As you can see from the example (left), a curve is formed between the two points instead of a straight line. In this way, you can draw as long a curve long as you wish!

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To draw the equivalent of a closed path, you repeat the same process, by clicking on the beginning point of your path. Here you see the steps involved to draw a circle. There are certain pre-set shapes in Illustrator, so that you will not have to try to draw a circle from scratch, but it is good practise to use the pen tool to try to draw a perfect circle. Converting anchor points

You can convert an anchor point from being a curve to straight. You use the convert anchor point tool. Click on an existing curve with the converting anchor point tool and see what happens. If you are changing a straight anchor point to a curved one, you will have to click and drag to obtain the direction lines.

Creating Curved Lines

Select the pen tool from the toolbox. We can use this tool to create lines and curves on the page. Points on paths are called anchor points or nodes. As their name implies, anchor points set the position of line segments. The line is painted with the current paint attributes. Draw a straight line by clicking to create a starting point, click anywhere else on the page to create the finishing point. If you hold down shift + click for the finishing point, the line is restricted to 45o and so you can draw a straight horizontal line this way.

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Making Selections

In order to change the way something looks, it must be selected before the changes can be made. Click the selection tool and click the outline. Anchor points appear, along with a highlighted outline, as shown here. Anchor points define where each segment of a path starts and ends. By moving them, you move the path. You can also select an area by drawing a marquee around it. To select additional objects, press down Shift. To deselect objects, click away from them, or use the menu command: Edit | Deselect All. To select a section of the drawing and change its shape, use the direct selection tool (the white arrow). When the anchor points appear as hollow squares, it means they can be seen, but they are not selected.

A blue filled anchor point indicates it has been selected.

Direction lines appear on points which make curves. You can drag the endpoints of these direction lines (called direction points), to change the shape of the curve. If you shift-click you can select several anchor points, then drag out to change shape of complete object. You can then group objects together, by selecting the objects you want to group, and use the menu command: Objects | Group. If you would like to return to the previous version of your work, you can choose Edit | Undo. Shortcut to note: One handy shortcut to take note of is Undo +

White anchor points are not selected. Direction lines are apparent.

Ctrl Z.

Gradients A gradient fill is a graduated blend between two or more colours. You can easily create your own gradients, or you can use the gradients provided by Adobe illustrator and edit them for the desired effect. To add a gradient to an object we can use our gradient button on our toolbar. Simply draw an object, select it and click this gradient button.

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A default black and white gradient fills your object. Now you can display the gradient and swatches palettes so that you can select another colour. If the colour palette is not visible, choose Window | Show Colour. For the gradient palette, choose Window | Show Gradient. Position your cursor on one of the colour stops (buckets) beneath the gradient slider, and drag to change the position of white and black. Notice how your gradient changes in your selected object. Standard gradients

There are two main types of gradients in Illustrator, linear gradients and radial gradients. The example shown here is a linear gradient. You can add or delete as many colours to or from your gradients as you wish. Adding colours to gradients

Drag the colours you want for your gradient into these ‘buckets’

To make a new linear gradient, you just drag the colours you want onto the gradient palette. You can drag the colours into existing ‘buckets’ to change the colours, or you can add new ‘buckets’ of colour. To add new colours, click the area below the gradient picture on your gradient palette, as shown here. Deleting colours

To delete a colour from a gradient, just click the ‘bucket’ on the gradient palette and drag it down off the palette. It will vanish, and that colour will have been deleted. Drag this gradient from here and drop it into the swatches

Drag the new colour directly from your swatch and place it here

New gradient colour in the swatches

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Linear gradients

Changing the direction of Linear Gradients. Linear gradients

Changing the gradient direction by using the Gradient tool on tool bar

Saving a gradient into your swatch

To save a gradient into your swatch again, simply drag it from the gradient swatch into your colour swatch. The default gradient type is a linear gradient but you can also have radial gradients by choosing this on your gradient palette. You can add, delete and save gradients the Changing the gradient direction by using the Gradient tool on tool bar same way for radial gradients as you have done for linear gradients. Radial gradient

Radial gradient

Changing the gradient direction by using the Gradient tool on tool bar

Changing the direction of Radial Gradients.

Changing the gradient direction by using the Gradient tool on tool bar

To change the direction of any gradients you make, use the gradient tool on your tool bar. Simply select the object that has a gradient, choose this tool on the tool bar and drag the tool over the object. The direction you drag this tool will dictate the direction of the gradient. The length you drag this tool will dictate the length of the gradient.

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EXERCISE Open the file ‘factory.ai’. This is a good exercise to practise what you have learned. This exercise is good for tying together many of the tools we have already learned. Step 1: You need to draw 3 circles, each different sizes, as in the example. Colour one circle grey, another light blue and the third a dark blue. Place them on top of each other, and use the align tool to centre them exactly on each other. Select all the circle then choose Horizontally Align centres.

Use the scissors tool to cut the circle in half. Click on the two points indicated with the red circles.

Step 2: Use the scissors tool to cut the

dark blue circle in half. Select the circle and, with the scissors tool, click on the two mid-points of the circle. Then colour the bottom half of the circle green.

Step 3: Using the pen tool, trace over

Step 1 Step Step1 1 Step 1

the original factory image. We will do this in seperate pieces.

Step 4: Now we need to add a gradient to all our shapes.

Step 2 Step Step2 2 Step 2

To make this gradient we need to use our gradient palette. We can find this palette under Window - Gradient. Simply drag the colours we want into the gradient ‘buckets’. Save the gradient into our swatches. Once this gradient is in our swatches, we can use it at any time. 3

Step 3 Step Step3 3 Step 3

Step 5: Make another new gradient of dark blue and white. Save it into the swatches and use it to add a gradient to the dark blue piece of circle.

Step 4 Step Step4 4 Step 4

Step 6: Add some white oval shapes for

windows.

Well done, you have now successfully completed this exercise. 5

Step 5 Step Step 5 55 Step

Step 6 Step Step Step6 6 6

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4.6

section 4.6

Guides, drawing options and type

In this lesson we will learn about:

• Rulers and Guides • Creating Symmetrical Drawings • Mesh Tool • Blend Tool • Type Tool

Rulers and Guides

Illustrator’s guides are the single most useful tool for positioning graphics. You can draw horizontal or vertical guides anywhere on the page. To draw a guide, first ensure that rulers are visible. Choose View | Show Rulers or use the Shortcut (ctrl + r)

To draw a horizontal or vertical guide, place the mouse cursor anywhere on the edge ruler and drag in towards the page. Dragging down from the horizontal ruler gives you horizontal guides (wherever you release the mouse button), while dragging in from the side ruler gives you vertical guides.

The Grid

Illustrator also allows you to view an underlying grid, as illustrated here, to which objects can be snapped. To view the grid, choose View | Show Grid. Lock or unlock guides.

You can lock or unlock your guides. This can be worth doing, so that they don’t move by accident.

To lock your guides, right click on the guide and choose ‘lock guides’. To unlock your guides, right click your guide and un-tick ‘lock guides’.

Note: If you don’t lock your guides, you need to be careful as they will move with your object. This can be good if it is what you want, but can also be disastrous, particularly if you don’t notice it has happened.

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Make Guides

You can make anything into a guide. You can even draw a shape and make that into a guide, if you so wish. This can be very useful if you are doing a lot of drawing in Illustrator. To make an object into a guide, choose View Guides | Make Guides. Transform Guides

Click on a guide and you can position the guide on the page by using your transform palette to position it on the page, rotate it, etc.. Positioning a guide is very useful. For example, if you want to place a guide exactly in the middle of an A4 page, you can type 105mm in the Transform window, which is the exact halfway point of the width of an A4 page. Note: Control Y (preview).

Creating Symmetrical Drawings

You can use the Reflect tool to create a mirror image of a shape. Reflecting an object flips the object across an invisible axis that you specify. Draw a face using the pencil tool.

This tool is a freehand tool. Once you release your mouse, Illustrator places anchor points on your curve, and you can use the direct selection tool to edit your curve. The Reflect tool performs its function in relation to a fixed point â&#x20AC;&#x201C; this is a characteristic of all the transformation tools. The fixed point is called the origin of transformation. This point is always in the centre of the object unless you click elsewhere.

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To view the Reflect dialogue box, choose Object | Transform | Reflect.

If you hold down the Alt key and click where you want to place your point of origin, this dialogue box appears. You can fill in the details of what you want to do, and you can preview any changes before they happen. If you click the Copy button, you will create a copy of your original object with the transformation applied. Under the window Object | Transform | ... there are a few other transform options. You can also move, rotate, scale and shear objects.

The Reflect palette, which is located in the Object menu, under Transform - Options.

Try experimenting with these!

Mesh Tool

The Mesh tool is very good for adding extra anchor The points and dividing your image, in order to add different shades and colours and give more depth to your image. For an example of this, draw this shape to resemble a nose. Now we will use the mesh tool to add points. With the mesh points in place, you can drag Make a shape of a nose colours into the mesh, giving the image more depth. with the pen tool. Blend Tool

The blend tool is very good for The blending objects together. Draw two shapes. Select both shapes and go to the blend tool on your tool bar. Click back onto your shapes and the shapes will blend.

Use the mesh tool to ‘dissect’ the nose into areas where you can add colour and shades.

There are a few options for the blend tool. If you double-click onto the blend tool on the tool bar, all the blend tool options will appear in a floating window. Here you can choose if you want ‘smooth colour’ effect, ‘specified steps’ or ‘specified distance’. Each of these gives very different effects.

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The ‘Specified Steps’ effect.

The ‘Smooth Colour’ effect.

You can also expand these objects, which will turn each point of blend into separate objects. Go to Object - Expand. This way you can edit each shape individually.

You have a path between each object you blend, so that you can add and delete points on that path. You can also use the Convert point tool to alter shapes, as seen here.

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section 4.6

Direct Selection Tool Lasso Tool

Magic Wand Tool

Pen Tool Type Tool Type Tool Line Segment You will find the Type tool on the tool bar. Most of the type options Tool Rectangle Tool find the Type Paintbrush appear on the top menu when you choose the type tool. Tool Pencil Tool Rotate Tool

Scale Tool

WarpTool

Free TransformTool

GraphTool blue text that says ‘character’, a Character dropSymbol Sprayer When Tool you click the Column

Mesh down window will appear with more character options. When you click Tool Gradient Tool

on the blue ‘paragraph’ text, a Paragraph drop-down window will appear BlendTool with paragraph options.

Eyedropper Tool Live Piant Bucket Tool

Live Paint Selection Tool There is also a floating window for the Character and Paragraph Crop area options. You will find these windows under Window - Type. Tool EraserTool

Tool options are very similar to the type These are the other drop-down The Character and Zoom Paragraph windows found on the end of this options in InDesign and Photoshop.

palette.

Fill

Stroke Tool

Default Fill and Stroke

Font Size Kerning

Font Type Font Style

Change Screen Mode

Tracking Leading

Horizontal Scale

Vertical Scale

Baseline Shift

Rotation Language

Alignment Left Indent

Right Indent

First Line Indent Space before a paragraph

Space after a paragraph

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You can use the standard text tool in two main ways.

1) You can go to the Text tool and simply click onto the page and drag your mouse to make a box. Then you can type inside this box.

2) You can place text into your document from another application program, e.g. Microsoft Word.

Letâ&#x20AC;&#x2122;s start by using the first option we mentioned. Choose the Text tool from your tool bar, click onto the page and draw a box. When you do this, you will see a flashing icon appear inside the box, indicating where you can start typing. At any stage you can alter the size of this box. To do this, simply click onto the box with the selection tool and handles will appear. Placing Text in Illustrator

To place text directly on the page go to file-place. Choose the file you want to place and then click ok. Illustrator will place this text on the page within the document margins. More Type Tools

All the type options on the type tool.

There are more type tools hidden beneath the standard text tool, as seen here. Area Type Tool

This tool is used to type inside an area. This is very useful if you want to place text inside a shape. Simply draw the shape, click inside the shape with this tool and you can type inside that shape. Exercise

Draw a polygon shape. Click on the shape with the Area Type tool. Type a few lines of text. Type on a Path tool

This option is used for typing text on a path. You need to draw a path then click the path with this tool and type. You may also need to change the tracking and kerning of the text to space it out. These options are also found on the Character palette window. Note: Line in middle of the path â&#x20AC;&#x201C; you can flip the text this way (on top or underneath the path)

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Exercise

Use the pen tool to draw a path similar to this one. Click on the path with the type on a path tool and type ‘type on a path’. You can edit and change the type by using the Character attributes. Vertical Type tool

This tool types text vertically. Vertical Area type tool

This tool types into an area vertically. Vertical Type on a Path tool

Draw a path, click text on it and it will type vertically down your line. Adding colour to text

Adding colour to text in Illustrator is very similar to doing so in InDesign. Simply highlight your text and choose a colour from the swatches palette.

The fill colour (which in this example is black) is in the foreground. The stroke (which in this example is ‘none’) is in the background.

The main thing you need to be aware of is the fill and the stroke options on your tool bar. If the fill option is positioned in the foreground, then the text fill colour will change. If the stroke option is positioned in the foreground, then the stroke (or outline) of the text will change. To reverse the colours

Making sure your text is highlighted, click on to the little arrow (highlighted here in red), and it will reverse the foreground and background options and apply them to your text. You can also use this arrow to reverse colours on an object in the same way.

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4.7

section 4.7

Advanced Drawing Tools and Effects

In this section we will cover more advanced drawing tools and effects.

• Swatch Libraries • Editing Pattern Swatches • Magic Wand tool • Adding Gradient to Text • Appearance • Simplify Paths • Eyedropper tool • Graphics styles • Effects • Colours • Symbols

Swatch Libraries

There are many swatch libraries in Adobe Illustrator, as shown here. You can find these libraries under Window - Swatch Libraries. Here you will find many different libraries including gradients, patterns, earthtones, textiles, etc.. They are simply extra libraries for your use. To use these libraries, just click on the swatch library you want and that palette will appear. We are going to focus on particular swatches that can be very effective in Illustrator. To fill an object with a swatch library

We are going to use a pattern swatch to demonstrate how to fill an object with a swatch library. Go to Window - Swatch Libraries - Patterns. A drop-down menu will appear with three options, as seen here. Choose Nature. A new ‘nature’ pattern palette will appear with more options. Choose Nature_Animal Skins and this palette will appear. Select the shape you want filled with a pattern and click on to the pattern you require. You now have a shape filled with a pattern. Try this yourself. Exercise

Draw a star shape and fill it with a ‘peacock’ pattern. Save this as ‘peacock’.

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Edit Swatches

All the elements of the pattern are visible after it has been expanded.

We now going to learn how to edit each piece of a pattern, and how you can easily make your own patterns. Open the file ‘peacock’ that you have just saved. Click on to the star and go to Object - Expand. (Expanding objects enables you to divide a single object into multiple objects that make up its appearance). Zoom in on the pattern, and you will be able to clearly see all the individual pieces that make up the pattern. These are all still grouped, so in order to select individual pieces, we need to ungroup. To do this go to Object - Ungroup. Now you can click on any part of the pattern. To edit any of the pieces, select them with the Direct Selection tool.

Now you can select and edit all parts of the pattern individually. You can also change the colour of the pieces by using the swatches. Once you have this pattern the way you want it, you can drag it directly into your swatches. Note: You can find patterns on the Internet and copy them directly into Illustrator (by physically dragging them directly from the internet and dropping them into Illustrator). Then you can edit them and save them directly into your swatches. Saving Swatch Libraries

Ungroup the image and select with the Direct Selection tool to edit individual pieces.

To save an entire swatch library, simply click on the drop-down menu on the swatch and click ‘Save Swatch’. Magic Wand tool

You You can use the Magic Wand tool to select all objects in a document with the same or similar fill attributes. For example, if you click on one the blue parts in the peacock pattern with this tool, it will select all the blue parts in the pattern.

Once all these blue areas have been selected, you can simply change that colour by clicking a new colour from the swatches. In this case, we have chosen a pink colour and you can see that all instances of blue are now pink.

The green and blue peacock pattern has now been changed to a red and pink peacock pattern using the Magic Wand tool and the swatches.

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Exercise

Open the file ‘magic_wand_tool’ and change the pattern colour. You will need to take the following steps. 1) Draw a rectangular shape.

2) Fill it with the ‘jaguar’ pattern (in the pattern swatches) as shown. 3) Expand the pattern (Object - Expand).

Step 2

4) Deselect the pattern.

5) Choose the magic wand tool and select the background brown area. 6) Fill it with green.

7) Select the dark brown areas (using the magic wand tool) and choose a red from your swatches, as shown. 8) Drag this new pattern into your swatch

Step 7

About Live Paint

Using the Live Paint tool, you can colour areas easily. You can stroke each path segment with a different colour, and fill each enclosed path with a different colour, pattern or gradient. Adjusting Live Paint Paths

The paintable parts of Live Paint groups are called edges and faces. An edge is the portion of a path between where it intersects with other paths. A face is the area enclosed by one or more edges. You can stroke edges and fill faces. We will now do an exercise together to see how this tool works.

Step (b)

Step (e)

a) Draw a star shape with eight sides, as seen here.

b) Use the Pen tool to draw a line down the centre of the star.

c) Select all parts of this shape using the Selection tool. You can do this by dragging the selection tool around the shape.

d) Select the Live Paint tool. Bring it over the shape and you will see certain areas highlighting. Choose a pattern, colour or gradient from the swatches and click in the desired areas. e) You can see how the live paint tool colours the different areas (as seen here).

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Exercise

Open up the file ‘live_paint’. Change this green polygon into the graphic shown here, using the Live Paint tool.

The Marilyn Exercise Open up the file ‘marilyn_exercise.ai’. We are going to reproduce this illustration by tracing over it. We are going to do this step-by-step, using all the tools we have learned.

This file already has all the colours and gradients that you will need in the swatches. For this exercise, we are going to do everything on layers. Open the layers palette (Window - Layers). You will see a layer named ‘marilyn’, and you will notice that it is locked. This layer is deliberately locked so that you can’t move or edit anything on this layer as you trace. To unlock this layer, you simply click onto the ‘padlock’ icon on the layer. All the elements we make will go on new separate layers. Step 1:

Make a new layer and call it ‘face’. This layer is red, so the handles and guides will display in red to help indicate when you are on this layer.

On this layer, use the Pen tool to draw around the face. Make sure to get the chin accurately; the other parts of the face will be covered by the hair so they don’t need to be as accurate. When you have traced this shape, drag it over to one side away from the original Marilyn illustration. Now we need to fill this shape with the gradient. Choose the Gradient from the Swatches palette. You will notice that the angle of the gradient is in the centre and so it needs to be altered.

To alter the direction of the gradient, make sure the face is selected, click on the gradient tool from the tool bar and drag the gradient in the direction you need.

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Step 2:

Make a new layer and name it ‘hair’. Use the Pen tool to trace around the hair. When you have finished drawing this hair shape, move it over and place it onto the face. Now fill this hair shape with the ‘turtle pattern’ supplied in your swatch.

Step 3:

Make a new layer and name it ‘face details’. Draw the face details with the pen tool. Each piece will have to be drawn individually. Some will be filled with solid colours, and some will be filled with gradients from the swatch.

Start with the eyebrow. Draw this shape by tracing with the pen tool. Next draw the eye-lid and fill this shape with a gradient from the swatches. Once again, you may need to change the direction of the gradient.

Continue drawing each piece individually until you have drawn the entire eye. You may need to arrange the white pieces of the eye by sending them behind the eye lashes (Object - Arrange - Send Backward). Follow this same process to draw the other eye.

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Drag the eyes over onto the face and hair you have already drawn. Continue this same process to draw the nose and mouth and position them over your illustration.

Step 4:

Now we need to add highlights for the face. This is very simply achieved by drawing shapes and filling them with gradients. Make a new layer. Name it ‘shadows’. Draw three circles; one under each eye and one on the chin. Fill each circle with a gradient. Now use the pen tool to trace around the shaded area on the right of the face. Fill this shape with a gradient for the swatches. Alter the direction of the gradient until you get the desired effect.

Step 5:

Make a new layer. Name it ‘neck and shoulders’. We will use this layer for drawing the neck and shoulders of the illustration. Once again, use the pen tool to individually trace around the neck and shoulders. Use the gradients in the swatches to fill these areas accordingly. Use the gradient tool on the tool bar to adjust the direction of the gradients. Drag over these shapes into position on your new illustration

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section 4.7

Step 6:

Draw in the earrings. Make a new layer and name it ‘earrings’. Use the pen tool to trace around the earrings. Fill these new shapes with the patterns in your swatches named ‘Area Rug’ and ‘Jaguar’. Position these earrings on your illustration. Step 7:

Make a new layer and name it ‘circles’. Draw a blue circle with a stroke of 5pt. Place it in position. Draw another circle, fill it with a pattern named ‘Chinese tiles’ from your swatches. Send it to back.

Step 8:

Make a new layer and name it ‘stars’. Draw six five sided stars, resize them and fill them with the relevant colours from your swatches. Step 9:

Make a new layer and name it ‘text’. This is the layer we are going to use to draw the text around the illustration.

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Choose the ‘type on a path’ tool. Click your mouse on the blue circle where you want the text to be. A flashing icon will appear indicating where to type your text. The text will run around the circle as you type. Highlight the text and make it the size and font you need it to be. The font used here is called ‘Algerian’, but you can use any font that you wish. The text is now literally on top of the circle. We need to move the text out away from the circle. To do this select the text and go to Type - Type on a Path - Options and a new window will appear.

You can change many options for the Type on a Path in this window, You change options for the Type but the option we need to use here is the Align to Path option.

Choose Descender and the text will move out away from the stroke of the circle. Ascender

Aligns along the font’s top edge.

Centre

Aligns along the point halfway between the font’s ascender and descender.

Descender

Baseline

Aligns along the font’s bottom edge.

Aligns along the baseline. This is the default setting.

You will notice that once you type text on the circle path, the blue stroke disappears. You will need to draw another circle with a blue stroke and replace it in position. To add a gradient to the text we need to change the text into an object. We can do this by creating outlines. After you have done this, the text will no longer be editable as text; it will now only be seen as an editable object. Go to Type - Create Outlines. You will see anchor points appear around the outlined text, indicating that it is now an editable object. Choose the gradient from the swatches and the text will now fill with that gradient. Well done! You have now completed this exercise and drawn a Marilyn illustration from scratch.

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i-dtp master course key commands index

Tool

Key Command Shortcut Alt

ACTIONS

Ctrl

ACTUAl PIxElS ADD PAGE All lAYERS AUTO COlOUR Alt

AUTO CONTRAST AUTO lEVElS

Alt

BlACK & WHITE

Alt

Ctrl

)

Shift

Ctrl

Alt

Ctrl

Shift

Ctrl

Shift

Ctrl

Shift

Ctrl

Shift

Ctrl

}

]

Ctrl

}

. . . . . .

. .

BRING FORWARD Shift

] F5

BRUSHES Alt

BROWSE

BORDER

BRING TO THE FRONT

ACTUAl SIZE

section 5.1

CHARACTER

Ctrl

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section 5.1

Tool

Key Command Shortcut

CHARACTER STYlES CHECK SPEllING The most frequent mistakes in DTP come from not taking the time to check the spelling. Check that the language of the Dictionary (within Edit - Spelling) is set to ‘English UK’.

F11

Ctrl

Alt

ClIPPING PATH

Shift

. .

Alt

ClOSE All

Shift

ClOSE and go to BRIDGE

COlOUR Ctrl

Shift

Ctrl

Alt

Ctrl

COlOUR BAlANCE

COlOUR SETTINGS CONTROl STRIP COPY

. . .

Shift

COPY MERGED Make COMPOUND PATH

. .

Alt

Release COMPOUND PATH

Shift

8 8

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i-dtp master course key commands index

Tool

Key Command Shortcut Ctrl

Ctrl

Shift

Ctrl

Alt

Ctrl

Alt

Ctrl

Shift

Ctrl

Shift

Ctrl

F10

Shift

Ctrl

)

Ctrl

CURVES

CUT

. Shift

DESATURATE DESElECT

. .

DESElECT All DOCUMENT SETUP DROP SHADOW Alt

DUPlICATE

section 5.1

EFFECTS Alt

View ENTIRE PASTEBOARD ExIT ExPORT ExTRAS

Alt

ExTRACT

. . .

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section 5.1

Tool

Key Command Shortcut Shift

FADE FAST DISPlAY FIlE INFO

Ctrl

Alt

Shift

Ctrl

Alt

Shift

Ctrl

FIll FIll Foreground

Alt

Backspace

Ctrl

Backspace

FIll Background Alt

FIll FRAME PROPORTIONAllY

Ctrl

Alt

Ctrl

Shift

Ctrl

}

Shift

Ctrl

Alt

Ctrl

Shift

FIND/CHANGE

FIND NExT Alt

Select the FIRST OBJECT ABOVE FIRST PAGE FIT CONTENT TO THE FRAME

Alt

FIT CONTENT PROPORTIONAllY

Shift Alt

FIT FRAME TO THE CONTENT FIT ON SCREEN or FIT PAGE IN WINDOW

]

. .

Ctrl

)

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i-dtp master course key commands index

Tool

Key Command Shortcut Ctrl

)

Ctrl

Shift

Ctrl

Alt

Shift

F11

Alt

FIT SPREAD IN WINDOW Show/Hide FRAME EDGES

FREE TRANSFORM

GAMUT WARNING GlYPHS

Ctrl

GO BACK

Ctrl

Alt

Ctrl

Alt

Ctrl

GO TO PAGE GROUP lAYERS Shift

UNGROUP lAYERS

section 5.1

HIDE FRAME EDGES HIDE GUIDES HIDE RUlERS HIDE SElECTION HIDE/SHOW HIDDEN CHARACTERS HIGH QUAlITY DISPlAY

;

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section 5.1

Tool

Key Command Shortcut

HUE / SATURATION

Ctrl

. Alt

IMAGE SIZE

INFO Shift

INVERSE

J K L

Ctrl

Shift

Ctrl

{

Shift

Ctrl

INVERT

JOIN

. Alt

KEYBOARD SHORTCUTS

Shift

lAST FIlTER

. .

Alt

lAST OBJECT BElOW lAST PAGE

[

lAYERS Ctrl

Shift

Ctrl

Shift

Ctrl

Alt

Ctrl

lEVElS

lINKS lIQUIFY lOCK GUIDES

. . .

;

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i-dtp master course key commands index

Tool

Key Command Shortcut

MAKE COMPOUND PATH MAKE ClIPPING MASK MAKE lIVE PAINT Alt

MENUS

Shift

Ctrl

Shift

Ctrl

Alt

Ctrl

Shift

Ctrl

Shift

Ctrl

Shift

Ctrl

Alt

Ctrl

}

]

Alt

Ctrl

{

MERGE lAYERS

MOVE NExT OBJECT ABOVE NExT OBJECT BElOW

. . .

. .

8 7

[

Shift

Alt

NExT SPREAD NEW FilE, CanVaS oR DoCUMEnT

MERGE VISIBlE

section 5.1

Ctrl

OBJECT STYlES

OPEN

. Alt

OPEN AS...

Shift

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i-dtp master course key commands index

Tool

Key Command Shortcut Alt

OVERPRINT PREVIEW Create OUTlINES

Alt

PACKAGE

Shift

Ctrl

Shift

Ctrl

Shift

Ctrl

. . .

F12

PAGES PAGE SETUP PARAGRAPH

Shift

Ctrl

Alt

Ctrl

. .

F11

PARAGRAPH STYlES Ctrl

Alt

Ctrl

Shift

Ctrl

Shift

Ctrl

Shift

Ctrl

Shift

PASTE

PASTE INTO Alt

PASTE IN PlACE PASTE WITHOUT FORMATTING

Alt

PATTERN MAKER PEN TOOl and PATHS

. . . .

You can press SHiFT + P repeatedly to scroll through the hidden tools under the pen tool.

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i-dtp master course key commands index

Tool

section 5.1

Key Command Shortcut Ctrl

PlACE

Ctrl

PREFERENCES

Ctrl

Alt

PIxEl PREVIEW

. .

. Alt

PREFlIGHT

Shift

Alt

PREVIOUS SPREAD PRINT

Ctrl

. Alt

PRINT ONE COPY

Shift

PROOF COlOURS

QUICK APPlY

RECORD MEASUREMENTS

Shift

Ctrl

REFINE EDGES

Alt

Ctrl

RESElECT

Shift

Ctrl

Enter

. . .

F12

REVERT 383

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section 5.1

Tool

Key Command Shortcut Ctrl

Shift

Ctrl

Alt

Ctrl

Shift

Ctrl

{

[

Shift

Ctrl

{

Alt

Ctrl

SAVE

SAVE AS SAVE A COPY Alt

SAVE for WEB & Devices SElECT All

. . . .

SEND BACKWARD SEND TO THE BACK SHOW BASElINE GRID SHOW DOCUMENT GRID SHOW FRAME EDGES SHOW GUIDES Alt

SHOW HIDDEN CHARACTERS SHOW RUlERS

Alt

SHOW STRUCTURE SMART GUIDES

[

‘ ‘

;

Ctrl

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i-dtp master course key commands index

Tool

Key Command Shortcut

SNAP TO GUIDES SNAP TO DOCUMENT GRID

Shift

Ctrl

Shift

Ctrl

SPEllING

; ‘

Ctrl

STEP FORWARD

Shift

Ctrl

STEP BACKWARD

Alt

Ctrl

. .

F10

STROKE

SWATCHES

section 5.1

Alt

TABlE SETUP TABS

Shift

Ctrl

Shift

Ctrl

TExT FRAME

. . .

Show TExT THREADS

Alt

Ctrl

TExT WRAP

Alt

Ctrl

. .

TRANSFORM

TRANSFORM AGAIN TRANSFORM SEQUENCE AGAIN

Alt

Ctrl

Alt

Ctrl

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section 5.1

i-dtp master course key commands index

Tool

U V Z

Key Command Shortcut

TYPICAl DISPlAY UNGROUP VANISHING POINT

Alt

Ctrl

Shift

Ctrl

Alt

Ctrl

ZOOM IN

Ctrl

ZOOM OUT

V +

= __

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i-dtp master course notes

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