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November 2004Vol. 1 No. 1



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Welcome to Proxy What are we doing here? Quite simply, Proxy’s purpose is to serve yourinterests—to help you in your work, be it through an inspirational nudge orwith a software tip to get you over that technical hurdle. This is a magazineby designers for designers, and anyone else in the business of communi-cating ideas. For this initial issue, Beverly Hills design firm AdamsMoriokareveals its process and pays special attention to the singular moment oridea—the “spark,” as Noreen Morioka calls it—that marks a critical turningpoint in any creative project. We hope you enjoy issue No. 1. Walk through the front door intoAdamsMorioka’s studio and tag along as they redefine USC’s admissions kit.Bone up on creating presentations with Adobe® InDesign® CS andAcrobat® 6.0 Professional software. Find out why OpenType® is the next

great advance in digital type technology. And, most of all, let us knowwhat you think. Ultimately, as the name implies, Proxy will be more aboutyou than us.

The Creative Team at Adobe

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Contents

Main (*Go from here to other places) [+] FEEDBACK3



AIGA 50 Books/50 Covers of 2003 Exhibition

September 23–November 24, 2004

AIGA National Design Center, New York City

Since 1923, the AIGA 50 Books/50 Covers

competition has recognized excellence in book

design and production. For this year’s competition,

a jury of distinguished designers selected

outstanding examples of book and book cover

design from more than 820 entries. The winningentries are mounted as a public exhibition in

the AIGA National Design Center.

Digital Video Expo West

December 8–10, 2004

Los Angeles Convention Center,

Los Angeles

Macworld Conference & Expo

January 10–14, 2005

Moscone Center, San Francisco

Featured

Event

Migrating from QuarkXPress

to InDesign CS

November 1–17, 2004

Touring event

Geek Cruises

Photoshop® Fling II February 5–12, 2005

Southwestern Caribbean

Events

Adobe events

and seminars

See demos of new

products at a locationnear you.

Happenin’s (*Goings-on in the world around us) MAIN[+] FEEDBACK4

http://www.aiga.org/content.cfm/gallery

http://www.dvexpo.com/west/

http://www.macworldexpo.com/live/20/events/20SFO05A

http://www.adobe.com/events/splash.jsp?eventID=1730


http://www.geekcruises.com/top/pf2_top.htm



http://www.adobe.com/events/main.jsp?m0101








http://www.macworldexpo.com/live/20/events/20SFO05A

http://www.dvexpo.com/west/

http://www.aiga.org/content.cfm/gallery



Photoshop A C T I O N

B&B Set of effects by Panos EfstathiadisGive your digital photographs the look of

old-time snapshots. This set of effects lets you

manipulate your images to simulate the curled

edges and depth (concave and convex) seen in

traditional printed snapshots.

InDesign S C R I P T

InDesignPhotoshopActions

by Richard Ronnback This script lets you call Photoshop actions from

within InDesign. Actions can either be run on a

selected image or on all PSD files placed in an

InDesign document.

Adobe Studio® Exchange is a resourcewithin Adobe Studio for sharing add-ons

for Adobe software. Download one of the

thousands of plug-ins, actions, filters,

brushes, and scripts hosted on the site, or

upload one of your own for others to enjoy.

It’s all free!

Photoshop P L U G I N

Harry’s filters 3 by Harald HeimChoose from 69 filters for applying artistic effects,

gradients or patterns, warping, special noise effects,

and encrypting and decrypting images with 64-bit

keys. The filters also include zoom, mirror, and painteffects and can simulate natural phenomena like

tornados, lightning, and flames.

Photoshop A C T I O N

Velvia effects by Paul Bleicher This simple action reproduces the selective color,

contrast, and saturation boost of Fujichrome Velvia

film. The effect is fully adjustable from minimum to

maximum gain. All steps are done on a copy of t he

original photo.

Behind the action

The author of some of the most downloaded files

in Adobe Studio Exchange hails from Greece. Panos

Efstathiadis has uploaded 8 action sets (including the

ever-popular “B&B Filmstrip”), 2 tutorials, and a set of

brushes. They’ve been roundly praised by other users.

“A good action is more than a recorded sequence of

steps,” he says. “It is a filing of Photoshop knowledge.”

Download it now (*It’s all free) MAIN[+] FEEDBACK5

http://share.studio.adobe.com/axAssetDetailSubmit.asp?aID=10195&back=http%3A%2F%2Fshare%2Estudio%2Eadobe%2Ecom%2FaxBrowseSubmit%2Easp%3Fc%3D37


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Creative sparkAll design firms provide visual solutions for their clients’ particular needs.

The alchemy that occurs in these relationships is often a mystery to thepeople participating. Take a business problem, add a client team to analyze

the situation and define some specific goals and/or methods that would solve

the problem, throw in a design team to actualize the client’s strategy and

make effective communications tools to put into use—and somewhere in

this process a spark ignites.

What motivates designers to be creative is clear—a real client project.

What causes their creativity is something else. It is said that creativity

is 10% inspiration and 90% perspiration; all designers understand this.

How and what inspires designers is as varied and different as the designersthemselves. Factors that influence a designer to make a particular set of

graphic choices could include context, culture, target audience preferences,

budget, client suggestions and the designer’s own interests. One thing

that is consistent from design firm to design firm is that sparks always

fly when a group of talented people come together, pushing and pulling

against each other to develop great work.

This issue of Adobe Studio Magazine takes a look at this creative spark

process with Beverly Hills-based design firm AdamsMorioka and their client,

the University of Southern California.

Feature story (*Spark by AdamsMorioka) MAIN[+] FEEDBACK6



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AdamsMorioka was asked by the University of Southern California (USC) Office of Admission to develop a marketing plan

and create the admission materials for the undergraduate program. USC, which is located in the heart of Los Angeles, had

a successful program of materials, but wanted to refine its messaging by refreshing the visuals, directing the audience to

www.ucs.edu, and effectively competing with other universities for outstanding students.

Case study

University of Southern California undergraduate admission materials

Since none of us attended USC, we took achance and passed out 100 disposable camerasto students and faculty to show us the REALUSC experience.

The images were not only used in the collateral,but served as the inspiration for creating anauthentic voice of USC.

“ Authenticvoices”

“ Senseof place”

“ Academicquality”

“Clarity”

“ Cohesivevisual system”

“ Present public perception

of USC is ‘school of the rich,’

located in negative LA”

Provide integrated print/online branding •Communicate the unique benefits of a USC

education • Beat the competition for the best

students • Spotlight LA • Make it easy to get

the facts and follow admission procedures

J.Michael ThompsonVice Provost, Dean of Admission USC

“Viva Technology!”

VOLKER

CYNTHIA

NOREEN

TERRY

SEAN

CLIENT




Search letter

Broadside

Once USC has heard back from a prospective

student, the Office of Admission sends this piece,

which gives a real sense of both Los Angeles and USC.

The broadside provides some quick facts about the

university along with lots of photos. Inside is a reply

card for the student to request a viewbook.

This letter goes to USC’s prime

candidates—honors students all

over the United States. If they’re

interested in USC, the student goes

online or sends back an enclosed

reply card to get more information.Receiving more mailings from USC

requires a prospective student to

interact with the Office of

Admission. Marketing is now a

targeted and focused activity.

Broadside structure




Viewbook

The viewbook functions as a travel guide to USC, complete with

maps of LA and at-a-glance charts about the student population,

entrance requirements, academics, financial aid, and other

information. It provides specifics about faculty, undergrad majors,and courses of study in text, student testimonials and photos.

When USC admission representatives meet

prospective students and parents in person, this

piece is used to highlight key facts. It’s a pocket

guide to the university, and another vehicle

that prompts students to go online and explore

the USC website for additional information.

College fair brochure






of ligatures alone; before OpenType, the aver-

age PostScript or TrueType font gave you two.

OpenType takes the compromise out of fine

typography, giving you the choice to use just

the characters you need.

In an OpenType font, a single character—a 2 or an E , for example—can be represented

by several glyphs, or representations of that

character. When simple lining numerals aren’t

enough, you can have proportional numer-

als, or old-style numerals, or proportional

old-style numerals. There’s no need to suf-

fer computer-generated small capitals when

you can have the real thing, crafted by a type

designer’s hand. Ordinals such as nd and th

can be built right into the font, as can

typeface-specific math and scientific symbols.

You can even have access to multiple charac-

ter designs that reflect the needs of type set

at different sizes.

OpenType makes it easy for font vendors

to expand the character sets available in their

fonts, even for typefaces that may currently

lack a wide variety of alternate characters, all

of those typographic niceties—and necessi-

ties—that were squeezed out in older tech-

nologies. International characters such as theeuro (€), estimated (℮), and liter (l) symbols

are now standard parts of OpenType fonts

from Adobe.

Smart fontsOpenType fonts don’t just see these charac-

ters as little bits of artwork that are placed

one after another to create text. These fonts

see type as language. For an OpenType font,

an ffi ligature isn’t merely a logotype withthree letters jammed into it; it is a

representation of an f , f , and i . OpenType

savvy applications can see it as such—not

as an abstract symbol—and understand its

meaning during spell checks and searches.

Likewise, ligatures are no longer an

obstacle to proper hyphenation, because

applications can see that they represent a

string of characters, and they can replace

them with those individual characters

when and where needed. Smart fonts make

type easier to compose well, because

proper hyphenation yields better, more

consistent spacing.

OpenType fonts can also enable applica-

tions to automatically build perfect fractions.

An OpenType font can contain a full set of

properly proportioned and positioned

numerals for numerators and denominators,

so when you type 99/100, your program

can automatically convert it to the properfraction as seen in the example below.

Leaping the language barrierNaturally, the characters that can be in an

OpenType font don’t all have to be in the

same language, and indeed they shouldn’t

be. You don’t have to change fonts to change

language anymore. The trend among Western font vendors

is to build into OpenType fonts the full set of

characters and accents needed to set all of the

languages that use the Latin alphabet. Many

also include Greek and Cyrillic. A single font

can serve the entire European and Western

community, making international collabora-

tions much easier.

OpenType fonts can also contain sophis-

ticated justification information to ensure

that lines of multilingual type—say, a Hebrew

phrase amid English text—will compose well.

The key to this progress is Unicode, an

international, platform-independent standard

that assigns characters to specific, universally

recognized numbers. This system lies at the

heart of OpenType fonts, as well as most

operating systems.

Better type through Unicode

Unicode also has some very practical benefitsfor everyday typesetting. First, it can help

ensure that the type you create on your Mac

appears as you intended when it’s viewed

on a Windows® or UNIX® computer, and vice

versa. No more disappearing quotation marks

or em dashes.

Computer-generated

fraction

OpenType fraction

99⁄100

“ Never, ever

stretch type!”

“ Typefaces are a bit

like clothing;

Hobo: Bell bottoms

Trade Gothic™: Jeans

and white t-shirt

Garamond: Black dress

Sauna™

: Mini Skirtand boots

Cochin™: Plaid

Trixie®: Flannel shirts”

“ For that ‘smart’ look,

use typographer’s quotes!”

“Gill Sans®, blecchh!”

“ Univers™ is great;it’s so clean!”

Volker

Terry

Noreen

Sean

Cynthia

What’s your type? (*Type in depth) MAIN[+] FEEDBACK12



And although substituting alternate glyphs

for particular characters may change their

typographic qualities, Unicode continues to

regard them essentially as numerals or

letters, so if your document ends up on a

computer that doesn’t have the same fonts,the text will still be recognizable and correct.

On non-Unicode systems, such substitutions

generally create an illegible mess.

One for all, and all in oneOpenType fonts are far easier to manage. They

combine the best of the TrueType and Post-

Script® standards into a single font file with

a logical, comprehensible name. Goodbye

PBO____.pfb, hello Palatino. OpenType fonts

“feel” just like the fonts you’re used to, and

they work with your existing programs. You

can even use them alongside Type 1 fonts in

the same document.

This one-font-fits-all approach is a bless-

ing for workgroups using different kinds of

computers, because the same font file works

on Mac and Windows. Both systems treat

OpenType fonts just as th ey do TrueType or

PostScript fonts, whether for installation,

screen display, sharing of documents, or print-ing. You’ll never have to buy a separate Mac

and PC version of a font again.

Who’s savv y now?All major current operating systems can

now handle OpenType fonts, making them

available to applications just as they do with

PostScript and TrueType fonts. But i t’s up to

individual programs to tap into OpenType

“layout features,” such as automatic glyph

substitution. Adobe InDesign® CS and

Illustrator® CS software lead the way in this

respect. Other major graphic arts and publish-

ing application vendors are following suit.Both Windows and Mac OS X utility

programs such as Notepad and TextEdit do

so today. And the Windows 2000, Windows

NT, and Windows XP Character Map and the

Windows 2000, Windows NT, and Windows XP

Character palette allow you to sift through an

OpenType font’s extensive character sets to

find the letters, numbers, symbols, and

ornaments you need, so you can copy them

into almost any program.

Future, meet the pastOpenType fonts are compatible with current

printers and imagesetters, and they can be

embedded easily into PDF files. They work

side-by-side with the fonts in your existing

library. And character for character, they’re

less expensive than the old-technology fonts

they’re replacing.

OpenType fonts raise type to a new levelby wedding the typographical traditions of

the past to the technologies of tomorrow.

It’s a beautiful marriage.

Learn more about OpenType

Visit the Adobe Type Library

“ But, Gill Sans® inall caps is quitebeautiful.”

“ You can’t go wrong

with Caslon.”

“ A widow has apast but no future;an orphan has a

future but no past.”

“ Rivers are nice— just not within a

paragraph!”

“ Does Hobo havean expert set?”

Volker

Terry

Noreen

Sean

Cynthia

What’s your type? (*Type in depth) MAIN[+] FEEDBACK13

http://www.adobe.com/type/opentype?m0101

http://store.adobe.com/type

http://store.adobe.com/type

http://www.adobe.com/type/opentype?m0101



What are the propeller heads at Adobe up to these days, you wonder? Say hello to DNG. The latest

innovation from the company that gave you Photoshop may just usher in a new era in digital photography.

On September 27, 2004, Adobe announced the Digital Negative, a publicly documented format for the raw

files generated by digital cameras. The new format, with the file extension DNG, was developed to address

the lack of an open standard for the proprietary and unique raw files created by each digital camera.

“Professional photographers and other creative professionals love working with raw camera files because

of the outstanding creative control they get over digital images,” says Bryan Lamkin, who heads Adobe’s

Digital Imaging and Digital Video business unit. “However, clients and publishers have difficulty working with

disparate raw file formats and nobody can be sure that today’s raw formats will be supported ten years

from now. Adobe customers asked us to work on a unified, open format for raw files and that’s what we’re

delivering with the new Digital Negative specification and the DNG fi le format.”

“DNG is something that really needs to happen for the long term good of the photographic community,”

adds Thomas Knoll, the computer scientist behind Photoshop 1.0.

Image-rich publications are also likely to benefit. “Now that raw is emerging as the quality standard for

digital photography, we are creating systems that can allow us to integrate raw images into our editorial and

production workflow,” says Dennis Dimick, a senior editor at National Geographic Magazine. “We applaud

Adobe for proposing an open universal raw file format, and hope that digital camera manufacturers will

adopt this format standard as an option into their cameras, just as they have already adopted the Adobe (‘98)standard for color space camera presets.”

In conjunction with the publication of the Digital Negative specification, Adobe also released the

Adobe DNG Converter, a free utility that converts files from more than 65 cameras to DNG. Adobe also

released Photoshop CS Camera Raw Update 2.3, which supports DNG. The Digital Negative specification is

freely available on Adobe.com.

Scoop (*What are the propeller heads at Adobe up to these days?) MAIN[+] FEEDBACK14

http://www.adobe.com/products/dng/main.html?m0101

http://www.adobe.com/products/dng/main.html?m0101



Presenting with style

How you convey your ideas is important. All it takes is Adobe InDesign,

Adobe Acrobat, and a few simple rules to create a slide presentation that’s

painless, persuasive, and engaging.

How your slide presentation looks will leave an impression on your audience,regardless of how you verbally communicate your message. A few rules of

good design and legibility, which apply across different cultures and continents,

will help you create effective, memorable presentations. With slides, especially,

it’s crucial that you follow these simple guidelines:

• Reduce excessive content to a short bulleted list of key messages.

• Tables shouldn’t have more than seven rows and columns.

• Leave ample margins between graphic and text elements.

• Use the same typefaces throughout, and position titles and logos consistently.Consistency makes information easier to absorb.

• Use animation and slide transition effects sparingly. They quickly become boring,

and they detract from your message.

• Make your opening and closing strong.

These rules, and a few key effects, are all you need to make your presentation successful.

Adobe Studio is a special Web site designed to meet theneeds of creative professionals. We’ve loaded it up withstep-by-step and video tutorials covering the latest featuresin all your favorite Adobe programs. Adobe Studio alsoincludes Adobe Studio Exchange, a shareware bazaar whereyou can download thousands of free actions, plug-ins, andhelper files, or upload files you’ve created yourself. Thereare also listings of new books, training options, and events.Check it out

http://studio.adobe.com/?m0101






Using InDesign for your presentation

When I present my design work to a client or an audience, it’s vitally important that

my slides be convincing in both look and content. A well-designed presentation

demonstrates the pride I take in my work. That’s one of the reasons I use InDesign.

It’s a mystery to me why other presentation applications don’t yet support good

typography. The most obvious shortcoming is the lack of kerning. In letter combi-

nations like Ta, Va, and Wa, the second glyph needs to be placed closer to the first

glyph to look truly professional. Font designers spend a lot of ti me putting what

are called kerning tables into their font files to improve the fonts’ readability, yet

some programs continue to ignore kerning.

The letters in the second line are kerned, which increases the consistency of spacing

within a word. Here the letter combinations Wo and Ty look much better becausethey have been kerned.

InDesign not only kerns text properly, it also gives you access to all the advanced

typographic features in OpenType fonts. When working with graphics, you can rely

on InDesign sof tware’s seamless integration with Photoshop and Illustrator.

If you know the resolution in which you’ll present your slide show, you can create

a document with that exact width and height in pixels. That way, no text or images

will get scaled and possibly distorted. When presenting to only one or two people,

for example, I prefer to present directly on my PowerBook screen, with its wide,

elegant horizontal format. In that case my presentation will be 1,152 x 768 pixels. If

it’s necessary to use a projector, this resolution won’t normally be supported, so I’d

set up the document for 1,024 x 768 pixels.

Setting up your document

You will start by creating a master page for your slides.

1 Create a new document in InDesign by choosing File > New > Document.

2 In the New Document dialog box set the page size to 1,024 points for Width

and 768 points for Height. To start, set up 20 pages for the presentation.

Setting up a custom page size to match the screen size.

In the master page you can design and place elements that you want to appear on

every slide of your presentation, such as color bars or a logo. The master page is

also where you’ll define text frames for the headline and the main text area.

I really liketutorials!

Schoolin’ MAIN[+] FEEDBACK16



3 To select the master page for editing, double- click the A-Master page icon in

the Pages palette.

Items added to the master page will be visible on every page this master is applied to.

A blank white sheet just looks too, well...blank and white. So let’s dress up the mas-

ter page a little. On the left side, you’ll draw a rectangle with a color gradient from

blue to white. The company logo will be placed in the lower left corner.

4 Using the Rectangle tool, draw a rectangle the height of the page and 150

points wide.

5 With the frame still selec ted, open the Gradient palette either by choosing Win-

dow > Gradient or by clicking the Gradient tab, which by default is nicely tucked

away on the right side of your screen.

6 Click the color ramp, and then select the starting color stop box on the left side

underneath the gradient bar. Choose a light blue color from the Color palette. You

want the rectangle to start with white at the top, and gradually shift to blue on the

bottom. To achieve this effect, go back to the Gradient palette, change the black

box to white, and set the Angle for the gradient to 90 degrees.

The Angle value in the Gradient palette determines the direction in which the color

changes. Note that the midpoint of the gradient has been adjusted from its default.

Now it’s time to place a logo in the blue gradient image.

7 Using the Rectangle frame tool, draw a square slightly smaller than 150 pixels

wide on top of the blue area of the image’s lower left corner.

8 Choose File > Place and select the graphic file you want to use as a logo on

every slide.

9 Choose Object > Fitting > Fit Content Proportionally to scale the image to the

required size.

Our company logo placed and reduced in size.

I learned how toswim that way...




Setting up type styles

Now that the graphic appearance is set for the presentation, you can move on to

the text.

1 First, create the slide headers and slide main text. You’ll need two text frames—

one for the headers and one for the main text. With the Type tool draw one frame

in the top third of the slide, leaving some space between it and the blue gradient

image. The second text frame sits just below and slightly separated from the head-

line text frame. With the control palette, which is content sensitive, the position

and size of the frames can easily be adjusted.

Master page with two text frames.

The last thing you need to do on the master page is to set up paragraph styles for

the headline text and for the default style of a bullet point list.

2 With the Type tool selected, click the text frame for the headline. Type Title,

which will serve as dummy copy; select the entire word; and chose a typeface and

point size. A good choice is a bold sans serif typeface like Adobe Myriad® Bold or

Semibold, which come bundled with Adobe Creative Suite in a size of 50 points.

For slides it is gene ral practice to use a flush-left paragraph style.

Now you want to make this font your official Title style.

3 With the word Title (in the correct typeface and size) selected, choose New

Style from the Paragraph Styles palette menu. In the New Paragraph Style dialog

box give the new style a descriptive name like Title Style and click OK.

Creating new paragraph styles based on the currently selected text.

Setting up levels

Creating the type styles was easy. Setting up the different levels in the main text

frame is a bit trick ier, but once it’s done it’s a snap to use.

1 With the Type tool selected, click the main text frame and type a bullet point(Alt+0149 in Windows or Option+8 in Mac OS) followed by a tab. Then type Level 1.

This is just placeholder text, which you’ll overwrite in each slide you create.

2 Select the text you just typed, choose a smaller point size in the same font as

that of the title, and choose New Style from the Paragraph Styles palatte. Call this

Bullet Level 1, but don’t click OK yet. There are more paragraph styles you can set to

achieve sophisticated results.

Go to Adobe Studiofor a pool of greattutorials.




Setting tab stops.

Tip: Serif typefaces are preferable for readability in lengthy texts, but for bullet lists—

which are usually short, one-line sentences-a sans serif face is often more effective.

5 Now select the Indents and Spacing panel, set the left indent to 36 point and

the first-line indent to -36 point. To add extra space at the end of each paragraph,

type 10 point in the Space After field. Click OK.

Playing with the Indents and Spacing settings.

3 It is preferable to have text that’s longer than one line align with the beginning

of the first word (in this case Level ) rather than with the bullet point itself. To make

this happen, set up t ab stops and format the paragraph to left align on the first tab

stop, with the first line—that’s the line with the bullet point-hanging out to the left.

First line of each paragraph (the bullet-pointed item) hanging out to the left.

Tip: The Align palette offers various options to align frames with on another; in this

case you would want to align the two text frames on the left side.

4 Select the Tabs panel and click above the ruler to set the first tab stop at 36

point. Click Repeat to set more tab stops with the same spacing.

Nothing beats agood slideshow.




One more paragraph style, just to make sure you get the idea. In this case, you’ll

create a second level of bullets, for a list within a list.

6 Make a copy of the o Level 1 text and copy it into a new line. Change the text

to o Level 2.

7 Select the whole line and choose New Style from the Paragraph Styles palette.

Name this new style Bullet Level 2. While still in the General pane of the dialog box,

make sure that the Based On pop-up menu is set to Bullet Level 1.

8 For the level 2 text you want a regular (not bold) weight typeface and a smaller

size. You can make these adjustments in the New Style dialog box in the Basic

Character Formats panel.

Setting Basic Paragraph Formats in the New Paragraph Style dialog.

9 Go to the Indents and Spacing panel and set the left indent to 72 point (2 times

36 points), and set the first-line indent to -36 point. Since this setting is based on

Bullet Level 1, reduce the Space After slightly. Click OK.

10 With the cursor positioned anywhere in the level 2 text, click the newly defined

Bullet Level 2 style in the Paragraph Styles palette, and you’ll see how the format-

ting is applied to the bullet item text. The text is indented, and the typeface size is

reduced. These paragraph styles let you easily change the hierarchy of information.

Changing text from Bullet Level 1 to Bullet Level 2 style.

Completing your presentation

Now you can go to page 1 of your presentation and overwrite the placeholder text

with your own presentation material.

1 Ctrl-Shift-click (Windows) or Command-Shift-click (Mac OS) the text frame.

Every page based on the master page will have the same format and display the

same dummy text. To change the dummy text on each page, Ctrl-Shift-click/Com-

mand-Shift-click each text frame to break the connection to the master page.

Select the Type tool, delete the dummy text, and type .

2 When you’re finished, export your pages as a PDF document into your work-

ing directory. In the Advanced pane of the Export PDF dialog box choose the RGB

color mode from the color menu.

3 Open the exported PDF file i n Acrobat and press Ctrl+L (Windows) or

Command+L (Mac OS) to see your slides full screen. You can move back and forthbetween the pages with the arrow keys (or move forward with each mouse click).

Press Ctrl+L/Command+L again or press Esc to get out of full-screen mode. In the

normal mode you have all the usual navigation tools available to quickly find the

page you’re looking for.

Excerpted from

“Adobe Creative S uite Idea

Kit,” copyright © 2004 by

Katrin Straub, published by

Adobe Press. Used with thepermission of Adobe Press

and Peachpit Press.

To buy this book,

visit www.peachpit.com.

Oh, my skin is

all wrinkled.


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To edit text using the TouchUp Text tool:

1. Choose Tools > Advanced Editing >

TouchUp Text Tool, or cli ck the TouchUp

Text tool on the Advanced Editing toolbar.

2. Click in the text you want to edit. Abounding box outlines the selectable text.

3. Select text:

• Choose Edit > Select All to select all the

text in the bounding box.

• Drag to select characters, spaces, words,

or a line.

4. Edit, copy, delete, or add text to a text

selection:

• Enter new text to replace the

selected text.• Press Delete or Choose Edit >

Cut to remove the text.

• Choose Edit > Copy to copy the

selected text.

• Click anywhere outside the selection

to remove the highlighting and start over.

Just like that, you’re done and you’re

everyone’s hero. Just don’t let them know

how easy it was to do!

Adobe Expert Support

This information appears courtesy of Adobe Expert Support.To purchase or learn more about Adobe Expert Support,visit www.adobe.com/expertsupport or call 866-MYADOBE (866-692-3623)

How do I edit text in an

Adobe PDF document?

A It always seems to happen: just as you

complete a document, you receive a

last-minute change or you discover a small

mistake that slipped through. If you don’t

want to go back to the original application,

make changes, and then create an entirelynew PDF document, you can handle

small corrections using the TouchUp Text

tool in Adobe Acrobat Professional or

Acrobat Standard.

The TouchUp Text tool is perfect for fixing a

spelling error or an errant word, or for minor

adjustments to the font, font size, or word

spacing. If you have major revisions to make,

you’re better off working in the original

application. (You wouldn’t repaint your entirehouse with a touchup brush, would you?)

MEET A. PIXEL,

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If Auto Color doesn’t produce the desired

results, adjust the color cast yourself:

1 Choose Image > Adjustments > Levels.

2 Select the Set Grey Point eyedropper and

click an area that represents the midtone of

the dominant color (the color cast).

3 If you’re still dissatisfied, try adjusting the

lightness and darkness of the image using the

input level sliders in the Levels dialog box.

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How can I remove acolor cast from an image

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Feeling like you need more power under the hood? A number of third-party software companies develop plug-insthat add features to Adobe programs. Here are two popularplug-ins for Adobe Photoshop and Adobe Acrobat.

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A Sometimes great photos are ruined

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and yellow clouds.

Such color casts can occur at any phase in

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ing, enlarging, or scanning the image.

Regardless of the source of the color cast,

you can quickly correct the color imbalance

by using the Auto Color command, or by

adjusting the color cast yourself.

To remove a color cast from an image by

using the Auto Color command:

1 Open the image in Photoshop.

2 In the Layers palette, select the layer con-

taining the image you want to change.

3 Choose Image > Adjustments > Auto Color.

Photoshop adjusts the contrast and color of

the image.

Color management tip! For consistent colormanagement, Adobe recommends that youcalibrate your monitor. Once the monitor is

calibrated, a profile is created that describesthe color behavior of the monitor—what colorscan or can’t be displayed on the monitor andhow color values must be converted so thatcolors are di splayed accurately. To calibrateand profile a monitor, use visual calibrators likeAdobe Gamma (Windows) or MonitorCalibrator (Mac OS), or use third-party softwareand measuring devices.

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are buying direct via the Adobe Store

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9 5 0 0 4 1 3 4

Colophon

Adobe Magazinewas produced

in Adobe PDF with Adobe

software, including Adobe

Acrobat 6.0 Professional, Adobe

InDesign CS, Adobe Illustrator CS,

and Adobe Photoshop CS.

The text is set in Myriad® Pro,

Minion® Pro, Trajan® Pro, Adobe

Garamond®, FF Unit, and ITC

Officina® Serif. The Spotlight

page features an embedded

QuickTime movie. All work was

done on an Apple Dual 2GHz

PowerPC G5 computer, running

Mac OSX 10.3.5, and a 23-inch

Apple Cinema HD Display.

Design by AdamsMorioka,

Beverly Hills.

Adobe, the Adobe logo, Acrobat,

Adobe Garamond, Illustrator, InDesign,

Minion, Myriad, Photoshop, PostScript,

and Trajan are either registered

trademarks or trademarks of Adobe

Systems Incorporated, in the United

States and/or other countries. Mac

and Mac OS are trademarks of Apple

Computer, Inc., registered in the

United States and other countries.OpenType and Windows are either

registered trademarks or trademarks

of Microsoft Corporation in the United

States and/or other countries. UNIX is

a registered trademark of The Open

Group. Gill Sans is a trademark of The

Monotype Corporation registered in

the U.S. Patent and Trademark Office

and may be registered in certain

other jurisdictions. Cochin, Trade

Gothic, and Univers are trademarks

of Heidelberger Druckmaschinen AG

exclusively licensed through Linotype

Library GmbH, and may be registered

in certain jurisdictions. FF Trixie and FF

Unit are trademarks of FSI Fonts und

Software GmbH. Sauna is a trademark

of Underware. ITC Officina Serif is a

trademark of International Typeface

Corporatation. All other trademarks

are the property of their respectiveowners. The names referred to in the

sample artwork are fictional and not

intended to refer to any actual event

or organization.

©2004

Adobe Systems Incorporated.

All rights reserved.

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