Graphic Design

Learn It, Do It
Graphic Design
Learn It, Do It

Katherine A. Hughes
CRC Press Taylor & Francis Group

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Contents

Acknowledgments
Author
Introduction
1 Breaking Down Design
Why We Communicate
First Lines, en Shapes
Symbols, Logos and Signatures
Brand Evolution
Discussions
Activities
2 The Elements and Principles of Design
Elements of Design
Principles of Design
Visual Hierarchy
Discussions
Activity
3 Color in Design
e Color Wheel
e Color Pyramid
Color Schemes
Color Symbolism
Selecting a Project’s Color Palette
Discussions
Activities
4 Defining the Project
Kipling’s Questions
Stages of Development
Discussions
 Activities
5 File Properties
Resolution
Color Models
Types of Images
File Formats
Discussions
Activities
6 Getting Started in Photoshop
Photoshop Overview
Creating an Image File
Saving an Image File
Photoshop Workspace Introduction
A Subset of Tools
Exercise 6.1: Create, Save and Add Content to an Image File
Need to Know Fundamentals
Image Size, Color Mode and Canvas Size
Discussion
Activity
7 Photoshop Continued
Understanding Layers in Photoshop
Exercise 7.1: Working with Layers
Need to Know Fundamentals
Using the Type Tool
Exercise 7.2: Working with Type
Need to Know Fundamentals
Discussions
Activity
8 Digital Photography in Design
Controlling Exposure
Seeing the Shot
Types of Camera Shots
Photographic Composition
Photo Tips
Stock Images
Copyright
Discussions
Activities
9 Photo Editing in Photoshop
A Subset of Image Editing Tools
Back Up before Editing
Exercise 9.1: Duplicate the Background Layer
Photo Editing Work ow
Compositional Edits
Exercise 9.2: Straighten the Horizon Line Using the Crop Tool
 Exercise 9.3: Apply the Rule of irds Using the Crop Tool
Exercise 9.4: Change Orientation (Landscape/Portrait) Using the Crop Tool
Touch-Up Edits
Exercise 9.5: Remove Dust Spots Using the Spot Healing Brush Tool
Exercise 9.6: Remove a Large Area Using a Content-Aware Fill
Exercise 9.7: Replicate Part of a Photo Using the Clone Stamp Tool
Exercise 9.7 (Alternate): Reverse Cloned Content
Exercise 9.8: Remove Red Eye Using the Red Eye Tool
Color and Tonal Edits and Enhancements
Exercise 9.9: Use a Brightness/Contrast Adjustment Layer
Exercise 9.10: Use a Layer Mask to Limit the Effect of a Hue/Saturation Adjustment Layer
Exercise 9.11: Apply Adjustment Layers to Multiple Layers within the Same Image
Exercise 9.11 (Alternate): Apply Multiple Adjustment Layers to a Single Layer
Exercise 9.12: Apply an Artistic Filter to Alter the Appearance of a Photo
Special Processes
Exercise 9.13: Create and Apply a Watermark
Exercise 9.14: Create a Panorama Using Photomerge
Discussion
Activities
10 Typography in Design
Typography Terminology
e Anatomy of Type
Categories of Type
Adobe Fonts and Additional Sources
Legibility and Readability
Adobe’s Type Properties
Selecting Type for a Project
Discussion
Activity
11 Getting Started with Illustrator
Illustrator Overview
Creating an Illustrator File
Saving an Illustration File
Illustrator Workspace Introduction
A Subset of Tools
Exercise 11.1: Create, Save and Add Content to an Illustration File
Introduction to Vectors
Introducing the Pen Tool
Need to Know Fundamentals
Creating Complex Shapes
Discussion
Activities
12 Illustrator Continued
Understanding Layers in Illustrator
e Eraser Tool and Tools for Dividing Content
Exercise 12.1: Using the Eraser, Scissors and Knife Tools
 Need to Know Fundamentals
Using the Type Tools
Exercise 12.2: Working with the Type Tools
Need to Know Fundamentals
Image Tracing a Photograph
Exercise 12.3: Creating a Poster
Discussion
Activity
13 Page Layout
e Grid System
Designing a Business Card
Exercise 13.1: Dra a Business Card
Designing a Brochure
Exercise 13.2: Dra a Tri-Fold Brochure
Designing a Magazine Page
Discussion
Activity
14 Getting Started with InDesign
InDesign Overview
Creating a New Document
Saving or Exporting a Document
InDesign Workspace Introduction
Creating a Multipage Document
Document Guides and Grids
A Subset of Tools
Text, Graphic and Shape Frames
Exercise 14.1: Create, Save and Add Content to a File
Need to Know Fundamentals
Discussion
Activity
15 InDesign Continued
Understanding Layers in InDesign
Working with Text
readed Text
Exercise 15.1: Using the Type Tool, reading Text and Text Wrap
Need to Know Fundamentals
Master Pages
Exercise 15.2: Using Master Pages
Need to Know Fundamentals
Export and Publish
Packaging the File
Discussion
Activity
16 Bringing It All Together
Adobe’s Learn & Support Resources
Creating a Portfolio
 Discussions
References
Index
Acknowledgments

is book is dedicated to my parents, Paul and Betsy Hughes. ank you for
your constant support and encouragement, and access to your traveling
writing station.
e author would also like to thank her students, from whom she has
learned so much.
Author

Katherine A. Hughes, PhD, is an educator, a traveler and a photographer.

Katherine began her career as a multimedia producer and project manager
for a series of dot com companies. Aer earning her doctoral degree in mass
communications from the S.I. Newhouse School of Public Communications
at Syracuse University, she returned to the university classroom teaching
communication courses in graphic design, digital photography and online
content development. When not in the classroom, Katherine is likely on the
road exploring the national parks or planning her next study abroad
program.
Introduction

Graphic Design: Learn It, Do It is an introduction to the fundamentals of

graphic design and the soware applications used to put these concepts into
practice, speci cally Adobe Photoshop CC, Illustrator CC and InDesign CC.
is book is intended for production-oriented audiences, those interested in
the what, why and how of graphic design.
e “what” is effective graphic design—using the elements of design and
design principles to create a visual solution (an image) that stands out in a
crowded marketplace. is discussion includes color theory, typography and
page layout.
Focus on the “why” of design begins with the reasons why we
communicate; attention is paid to the motivation behind the visual solution,
as well as to its audiences. e rationale is revisited throughout the design
process, including reviews of output options (print vs. onscreen) and their
related properties, including resolution, color mode and le format.
e “how” of design addresses the stages of production and the use of
select Adobe Creative Cloud applications (i.e., Photoshop, Illustrator and
InDesign) to translate an idea into a visual solution. Following an overview
of each application and its uses, exercises are presented to foster familiarity
with each application’s workspace and the capabilities of its tools while
featuring speci c design concepts.
is book is based on the approach of learning, then doing, and thus the
title, Graphic Design: Learn It, Do It. In a production-oriented environment,
this approach translates to discussing the fundamental design principles,
then experimenting with these concepts in the Adobe applications. Guided
exercises are included to get the designer working in the applications; they
are intended to serve as a jumping-off point, from which the designer is
encouraged to continue exploring the Adobe applications and their
capabilities.
e application portions of this book refer to the 2019 release of the
Adobe Creative Cloud running on the macOS. ese chapters include Mac-
based screen captures of application interfaces and step-by-step instructions
through speci c tasks. Designers using other versions of the applications or
a different platform may notice minor differences between their workspaces
and those represented in this book; however, the underlying concepts and
basic practices should be consistent.
Look for references to this book’s companion website throughout the text:
http://www.crcpress.com/9780367075347. e les available for download
from this site are provided to support the learn it, do it approach.
Let’s get started.
 1
Breaking Down Design

Graphic design surrounds us. We engage graphic design both passively and
actively. We experience images passively in the forms of banner ads or
targeted advertisements displayed along the sides of a Web browser or in an
app when we post a status update. Similarly, think about the signs passed
traveling to school or work, roadside billboards and storefront signs. Against
this background of visual noise, there are images that we actively seek.
Consider the day’s news headlines or results from a recent sporting event;
the type, photos and layouts used to present this information are
components of graphic design. When a weather radar map is checked to
track a band of approaching rain or snow, the colors used to represent the
passing weather system have meaning; this too is a form of graphic design.
Finally, think about the photos that are shared or viewed on social media.
ese photos re ect decisions made about the framing (what to include and
exclude); the use of lters, lenses or emojis; and whether to include a text
caption or a hashtag. ese choices represent graphic design in action,
decisions made to create an image that informs, inquires, persuades or
merely entertains. ese actions are at the core of why we communicate.

Why We Communicate
• To Inform: We communicate in order to share messages or data with
others. Our purpose is to educate or simply tell.
• To Inquire: We communicate to solicit input from others. Our purpose is
to gain knowledge and foster interactions.
 • To Persuade: We communicate to change or support a point of view. Our
purpose is to sell an idea, product or service.
• To Entertain: We communicate to provide a distraction or ll time. e
bulk of mass media falls under this umbrella.

A single image or piece of media may satisfy multiple reasons why we

communicate. Watching a DIY (do-it-yourself) video may initially serve “to
entertain.” However, when a viewer is inspired to try a technique
demonstrated on the program or to purchase a featured product, the
additional reasons “to inform,” “to inquire” and “to persuade” become
involved.

First Lines, Then Shapes

As consumers, we are presented with images; as designers we have the
potential to create images. In this book, we discuss how to plan for and
create effective graphic design. Let’s begin with one of the most basic
elements of design, the line. A line can possess meaning and can
communicate its meaning to an audience. Take a look at the horizontal line
in Figure 1.1. What could it represent? Perhaps a road… a snake… a
division between sections in a document? ere are many potential
meanings of this line.
 Figure 1.1
Lines: (A) horizontal line, (B) wavy line, (C) jagged line.

What happens when a few curves are introduced into the line? What could
this line represent? Maybe hills… rolling waves… the pro le of a guitar?
Finally, convert the curves into sharp elbows. What could the jagged line
represent? Perhaps a reading from an EKG (heart) monitor… the stock
market… a jagged mountain range?
How these lines are interpreted and what is “seen” in each line is
in uenced by our personal experiences, background and context. e
people, places and things that we have each been exposed to serve as a
mental reference when we attempt to apply meaning to new experiences or,
in this case, a series of lines. As consumers and designers, we regularly draw
on what we know to provide context or meaning to an image.
 Lines and Strokes
When a line is used to outline a shape or an object, it is referred to as a
stroke. A stroke possesses multiple properties that can be adjusted to
alter a line’s appearance, including length, weight (thickness), color and
type (e.g., solid, dashed, wavy).

From basic lines, we progress to shapes. What happens to the meaning of

the original horizontal line when its ends are connected and a circle is
created (refer to Figure 1.2)? What could this shape represent? Is it a ball…
the full moon… a scoop of ice cream?

Figure 1.2
Shapes: (A) circle, (B) triangle, (C) octagon.

Let’s try this with another shape—a triangle. What could it signify?
Perhaps a yield sign… a slice of pizza… a cone for the scoop of ice cream?
Once more, this time let’s use an octagon. Other than a stop sign, what
could this eight-sided shape represent?
Symbols, Logos and Signatures
Building on a basic shape, let’s see what else it can communicate with a few
minor adjustments. Beginning with a blue circle, what happens when four
more circles (black, red, yellow and green) are added and positioned so a
total of three circles are on a top row and two circles are staggered below so
they appear to be overlapping and interlocking? What is the result? e
Olympic rings (see Figure 1.3).

Figure 1.3
Symbols: (A) Olympic rings, (B) Target Bullseye.

In another example, beginning with a circle that has a red stroke, let’s
increase the weight (thickness) of the stroke and then add a smaller lled
red circle inside the original circle. Do you recognize the symbol for a major
department store? It is the symbol for Target, speci cally, the Target Bullseye
(Figure 1.3).
As these examples illustrate, shapes have the potential to possess a broad
range of meanings. Shapes that convey meanings are symbols. e Canadian
road sign in Figure 1.4 presents a series of symbols. Can you determine their
intended meanings?

Figure 1.4
Canadian road sign, symbolic meanings from upper-left to lower-right:
fuel, food, picnic area, winery, museum, golf, information, internet
access.

Humans have used symbols to communicate and record their histories for
centuries. Examples of this include rock art, petroglyphs and pictographs
found around the globe with the exception of Antarctica. A petroglyph is a
motif that has been pecked or scratched into the rock surface, such as those
shown in Figure 1.5. ese petroglyphs were found in present-day Arches
National Park, Utah, and are attributed to the Ute people. ese designs
were created aer the mid-1600s when horses were acquired from the
Spanish (Aches National Park 2018). A pictograph is a painting or drawing
on the rock surface using mineral pigments and plant dyes. Cave paintings
in Lascaux, France, are among the earliest known examples of prehistoric art
dating back 20,000 years (Bradshaw Foundation 2011).

Figure 1.5
Petroglyphs at Arches National Park, Utah (Wolfe Ranch panel)
depicting bighorn sheep and riders on horseback.

In the current media-saturated landscape, companies use symbols to

brand themselves and their services to target a particular market. Branding
aims to promote a business’s name, encouraging recall and recognition.
Ideally, this recognition will attract a consumer’s attention when a choice
between products is available. ink of the branding images that accompany
such classic choices as Coke vs. Pepsi and Mac vs. PC.
Take a moment to look for examples of branding around you. Look at your
clothing and footwear, what symbols are emblazoned there? Next, look at
your electronic devices. See any symbols?
In this search, you may notice that some brands rely on text and not
symbols to promote their presence. is use of text is referred to as a logo.
Logos use a combination of font, color, size and style to create impact. e
terms symbol and logo are oen used interchangeably; however, we make a
point to be speci c about our use of these terms.
When a symbol and logo are used together, this is referred to as a signature
or a combination mark. Notice the differences among the three types of
marketing tools presented in Figure 1.6—symbols, logos and signatures.
What would you add to this collection?

Figure 1.6
Examples of symbols, logos and signatures: (A) symbols: Nike, Apple,
McDonald’s, Under Armour; (B) logos: CNN, Disney, Campbell’s; and (C)
signatures: The North Face, Pepsi, Dunkin’ Donuts, and Adidas.

In addition to promoting a company’s name, logos and signatures

sometimes contain a hidden message. Can you spot an additional meaning
in each of the examples presented in Figure 1.7?
 Figure 1.7
Hidden messages: FedEx, Baskin-Robbins, Amazon, and Toblerone.

In the FedEx design, look for an arrow pointing forward between the “E”
and “x.” is shape is created in the negative space between the two letters.
e Baskin-Robbins ice cream chain is known for its “31” avors of ice
cream. So, look for this signi cant number, presented in a contrasting color
in the letters “BR.” In Amazon, the arrow that points from “A” to “Z”
provides a subtle reminder that the company sells “everything from A to Z.”
e arrow also doubles as a smile, which is used on much of Amazon’s
packaging. In the Toblerone design, look for a standing bear in the
Matterhorn, a mountain in the Alps. e bear pays homage to the Swiss
town of Bern, which is known as the “city of bears” and is where the famous
chocolate was created.

Brand Evolution
Branding is an element of marketing that may remain consistent across a
company’s history or may change as a company grows and reinvents itself.
International beverage maker Coca-Cola has used the same basic logo,
shown in Figure 1.9, to represent its brand since the design’s creation in
1886. e Spencerian script used in the original “Coca-Cola” has seen minor
re nements over time, but some elements remain, including the white
“wave” below the type added in 1969.

Figure 1.9
Brand evolution, Coca-Cola logo and Starbucks logos (from left to right:
1971, 1987, 1992, and 2011).

At the other end of the revision spectrum is the Seattle-based coffee chain
Starbucks. A company familiar with change, the Starbucks logo has
experienced several iterations across its history (Figure 1.9). To
commemorate its 40th anniversary, Starbucks revealed a change to its logo
in 2011, dropping its name “Starbucks Coffee” and increasing the size of the
siren (mermaid) in the design. Starbucks presented this change as an
opportunity to expand its product range beyond coffee-based items.
 Test Your Knowledge
Want to test your knowledge and recognition of company brands?
Check out Joey Katzen’s Retail Alphabet Game™
(http://www.joeykatzen.com/alpha/) (Figure 1.8). Access the most
recent game online. How many companies can you identify based on a
single letter of a company’s name? Notice how the font and use of color
help identify a company.

Figure 1.8
Joey Katzen’s Retail Alphabet Game (version 5).
(Printed with permission from Joey Katzen.)
Looking Ahead
From a simple line to evolving logos that contribute to company branding,
we begin to recognize the role and importance of graphic design in
communicating a message. In the next chapter, we look at the elements and
principles of graphic design that contribute to effective communication.

Discussions
Discussion 1.1: Reason(s) You Communicate
ink about your typical day. When and how do you communicate? Now
think about why and with whom you communicate. Are you informing
someone about a recent decision or activity? Are you asking a question? Are
you trying to persuade someone to join you for a meal? Are you simply
trying to entertain someone via social media?
Is there another reason you communicate beyond to inform, to inquire, to
persuade or to entertain? What reason would you add to this list, and how is
it different from the existing actions?
To network (to connect with others) is oen offered in response to this
question. Explain how the rationale behind “to network” is similar to or
different than “to inform,” “to inquire,” “to persuade” and “to entertain.”
Discussion 1.2: Everyday Symbols
Let’s connect symbols to things many of us use on a regular basis, emojis.
What do the emojis in Figure 1.10 mean? We use such symbols in messages
assuming that the message recipient will understand their intended
meanings. As new emojis are added to the lexicon, have there been any
emojis that you did not fully understand when they rst appeared? How did
you learn their meanings, formal and informal?
 Figure 1.10
Example emojis for Discussion 1.2: Everyday symbols.
(Adapted from Apple Color Emoji font accessed in Adobe Photoshop.)

What symbols would you like to add to your emoji library? What
meanings or messages do you want to send in this format?

Activities
Activity 1.1: A Page of Circles
Exercise le(s): Ch01-Ex01.pdf (Refer to Figure 1.11)
 Figure 1.11
Page of circles used in Activity 1.1: A Page of Circles.

Use the page of equally sized circles, available on the book’s companion
website, and give meaning to these circles. For example, try adding a face to
one of the circles or creating a peace symbol within another. Set a timer for 3
minutes and see how many circles you can use. When time is up, take a look
at your work. What did you create using this simple shape?

Now is a good time to allay any concerns that you may have about the
perception that one needs to be able to draw in order to be a graphic
designer.
Can’t draw? Don’t worry. Let the tools work for you.
Can draw? Great, use the tools to enhance your work.
Find yourself somewhere in between? at is where most of us start.
 As you begin designing, focus on capturing your ideas on paper and
then use the Adobe applications to implement these designs.

Activity 1.2: Change of Face

Select one of the logos from Figure 1.12 that relies on a distinctive font, and
using a word processing application, type the logo text at least six times,
each time changing the font face used. What is the impact of these changes?
How do the changes in uence the tone of the brand? Do you prefer one of
your examples to the original? If so, why?

Figure 1.12
Logos for Activity 1.2: Change of Face.

Exercise File(s) Available on the Companion Website,

URL
Ch01-Ex01.pdf | Activity 1.1 le, A page of circles.
URL: http://www.crcpress.com/9780367075347

External Links Mentioned in the Chapter

Joey Katzen’s “Retail Alphabet Game™” | http://www.joeykatzen.com/alpha/
 2
The Elements and Principles of
Design

Graphic design is created and assessed based on a recognized series of

elements and principles of design. ese concepts provide terminology to
use when discussing an image, as well as assessment measures to use when
analyzing or comparing images. e elements of design make up an image,
and the principles of design describe how these elements are used.
Application of the design principles determines the overall success of a
design.

Elements of Designs
ere are six elements of design: line, shape, direction, size, texture and color.
As designers, these elements are used to translate an idea into an image,
whether electronically or on paper.
1. Line: A line refers to the linear marks made with a brush or pen (Figure
2.1).
 Figure 2.1
Elements of design, line.

2. Shape: A shape is a self-contained de ned area of a geometric (e.g.,

circle, square) or organic (e.g., natural) form (Figure 2.2).

Figure 2.2
Elements of design, shape.

3. Direction: All lines have direction, whether horizontal, vertical or

oblique (a.k.a. angled) (Figure 2.3):
 Figure 2.3
Elements of design, direction.

• A horizontal line (–) suggests calmness, stability and tranquility.

• A vertical line (|) gives a feeling of balance, formality and alertness.
• An oblique or angled line (/ \) suggests movement and action.
4. Size: Size is the relationship of the area occupied by one shape
compared to that of another (Figure 2.4).

Figure 2.4
Elements of design, size.
5. Texture: Texture refers to the surface quality of an object, for example,
rough, smooth or glossy. In two-dimensional designs, patterns are
oen used to communicate textures, refer to Figure 2.5.

Figure 2.5
Elements of design, texture.

6. Color: Color is light re ected from objects. Color has four main
characteristics, which are represented in Figure 2.6:

Figure 2.6
Elements of design, temperature: (A) hue, (B) saturation, (C) value, and
(D) temperature.
 • Hue is synonymous for “color” or the name of a color (e.g., red, green,
blue).
• Saturation refers to the intensity or purity of a color.
• Value describes the lightness or darkness of a color. Brightness is a
synonym for value.
• Temperature addresses the perceived warmth or coolness of a color.
Note: Color is discussed in greater detail in Chapter 3: Color in Design.

Let’s take a moment to identify the presence of the elements of design in

the study abroad promotional yer, shown in Figure 2.7.* How is each one of
the six elements being used in the design of the yer? Which element is used
the most?
 Figure 2.7
Promotional flyer.

Principles of Design
ere are six fundamental principles of design: balance, alignment,
repetition, contrast, proximity and space. ese principles use the previously
described elements of design to achieve particular effects in a nished
image.

1. Balance: Balance provides stability and structure to a design. e

placement of objects within an image creates weight that can be
distributed to achieve balance (Figure 2.8). Note: Balance does not
mean that the objects must be the same size or possess the same
characteristics.

Figure 2.8
Principles of design, balance.

• Symmetrical balance weights objects evenly on all sides of a design.

• Asymmetrical balance uses contrast to even out objects in a design.
2. Alignment: Alignment creates order and organization in an image.
Aligning objects allows them to create a visual connection with each
other, as shown in Figure 2.9.
 Figure 2.9
Principles of design, alignment.

3. Repetition: Repetition creates consistency and supports organization in

an image; it can be expressed through a variety of properties, such as
font, line, color or size (Figure 2.10). Repetition can unify individual
objects, strengthening the overall design with a sense of unity.

Figure 2.10
Principles of design, repetition.

4. Contrast: Contrast can be used to highlight or emphasize speci c

objects in a design. Contrast is the juxtaposition of opposing elements
 (e.g., value: light vs. dark; direction: horizontal vs. vertical; size: large vs.
small) (Figure 2.11). e differences attract attention, guiding the
viewer’s eye to the most important parts of an image and helping to
organize the design.

Figure 2.11
Principles of design, contrast.

5. Proximity: Proximity creates a relationship between objects; it provides

a focal point in a design. Proximity does not mean that objects have to
be grouped together; instead, they should be visually connected in
some way (Figure 2.12).
 Figure 2.12
Principles of design, proximity.

6. Space: Space can help a designer avoid clutter and confusion. Space in
an image refers to the area between, around or within objects (Figure
2.13). Both positive and negative spaces are important factors to be
considered in every image.

Figure 2.13
Principles of design, space.
 In any design, we should be able to locate the six design principles. at
said, the strength or impact of each principle may vary in an image. Let’s
return to Figure 2.7. Describe how each design principle is used in the
promotional yer. Which principles are most dominant in the yer? How
would you strengthen this design? Note: You will have the opportunity to
redesign this yer in Chapter 15: InDesign Continued, so save your ideas.

Visual Hierarchy
When used together, design principles can create a visual hierarchy or a
sense of order within a design. is hierarchy aids in identifying what is
more important in the image. As designers, we want to make sure that we
are giving extra weight or visual signi cance to the most important message.
Order and dominance can be created using larger or bolder fonts. Similarly,
placing the most important information higher on the page can provide
prominence to the focal point.
Referring to Figure 2.7 once again, what is the most important message
being presented in the yer based on the visual hierarchy of the design?
Which design principles support this idea?

Looking Ahead The use of design elements and design

principles contributes to the success of visual hierarchy
within an image. These concepts are revisited
throughout this book and should serve as the
foundation for our future designs. In the next chapter,
we dive deeper into color, discussing its characteristics,
symbolism and the steps involved with selecting a color
palette for a project.

Positive and Negative Spaces Looking at an image, it is

important to see not only what is there, but also what is
not there. Positive space contains content, areas filled with
colors, text or images. Negative space surrounds the content;
 it provides the ground to the positive space’s gure. This
negative space can create shapes and highlight
important information in the image.
e interplay between positive and negative spaces is oen used to
create symbols, logos and optical illusions. e Bronx Zoo signature,
shown in Figure 2.14, creatively uses the combination of positive and
negative spaces in its design. Look for the city skyscrapers created in
the negative spaces among the giraffes’ legs.
 Figure 2.14
Negative and positive spaces, Bronx Zoo signature.

Discussions
Discussion 2.1: A Choice among Elements of Design
You are challenged to use only three of the six
elements of design (line, shape, direction, size, texture
and color) in an ad that will run in the local or campus
newspaper. Which design elements would you choose
to use, and why? How would your limited set of design
elements impact the design principles?
Discussion 2.2: Design Principles in Action Select a
magazine cover, and describe how each of the design
principles (balance, alignment, repetition, contrast,
proximity, space) is being used in the layout. Which of
the design principles are being used the most in the
cover design? If presented with the opportunity, what
changes would you make to strengthen the cover
design? Explain your rationale behind these changes.
Note: If you do not have access to a magazine, use an online search engine,
speci cally searching “Images,” to locate a magazine cover for the purposes
of this discussion.

Activity
Activity 2.1: Design Elements at Work Design a one-
page flyer for a local charity bake sale using at least
four of the six design principles. Sketch your ideas for
this flyer on paper. On the back of the page, list the
design principles that you chose to employ in the
design.
e yer must include the following information: Semiannual Bake Sale
All proceeds bene t the local area food bank.
When: Next Friday, 10 a.m.–1 p.m.
Where: Library patio
Feel free to include additional information in the yer.

Exercise File(s) Available on the Companion Website,

URL
Ch02-Ex01.pdf | Exercise 1 le, Promotional yer.
URL: http://www.crcpress.com/9780367075347

 
* is yer is available as a printable PDF le (Ch02-Ex01.pdf) available for download on the book’s
companion website. Use this page as reference throughout this chapter.
 3
Color in Design

Just as we are surrounded by graphic design, a similar statement holds true

for the following discussion of color. Colors have the ability to in uence
moods and emotions, take on cultural and personal meanings, and attract
attention. As designers, our challenge is to balance these complex roles that
color plays in order to produce an effective design.
Colors have the ability to communicate; we receive information from the
language of color. e colors on a stoplight have meaning: go, caution, stop.
e colors (and patterns) of awareness ribbons are used to promote speci c
causes and thus have meaning. What causes do the ribbons in Figure 3.1
represent? Be aware that some colors are used by multiple causes.
 Figure 3.1
Awareness ribbons, represented causes include the following: red:
AIDS/HIV, substance abuse, yellow: support our military, hope, dark blue:
child abuse prevention, colon cancer, black: POW-MIA, mourning,
purple: Alzheimer’s disease, domestic violence, green: organ donor,
leukemia, pink: breast cancer, jigsaw puzzle: autism.

During elections in the United States, political pundits describe the

country as a patchwork of red and blue states, representing the Republican
and Democratic parties, respectively.* In this context, what does a “purple
state” represent? Purple unofficially represents a “swing state,” a state
frequently contested between the Republican and Democratic parties.
When creating a color palette, a group of colors used in a single project, the
designer needs to be aware of color symbolism in relation to the design’s
context and its intended audience(s). As part of any conversation about
color and audience, it is important to mention that 8% of the male
population and 0.5% of the female population have some sort of color
blindness (van Beveren 2012). Color blindness affects a person’s ability to
clearly distinguish between different colors; instead colors are seen in a
limited range. An awareness of color contrast and avoiding certain
combinations can help members of this audience experience the visual
hierarchy of a design as intended. For more information about color
blindness and ways to design for this audience, refer to the reference
included at the end of this chapter (see External Links Mentioned in the
Chapter).

The Color Wheel

Let’s now focus on some fundamentals of color theory, beginning with the
traditional color wheel, shown in Figure 3.2. e color wheel is a useful tool
for painters and designers; it helps in the understanding of relationships
among colors and how colors can be mixed. Mixing colors on the color
wheel can be likened to mixing nger paints. For example, when red and
yellow nger paints are combined, orange is created; the same is true for
colors on the color wheel.

Figure 3.2
The color wheel.

Colors on the color wheel are grouped into three levels: primary colors
(red, yellow and blue), secondary colors, and tertiary colors (Figure 3.3).
When the primary colors are mixed, red and yellow, yellow and blue, blue
and red, three secondary colors are created, orange, green and violet,
respectively. Similarly, when the primary and secondary colors are mixed,
six tertiary colors are created; these colors include
red-orange, yellow-orange, yellow-green, blue-green, blue-violet and red-
violet.

Figure 3.3
Colors: (A) primary colors, (B) secondary colors, and (C) tertiary colors.

e 12 colors on the color wheel provide the basis for the broader
spectrum of colors with which we will be working. To expand this palette of
available colors, varying amounts of white and black can be added to the
original hues to create tints and shades. Also, properties such as saturation
and value can be used. Let’s review these terms before continuing. Note:
Some of these terms will be familiar from Chapter 2: e Elements and
Principles of Design, while others will be new.
• Hue: Hue is synonymous with “color” or the name of a color.
Traditionally, hue refers to one of the 12 colors on the color wheel.
• Tint: A tint is a hue lightened with white.
• Shade: A shade is a hue darkened with black.
• Saturation: Saturation refers to the intensity or purity of a color. Each
primary, secondary and tertiary hue is at a level of full saturation, which
means that no white or black has been added. e closer a hue
approaches to gray, the more desaturated it is.
• Value: Value refers to the lightness or darkness of a color. Brightness is a
synonym for value.

The Color Pyramid

Refer to the color pyramid in Figure 3.4 for an illustration of how hue,
saturation and value relate to one another. e color at the top of the
pyramid is the fully saturated hue from the color wheel. As black and white
are added to this original color, the saturation of the resulting shades and
tints decreases along the vertical axis of the pyramid. e colors’ values span
from the darkest shade to the lightest tint along the horizontal axis of the
pyramid.

Figure 3.4
The color pyramid.
 Color Temperature
Color temperature refers to the perceived warmth or coolness of a color
(Figure 3.5). Warm colors include red, orange and yellow, and
variations of these colors. ese are the colors of re, fall leaves, sunsets
and sunrises, and they are generally considered energizing and positive.
Warm colors are used in design to represent passion, happiness and
energy. Cool colors include green, blue and purple; these colors are
oen more subdued than warm colors. ey are the colors of night,
water and nature, and they are considered calming, relaxing and
somewhat reserved. Cool colors are oen used in design to provide a
sense of calm or professionalism. Note: White, gray and black are
considered neutral colors that take on the properties of the
surrounding colors.

Figure 3.5
Color temperature, warm and cool colors.

Color Schemes
e visible color spectrum contains millions of colors, so selecting a color
palette for a project can feel like a daunting task. To alleviate some of the
pressure, let’s review the classic palettes based on the color wheel that could
be used to create balanced and visually pleasing or high-contrast and
striking images. ese color palettes or color harmonies consist of two or
more colors with a xed relationship on the color wheel.
Complementary: A complementary color scheme features opposites on the
color wheel, such as red/green or blue/orange (Figure 3.6). Complementary
colors are high-contrast and high-intensity colors, but they can be difficult
to apply in a balanced, harmonious way (especially in their purest form,
when they can easily clash in a design).

Figure 3.6
Complementary color scheme.

Analogous: An analogous color scheme relies on hues that are side-by-side

on the color wheel, or close to it (Figure 3.7). is type of color scheme is
versatile and easy to apply.
 Figure 3.7
Analogous color scheme.

Triadic: A triadic color scheme uses any three colors that are evenly spaced
on the color wheel (Figure 3.8). is scheme features trios of the primary,
secondary or tertiary colors.

Figure 3.8
Triadic color scheme.

Split-complementary: A split-complementary color scheme is a variation of

the complementary color scheme. In addition to the main color, split-
complementary uses the two colors adjacent to the main color’s complement
(Figure 3.9). is scheme still has strong visual contrast but is less jarring
than a complementary color combination.
 Figure 3.9
Split-complementary color scheme.

Tetradic (rectangle): e tetradic or rectangular color scheme uses four

colors arranged into two complementary pairs, meaning the four hues are
not equally placed around the color wheel (Figure 3.10). is scheme works
best if one color is dominant.

Figure 3.10
Tetradic (rectangular) color scheme.

Square: e square color scheme is similar to the tetradic (rectangle) color

scheme; however, for the square, the four colors are evenly spaced around
the color wheel (Figure 3.11).
 Figure 3.11
Square color scheme.

e following color schemes rely on a combination of tints and shades to

produce a cohesive design.
Monochromatic: A monochromatic color scheme uses various tints or shades
of one color, for example, a range of blues varying from light to dark (Figure
3.12). is type of color scheme can be considered subtle and conservative.

Figure 3.12
Monochromatic color scheme.

Achromatic: An achromatic color scheme relies on only blacks, whites and

shades of gray (Figure 3.13).
 Figure 3.13
Achromatic color scheme.

Color schemes can also be based on a particular color quality, such as

temperature: warm or cool colors; saturation: vivid colors oen look
youthful, while faded ones look vintage; mood: bright and fun, dark and
serious; or theme: location, season, holiday. To explore different color
schemes, access one of the available color-picking tools online, such as
Adobe Color CC (https://color.adobe.com) or Paletton
(http://paletton.com). ese tools allow the designer to easily preview color
schemes and to record the selected colors’ values for the color model (e.g.,
CMYK, RGB) relevant to the design’s intended output. A color model is a
system for creating a range of colors from a small set of primary colors.
Refer to Chapter 4: De ning the Project for additional information about
color models.

The 60-30-10 Rule

Typically, a color scheme will need to be split into a dominant color
and one or more accent colors. A color would be considered dominant
based on either how much of it appears in a design, or how it stands
out in comparison to the other colors. When using a three-color palette
(e.g., triadic or split-complementary color scheme), the 60-30-10 Rule
can be a useful guide. According to this guideline, the dominant color
should account for 60% of the color in the design and the two accent
colors the remaining 30% and 10%.
Color Symbolism
e meaning and symbolism associated with colors are in uenced by the
cultural and societal groups with which we identify. Let’s take a look at some
common meanings associated with colors in Western culture.
• Red: Red is a color that can communicate many different ideas
depending on its context. Because red is associated with re, it can
represent warmth or danger. Red is also the color of blood, so it is
considered an energetic, lively color. It is also associated with matters of
the heart, and sometimes violence.
In branding: Red oen communicates strength, con dence and power; it
is a highly visible color.
• Orange: Orange is also a ery color, combining the warmth of red with
the cheerfulness of yellow for a hue that communicates activity, energy
and optimism. It is also associated with the autumn season.
In branding: Orange oen represents youthfulness and creativity.
• Yellow: As the color of sunshine, yellow oen communicates happiness
and cheerfulness. It can also signal warning or caution in certain
contexts. Gold, which is a type of orange or yellow depending on its hue,
is a symbol of luxury or high quality.
In branding: Bright yellow easily attracts attention. However, it can be
hard to see if not used carefully; avoid placing yellow text against a
white background or vice versa due to the lack of contrast between the
colors.
• Green: Green is the color of nature, plant life and growth. As such, it
oen communicates health, freshness or an “all-natural” quality. Dark
green can represent money, wealth or stability.
In branding: Companies or brands that want to be perceived as “green,”
in the sense of natural, environmentally friendly, healthy or organic,
oen use nature-inspired colors such as green and brown.
• Blue: e color of the sea and sky, blue oen communicates peaceful,
clean qualities. As opposed to more energetic, warmer coolers, blue is
seen as calming. In some contexts, blue can represent sadness or
 depression. Dark blue is a popular choice for corporate contexts; it is
perceived to have serious, conservative and professional qualities.
In branding: Blue is widely used and one of the most versatile colors. It is
generally used to communicate trustworthiness, security and stability.
• Violet/purple: Purple is traditionally associated with royalty. It can also
have spiritual, mystical or religious connotations.
In branding: Darker shades of purple symbolize luxury or opulence,
while brighter shades can come across as childish.
• Black: Like red, black has many and sometimes opposing meanings. It
can represent power, sophistication and exclusivity. In other instances,
black can symbolize death or mystery.
In branding: Black is so widely used that it is almost a neutral, though it
can still communicate the previously mentioned meanings depending
on context. Colors look brighter and more intense against black. Some
designs are presented in black and white or grayscale, based either on
designer preference or a decision made to reduce printing costs.
• White: As the color of snow and light, white regularly represents purity,
innocence or goodness; however, it can also come across as stark or
sterile.
In branding: White oen communicates simplicity or a clean, modern
quality. Designers seeking a minimalist aesthetic will frequently use a lot
of white in their work.

Selecting a Project’s Color Palette

When selecting colors for a design, it is important to consider the following
steps: 1. Clearly identify the desired results you want to achieve with color.
en, make a connection between these intended results and the “Reasons
We Communicate” (see Chapter 1: Breaking Down Design). is connection
will help clarify the overall purpose of the design, which can help direct the
overall tone and therefore the color palette.
2. Select a main color that re ects the needs of the project.
3. Select a color scheme based on the central color.
4. Re ne the color choices based on the particular project, its context and
its intended audience(s).
 A Color’s Surroundings
Take a look at Figure 3.14. Are the green squares the same color? Yes,
they are. Any perceived differences in color are an optical illusion based
on the colors surrounding the green squares. In each instance, the
green square takes on the properties of its surrounding color, and in
certain combinations, this appears to create a new hue. For the
designer, it is important to look for unintended color shis in order to
resolve the situation by adjusting the color or position of the object
(e.g., green square) or the object’s surroundings.

Figure 3.14
Surrounding colors.

In addition to these basic steps, the designer should be prepared to answer

the following questions: • Is the client or product that you are working with
associated with a particular color? If so, how will this color be incorporated
into the color palette? Brand recognition is tied strongly to color. ink of
UPS, Facebook or Starbucks. What colors are associated with these brands?
It is important that the colors you choose support the brand and t its
personality and market context.
• What is the competition doing? It is important to have an awareness of
the competition’s palette in order to distinguish your design from theirs
and to avoid duplication. ink of how Coca-Cola and Pepsi
successfully distinguish their brands through the use of color, red vs.
blue, respectively.
 • Finally, what is your budget, both in terms of nances and time? If the
design is to be printed, are funds available for four-color printing or
black-and-white printing (see Chapter 5: File Properties for more about
print options)? is information can dramatically limit or expand your
color palette and your approach to the design. Similarly, if the client can
pay you for 3 hours of work, any time spent beyond that is time (and
money) lost. Financially, it is important to value your time and
understand your time constraints before beginning work on a project.

Looking Ahead This introduction to color, its meaning

and symbolism highlights the importance of knowing
your audience and the context of your design. These
are the topics that we explore in the next chapter along
with the stages of production.

Discussions
Discussion 3.1: Mass Media’s Use of Color Symbolism
Think of examples of color symbolism in mass media—
books, TV shows or movies. How was color used in F.
Scott Fitzgerald’s novel, e Great Gatsby (1925) or the
movie e Wizard of Oz (1939)? What about in Star Trek?
Whether on television or the big screen, the crew
members’ shirt colors represent different work
specialties. Trekkies recognize that those wearing red
shirts are often the first to die when the away team is in
danger. Next, look to the Star Wars franchise where the
color of a lightsaber is used to distinguish between the
Dark Side (red) and the Light (blue, green). Then, there
is the exception, the purple lightsaber of Mace Windu
(portrayed by Samuel L. Jackson) as first seen in Attack
of the Clones (2002). The actor wanted to easily spot
himself in scenes, particularly, the large arena battle
scene, so his Jedi weapon was purple (Giles 2013).
What examples of color symbolism in mass media can
you think of? What do the colors represent?

Discussion 3.2: Color Comparison Take a look at the

images in Figure 3.15. The same photograph is used in
each image; however, the color palette has been
altered. First, describe the use of saturation and value
in each image. Next, describe your initial reaction to
each image. Which is your favorite? Which is your least
favorite? Note: There is no right or wrong answer, you are
being asked for your opinion. Describe a scenario in
which each image might be used, explaining why the
respective color palette would be appropriate for that
outlet.
 Figure 3.15
Color comparisons: (A) original photograph, (B) saturation high, (C)
saturation low, (D) desaturated (a.k.a. grayscale), and (E) desaturated
with accent color. Peggy’s Point Lighthouse, Peggy’s Cove, Nova Scotia,
Canada.

Activities
Activity 3.1: The Pantone Color of the Year Pantone LLC,
a self-described “authority on color,” annually selects a
Color of the Year. This color becomes a part of the visual
landscape, used in design, clothing and home décor
accents. The choice has been described by Pantone,
as “A symbolic color selection; a color snapshot of
what we see taking place in our global culture that
serves as an expression of a mood and an attitude”
(Pantone 2017).
Visit the Pantone website (http://www.pantone.com) and identify the
current PANTONE Color of the Year.** With the color as reference, locate at
least three examples of the color in use on commercial websites. Having
difficulty nding examples? How would you use the color? Brainstorm three
scenarios in which the color would be appropriate (e.g., clothing, home
décor, media campaigns).

Activity 3.2: Create a Color Wheel Take a series of

photos that represent the hues contained in the color
wheel. Target at least three objects per hue. Tip: Start
with one object per color and expand this collection as
you find additional examples of the color.
Alternative 1: If you do not have access to a camera, download images from
the Web that re ect the hues contained in the color wheel. Keep track of the
source and its Web address (URL) for each image.
If you are in a position to print your photos, do so. en, affix these
images to a sheet of paper or poster board positioning the objects in their
relative positions around the color wheel. As needed, refer to Figure 3.2 for
reference when arranging the objects. Post your color wheel in your
workspace to use as a reference when designing and creating.
Alternative 2: If you possess the necessary Adobe skills, use Photoshop or
InDesign to create a digital color wheel using your photos. When complete,
print a color version of this image to use as a reference in your workspace.

External Links Mentioned in the Chapter Colorblindness

We Are Colorblind | http://wearecolorblind.com
Online color-picking tools Adobe Color CC |
https://color.adobe.com
Paletton | http://paletton.com
PANTONE Color of the Year PANTONE Color |
http://www.pantone.com

 
* Consistent use of the red and blue representational colors has been in place since the 2000 U.S.
presidential election (George W. Bush [R] vs. Al Gore [D]) (Elving 2014).
** e “Color of the Year” may be more than one hue; in 2016, Rose Quartz (13-1520) and Serenity
(15-3919) were both selected. For an explanation of this choice, visit the Pantone website.
 4
Defining the Project

De ning a project before any design work begins is an important task for the
designer. rough this step, the scope of the project is outlined, the
stakeholders (client, audience) are identi ed and the project’s timeline is
established. During the de nition process, the image’s purpose and intended
output are also identi ed, along with the tools and resources that will be
used to create the image. e Kipling method,* also known as the 5W1H
method, is a useful technique to begin information gathering. is method
asks the following questions: who, what, where, when, why and how. Or, if
listed in the order in which each question is introduced in this chapter, what,
why, who, where, how and when.

Kipling’s Questions
Let’s address each of these questions in the context of a design project that
has tasked the designer with creating an image, speci cally, a visual solution
to a de ned set of project constraints.
What? What is being designed? A visual solution is being created in
response to a presented opportunity. e solution should be clear and
accessible to ensure that the target audience comprehends the visual
hierarchy in the image and the intended message. Ineffective
communication can lead to a misunderstanding of information.
Why? Why is the image being created? What is the purpose behind the
design? A visual solution can be most successful when the designer clearly
understands the purpose of the project. ink about the reasons why we
communicate (refer to Chapter 1: Breaking Down Design). Which role will
the image ll: to inform, to inquire, to persuade or to entertain? Will the
image multitask and serve more than one role? Tip: It is a useful practice to
revisit the project’s purpose throughout the development process in order to
keep the project on track and focused on its intended goal.
Who? Who encompasses several parties connected to the project,
including the client, the audience and the designer:

• Who is the client for this project? Who has requested the visual
solution? If the client is represented by several people, who is the
designer’s main point of contact? Identifying this contact before work
begins facilitates communication.
• Who is the intended audience for the visual solution? Identifying the
audience and understanding its needs are vital to creating an effective
image. Designers address their audiences through the use of color, font,
layout and overall style. Developing an overview of the audience’s
demographics (e.g., age, background) can serve as useful reference
when answering the question, what will attract and hold this audience’s
attention? Is there more than one audience for the design, a primary and
secondary audience? If so, how will the image address each of these
audiences?
• Finally, who will create the design? e designer may be working alone
or as part of a team. It is not uncommon for multiple designers to work
on a single project owing to the scope of the project or its timeline.
Additional resources may be employed if they possess areas of expertise
relevant to the project, such as a vector artist or photographer.
 Designing for Accessibility
Creating work that is accessible to a broad audience is an important
focus for media creators, including graphic designers. Accessibility
implies universal design, design for all. In the United States, Section 508
of the U.S. Code requires that all government-sponsored website
content and all attached les be accessible to people with disabilities.
Web content created by federal agencies and their contractors must
adhere to a minimal level of accessibility. Some nonfederal companies,
while not legally required to be “508 compliant,” may also request that a
project meet these guidelines, especially if the company provides public
services or its target market includes people with disabilities.
Section 508 has three main requirements:

1. Technical: Make sure the coding of a product (i.e., website, soware,

operating system) is compatible with assistive technologies.*
2. Functional: Ensure that in addition to the technical coding, the
entire system is usable by someone with a disability.
3. Support: Make sure that supporting documents and alternative
information are also accessible by people with disabilities.

If a project does not meet all three of these requirements, then it is

not legally compliant (Horner 2013).
Designers who create images for the Web are likely to encounter
Section 508 requirements. In general, increased attention should be
paid when planning website navigation and Web graphics that include
text or limited color contrast. Be prepared to work with Web
developers providing the necessary descriptive text, which describes
the contents of an image for use by an assistive technology. For more
information about Section 508 and ways to plan for accessibility, refer
to the references included at the end of this chapter (see External Links
Mentioned in the Chapter).

 
 * e Assistive Technology Industry Association describes assistive technology as “any item,
piece of equipment, soware program, or product system that is used to increase, maintain,
or improve the functional capabilities of persons with disabilities” (“What is AT?” 2017).

Where? Where will the design be presented (and in what format)?

Knowing whether the visual solution will be presented as an onscreen or
print solution allows the designer to set up the working le correctly.
Similarly, identifying the project’s output allows the designer to select the
appropriate resolution, color model and le type, properties that will be
discussed in the next chapter (refer to Chapter 5: File Properties).
How? How will the design be created? Which application(s) will be used to
create the visual solution? Each application in the Adobe Creative Cloud has
its own purpose and can be used individually or in conjunction with the
other applications for more complex solutions. Photoshop is used for image
editing, working with digital photographs or scanned images; Illustrator is
used to create scalable vector images; and InDesign is used for page layout,
oen incorporating images created in the other two applications into a
single or multipage document.
When? When is the design needed? is information allows you to begin
planning the project’s timeline, outlining the stages of development. In this
process, the project is translated into actionable steps for both the designer
and the client. For example, when will a dra of the visual solution be
submitted to the client for review? When will the client’s feedback on the
dra be received by the designer? Related to these milestones are the
logistics of how information will be relayed between the designer and the
client, including delivery of the completed visual solution. Clearly de ning
the channels of communication early in a project facilitates the smooth
transmission of information between parties.

Stages of Development
e development process of most media-based projects, including graphic
design, can be divided into three stages: pre-production, production and
post-production. For small projects, the designer may move quickly from
one stage into the next; however, regardless of a project’s size, it is important
to complete each stage in order. e organization and structure of each stage
help to keep the project on track.

Pre-Production
e pre-production stage is focused on planning and idea generation. Pre-
production is an opportunity to gather additional information about the
project. Use this time to talk to the project’s stakeholders, the people who
have a vested interest in the project or are affected by its outcome either
directly or indirectly. Discuss any ideas that have already been generated
about the project. Find out if the visual solution will be part of a larger
context or campaign and if so, what guidelines are available to foster
consistency among the elements. If the visual solution includes an
organization’s brand, a style guide or style manual may be provided for the
designer’s reference. A style guide is a set of design standards developed to
ensure uniformity in style and formatting wherever an organization’s brand
is used.

Pre-Production Tasks
• Research the visual solution
• Collect project materials from the client (as applicable)
• Generate ideas and translate these into visuals
• Solicit client feedback on initial ideas
• Receive client approval on the preliminary sketch (e.g., thumbnail sketch,
storyboard, wireframe)

During the pre-production stage, gather any available materials from the
client (e.g., the company logo, articles written for a newsletter). When
available, collect high-resolution images and electronic les for text (to avoid
retyping). Inventory any materials received so they can be returned at the
project’s conclusion.
Capturing Ideas
Brainstorming is one process for conceiving creative ideas and solutions
either individually or when working on a team. During this process,
consider all ideas, no matter how seemingly random or oeat; stray ideas
oen spark unexpected solutions. Do not criticize any ideas while
brainstorming, just capture the ideas on paper; analysis and evaluation will
follow. Some techniques that can help jump-start the brainstorming process
include free association, mind mapping and doodling. For more
information about these practices, refer to Activity 4.1: Brainstorming
Techniques at the end of this chapter.
Translating Ideas into Images
With ideas generated, the next step is to translate these ideas into a sharable,
visual depiction of the design. Depending on the project’s intended output,
the format of these representations will vary. Most projects begin with
thumbnail sketches, simple line drawings that represent elements of the
potential solution (Figure 4.1). For animation and video projects, a
storyboard is developed, which features a series of thumbnail sketches
outlining the changes that will occur on screen (Figure 4.2). A site map and
wireframe are the planning tools most frequently used for web design. A site
map is a kind of owchart representing how pages within a website are
interconnected (Figure 4.3). A wireframe is a mockup of an individual page
illustrating the navigation and page content (Figure 4.4).
Figure 4.1
Thumbnail sketch.
Figure 4.2
Storyboard.

Figure 4.3
Site map.
Figure 4.4
Wireframe.
Soliciting Feedback
As ideas are translated into visual depictions, it is a good practice to produce
variations of an idea; aim for three options. When ideas are shared with the
client, having multiple sketches on paper allows for comparison and serves
as a useful basis of conversation. What works? What would the client
change? Are there elements of one option that the client would like to see
applied to another? Based on the client’s review of these ideas, the designer
may need to rework their sketch to incorporate the provided feedback.
Revision is a regular step in the pre-production process. Securing the client’s
buy-in or agreement on initial ideas for the visual solution is important, and
it should help to avoid major changes later in the development process.
Production
e production stage is the creation stage, producing a visual solution based
on the agreed-upon sketch (e.g., thumbnail sketch, storyboard, wireframe).
An Adobe application, or a combination of applications, will be used to
create the visual solution. Later chapters introduce the Adobe Creative
Cloud and how to use these applications to translate ideas and sketches into
a realized design.
Production Tasks
• Create a visual solution that fulfills the stated purpose
• Assess design for content and purpose
• Submit for client review
• Update design based on client feedback
• Deliver completed visual solution to the client
• Return any project materials to the client (as applicable)
The Feedback Loop
e production stage is cyclical. As illustrated in Figure 4.5, the designer
creates an image and submits it to the client for review. Following this
review, one of two things happens: either the client approves the image with
no changes suggested and work on the project continues, or the image is not
approved as is and the client requests changes, providing feedback to the
designer. e designer then reviews the client’s feedback and either accepts
or challenges the requested changes. If accepted, the designer incorporates
the changes and submits an updated image to the client, for approval of the
changes. e client’s review of the updated image can result in the changes
being approved or rejected. If approved, work on the project continues. If
rejected, the client provides feedback to the designer and the revision cycle
continues. At any point during the review cycles, if the designer challenges
the client’s feedback, then a conversation is held between the parties to
discuss options and hopefully arrive at consensus.
Figure 4.5
The feedback loop. (1) Designer creates an image and submits it for
client review. (2) Client reviews the image/updated image. (2A) Image
approved, no changes suggested. Work on project continues. Or (2B)
Image not approved. Changes suggested and submitted to designer.
(3) Designer reviews the changes. (3A) Designer incorporates the
changes and submits the updated image for client review. Or (3B)
Designer challenges the changes and discusses options with client. (4)
Project continues.
 It is vital to de ne feedback loops in the project’s timeline, including the
frequency and duration of feedback cycles. Otherwise, the feedback loop can
become an endless cycle, a costly black hole of feedback and updates.
Review Your Work
A valuable step during the production stage is reviewing the visual solution
for content. A simple step like Check Spelling, a tool available in the Adobe
Creative Cloud applications, can prevent the embarrassment felt when the
client highlights a typo during their review of the image. For the designer,
reviewing a design for content is also an opportunity to revisit the “why” of
the project de nition, the project’s stated purpose. Does the work-in-
progress meet the project’s speci cations? Critically assess use of the
elements of design and the design principles (refer to Chapter 2: e
Elements and Principles of Design). Does the solution use these concepts
effectively? Does their use contribute to the realization of the stated
purpose? If so, continue working. If not, use this opportunity to correct
course and get back on track.
Delivery
e production phase concludes with the delivery of the completed visual
solution. e manner and method of delivery should have been identi ed
and agreed to during the project de nition phase. Once the nal image has
been delivered, make a point to return any materials that the client supplied.
Post-Production
e post-production stage is dedicated to re ecting on the development
process, including the completed visual solution and archiving work. is
stage is oen skipped in the rush to declare a project nished and move on
to the next project. However, it is important to make time for post-
production, as valuable information is collected that can be applied to future
projects.

Post-Production Tasks
• Conduct “lessons learned” session
• Archive project files and notes
• Follow up with the client
• Look ahead to the next project
Lessons Learned
A “lessons learned” session provides the designer and other members of the
design team an opportunity to conduct self-assessment about the project.
Questions asked during this session might include the following: What
worked well on the project? What could be done differently next time? Did
the designer or team of designers possess the necessary skills to complete
the project? Document and review the collected responses.
Project Archive
Next, gather all of the resources that were created or used during the
development process, including original sketches, early versions of working
les, the completed visual solution and project notes. If possible, the
designer will archive these les in a space separate from their working
computer (e.g., external drive, on the cloud, burned to a CD/DVD). is
practice provides a backup that is accessible for future reference and security
should the designer’s computer be damaged.
Follow Up and Look Ahead
Finally, follow up with the client, ask for feedback on this project, the
completed visual solution and the production process. Also, inquire about
future opportunities. Are there upcoming assignments for which you might
be suited? Much of the designer’s time is spent seeking work. Developing
repeat clients and identifying continuing projects will help maximize time
spent creating.

Looking Ahead
With the project de ned and an overview of the development process
completed, we next review the le properties that correspond to the
intended output of the visual solution.

Discussions
Discussion 4.1: Know Your Audience: Audience
Demographics
Identify a group of people to which you belong, this could be an interest
group, a club/organization or a team. Outline the general demographics of
the group, details that would be useful to know if you were hired to design a
brochure promoting the group’s upcoming events and activities. e
brochure will be distributed to group members and will also be made
available to prospective members.
Begin with the following demographic topics, adding to or removing items
from the list as you deem them relevant or irrelevant to the group.
• Age
• Gender
• Education
• Community (e.g., urban, suburban, rural)
How will such demographic information help you design an effective
brochure? How might the average age of the group’s members be considered
for the design? ink about the font size and colors use in the design. How
might these be adjusted to bene t members of the group?
Discussion 4.2: Challenges of the Feedback Loop
Review the Feedback Loop in Figure 4.5. What challenges does this cyclical
loop present to the designer and the client? What could be done to mitigate
these challenges and their potential impact on the project timeline?

Activities
Activity 4.1: Brainstorming Techniques
Read the descriptions of the following associative brainstorming techniques
and then give them a try. When brainstorming, it is natural to come up with
the most obvious ideas rst. Employing associative techniques pushes our
ideas beyond the obvious to more complex ideas. Each of the following
techniques is intended to encourage the free ow of ideas and spark
creativity:
• Free association: is is a text-based means for capturing ideas.
How to: Begin with a blank page (or word processing document) and
begin writing (or typing). Capture every word and thought that comes
to mind. Do not worry about spelling, grammar or punctuation, just
write. Consider this process a proverbial brain dump. Need more
structure? Set a timer for 3 minutes, and write for the duration. When
time is up, review what has been written, circling or highlighting ideas
that resonate. Note: If you typed your ideas, print them out for review.
• Mind mapping: is is a visual way to organize ideas and information.
How to: Start with a blank piece of paper, and write down a single idea
in the center of the page. Working out from this central idea, like a tree,
draw a limb (a line) that ends in a related idea. From this idea,
additional branches and related ideas can be added to the page.
• Doodling: is is an informal way to capture ideas that encourages
jotting down ideas and sketches.
How to: Start with a blank page of paper. ink about the project that
you are about to undertake, and begin jotting down ideas that come to
mind. is process is less structured than mind mapping. Connective
links may not exist between your ideas, just keep moving your pencil or
pen.
Activity 4.2: Brainstorm a Solution
Scenario: You have been hired to design a multipage booklet that will
accompany a wildlife photography exhibit at the local nature center.
Select one of the techniques introduced in Activity 4.1: Brainstorming
Techniques and generate ideas about the information to include in the
booklet.
Unsure where to begin? What information would you expect to nd in an
exhibit booklet? Start with your response to this question, and build your
ideas from there.

External Links Mentioned in the Chapter

Assistive Technologies
Assistive Technology Industry Association | https://www.atia.org
WebAIM: Web Accessibility in Mind | http://webaim.org
Section 508 of the U.S. Code
U.S. Access Board: Advancing Full Access and Inclusion for All |
https://www.access-board.gov
U.S. Department of Health and Human Services |
https://www.hhs.gov/web/section-508

 
* e Kipling method is drawn from a Rudyard Kipling poem, which accompanies “e Elephant’s
Child” part of the Just So Stories (1902). Kipling’s short poem outlines a powerful set of questions,
“I keep six honest serving men, (they taught me all I knew); I call them what and where and when,
and how and why and who” (“Poems—Six Honest Serving Men” n.d.).
 5
File Properties

When it is time to begin production, there are several le properties that

must be de ned before work in the chosen Adobe application can begin. e
intended output for the design, onscreen or print, dictates many of these le
properties. e informed designer will make a point to correctly de ne these
properties when creating a new le in order to avoid potential con icts later.
Let’s begin with the basics, pixels and resolution.

Resolution
A pixel (from the term, picture element) is the smallest unit on screen that
can be edited. Looking at the photo of fuchsia in Figure 5.1, the natural
shapes of the blooms are curved; however, when we zoom in on the photo,
we can see the square pixels that make up the blooms and the overall image.
At this level of magni cation (3200%) the rectangular grid or raster that
contains the rows and columns of pixels in the image is visible. In
Photoshop, the designer has the ability to change the appearance of an
image one pixel at a time, though it is more typical to alter many pixels at
once.
 Figure 5.1
Close-up of pixels that compose a photo of fuchsia, Kilkenny Castle,
County Kilkenny, Ireland.

Resolution is a measurement of an image’s output quality that can be

expressed in pixels, dots or lines. e unit of measure varies according to the
intended output device. Pixels per inch (PPI) refers to the actual image
resolution and is used for onscreen resolution; dots per inch (DPI) is used for
imaging device output including desktop printers; and lines per inch (LPI) is
used for commercial (generally offset) printing with halone screens.
Images can be described as either low resolution (low-res) or high
resolution (hi-res). Similar to unit of measure, a le’s resolution is dependent
on where the image will be displayed. Onscreen images use a low resolution
of 100 ppi (pixels per inch) or less to facilitate fast loading of images. Web
graphics are traditionally created using a resolution of 72 ppi. High
resolution applies to images that will be printed, generally using a resolution
of 300 ppi or higher. e higher an image’s resolution, the greater the image’s
quality (i.e., more detail and clarity) and the larger is the corresponding le
size.
A le’s resolution can be changed, which indicates that pixels can vary in
size. Figure 5.2 presents a series of images labeled A, B and C, each
measuring 1 square inch in size; however, each image illustrates a different
resolution. e rst image (A) has the lowest resolution (4 ppi) and displays
the least amount of detail when compared to the other images. e second
image (B) with a resolution of 16 ppi shows more detail than A, yet less than
the third image. With a resolution of 64 ppi, the third image (C) allows for a
ner level of granularity than that of the other images. However, remember
that this increased detail comes at the cost of a larger le size.

Figure 5.2
Resolution examples: (A) 4 ppi, (B) 16 ppi, and (C) 64 ppi.
 Resampling and Interpolation
Situations may arise in which the designer needs to change the
resolution of an image le. Resampling occurs when a le’s resolution is
reduced, for example, from 300 to 150 ppi. In this process, data is
discarded from the le. When this happens, quality is lost, and the le’s
dimensions (width and height) are reduced.
When a le’s resolution is increased, let’s say from 72 to 150 ppi,
interpolation takes place. No new content is created. Instead the
existing context is divided into smaller units; additional details are not
added to the image. e designer simply has more pixels with which to
work. is process can produce the appearance of jagged or pixelated
edges around a shape, particularly on curves or angles.
Neither option is ideal for the sake of an image’s clarity, but
sometimes changing a le’s resolution is necessary. e preferred action
is to correctly de ne the resolution when creating a new document le
based on its intended output.

Color Models
Another decision that needs to be made is the le’s color model. A color
model is a system for creating a full range of colors from a small set of
primary colors. e two most common color models that the designer is
likely to use are the RGB color model for onscreen displays and the CMYK
color model for printing. Note: e RGB and CMYK color models are not
related to the color wheel discussed in Chapter 3: Color in Design. Instead,
they pertain to how colors are created for their respective output.

RGB Color Model In the RGB color model, also known as

the additive color model (Figure 5.3), red, green and blue
light are added together in various combinations to
produce a broad spectrum of colors. The RGB color
model contains over 16 million colors. This color model
is used for images that will be displayed onscreen,
including mobile devices. Each device has the ability to
control the amount of RGB light that is visible in every
pixel. When an area onscreen displays the maximum
intensity of red, green and blue, the color white is
visible. Conversely, the lack of intensity among red,
green and blue (a.k.a. the absence of light) produces
black. Adobe Photoshop uses the RGB color model as
its default.

Figure 5.3
RGB color model.

CMYK Color Model The CMYK color model is described as

a subtractive color model because the printed ink
combinations of cyan, magenta, yellow and key*
(black) subtract the brightness that is normally
reflected from the page (Figure 5.4). This model is also
referred to as the four-color process because the offset
printing process uses four printing plates, one for each
color. When the colors are combined on paper, the
final full color image is visible. In the CMYK color model,
the color white represents a lack of ink or color on the
page. In contrast, to create the color black, cyan,
magenta and yellow are combined, at least in theory;
however, in actuality, when these colors are combined
as inks, a muddy brown is produced, thus the inclusion
of key as a primary color to provide a pure black color.
Adobe Illustrator and InDesign use the CMYK color
model as their defaults.

Figure 5.4
CMYK color model.

Changing a File’s Color Model A file’s color model can

be changed at any point in the design process.
Depending on the direction of the conversion, the
change will be less or more noticeable. Converting an
image’s color model from CMYK to RGB (from print to
screen) should go unnoticed, as this is essentially a
one-to-one translation of colors. However, when
converting a color model from RGB to CMYK (from
screen to print), a shift in colors, particularly among
bright colors, may be noticed. The reason for this shift is
the relative difference in the sizes between the RGB and
CMYK color palettes; the RGB color palette (based on
light) is larger than the CMYK color palette (based on
ink).
Color gamut refers to the range of colors that a speci c device is capable of
producing. Since the RGB color model contains more colors than the
CMYK color model, some RGB colors may be considered out of gamut,
unavailable in the new CMYK color model. Put another way, a color that
may be displayed on a computer screen in RGB may not be printable in the
gamut of a CMYK printer. In this situation, the application looks for the
nearest neighbor, the color closest to the original color, and assigns this value
to the out of gamut color.
When a project involves an image that will be used for both onscreen and
print output, it is recommended to start with the CMYK model and design
all of the print assets rst. en, convert a copy of the image le to the RGB
model and design the onscreen assets. Working in this order will produce a
closer color match across the images.

Adobe’s Color Modes Within the Adobe applications,

the color mode determines the color model used to
display and print project files. The applications base
their color modes on established models for describing
and reproducing color, including bitmap (two colors),
grayscale (256 shades of gray), RGB (red, green, blue),
CMYK (cyan, magenta, yellow, key) and Lab (three-axis
color system; “L” for lightness and “a” and “b” for the
color dimensions: green-red and blue-yellow). In
addition to determining the number of colors that can
be displayed in an image, the color mode affects the
number of channels** and the file size of an image. The
intended output dictates which color mode should be
used for a project file. The majority of our work will utilize
the RGB and CMYK color modes.
Types of Images
 Available Color Modes
Photoshop provides the designer with the following choices of color
mode when creating a new le: Bitmap, Grayscale, RGB Color, CMYK
Color and Lab Color. Instances of the same photo illustrate the
different color modes (Figure 5.5).

Figure 5.5
Different color modes: (A) RGB Color (millions of colors); (B) CMYK
Color (four-printed colors); (C) Lab Color (based on human
perception); (D) Grayscale (256 grays); (E) Bitmap (two colors).
Fence-line flowers, Lititz, Pennsylvania.

e design solution is created using one of two types of images, a bitmap or

a vector image. is is one decision that has more to do with style and the
appearance of the created design than the le’s output.
Bitmap Image
A bitmap image (also known as a raster graphic) is composed of a series of
pixels, each assigned a color and then arranged in a pattern to form an
image (refer to Figure 5.1). Bitmap images are resolution dependent and
contain a xed number of pixels per inch. Digital photographs and scanned
images are bitmap images as they are composed of pixels. As previously
discussed, image resolution corresponds to the overall quality and le size of
the image.
Vector Image
In contrast, a vector image uses a series of mathematical formulas to de ne
objects in an image. A combination of paths and anchor points forms
editable shapes that can be lled with or outlined in color. Vector images are
resolution independent, which means that pixels are not used to create the
image. Another signi cant difference between vectors and bitmaps is a
vector’s ability to be scaled in size from very small to very large without
losing image clarity or quality. is quality is extremely convenient for
marketing purposes; the same vector image could be used to print business
cards and to create a roadside billboard. is exibility makes vectors a
popular choice among clients.
At this point, the question is oen asked, “Why not work with vectors
exclusively?” To help answer this question, take a look at the two images
presented in Figure 5.6. e rst is a bitmap image, and the second is a
vector image based on the same content. Notice the stylistic differences
between the images, particularly in the sky and sand. When compared to the
details visible in the bitmap image, the vector image resembles a paint-by-
number painting that uses areas of color to create an image. e choice
between using a bitmap or vector oen depends on the desired style and
appearance of the design.
Figure 5.6
Bitmap image vs. vector image. Lifeguard tower, Jensen Beach, Florida.

File Formats
e nal choice to make is what le format will be used for the project.
roughout this book, we will be creating and editing a variety of le
formats including several of the following.

JPEG/JPG | Joint Photographic Experts Group | .jpg

File Extension The JPEG file format compresses the
image data within a file, which results in a relatively
small file size. Digital cameras use the JPEG file format
since photos can be saved with small file sizes, allowing
for more files on the camera’s memory card. JPEGs use
lossy compression; lossy means “with losses to quality.” Each
time a JPEG is saved, some of the image details are
discarded during the compression process; the image
loses quality with each save. JPEGs are not good for
images containing text, line drawings or logos. These
subjects tend to become pixelated during the
compression process.
Uses: Photos on the Web, sharable images (e.g., sent via email) GIF |
Graphic Interchange Format | .gif File Extension e GIF [pronounced: jif]
le format is used for Web images that contain a limited color palette, no
more than 256 colors (Indexed color mode). GIFs are good for line art and
logos; however, since GIFs possess a limited palette, they are not suitable for
photos. GIFs use lossless compression, a process in which no image details are
discarded during the compression process; however, because no information
is lost, the le size cannot be as small as a JPEG. A GIF can contain
transparency, allowing the viewer to look through the transparent sections
of a GIF to the image or background placed behind the GIF. ey can also
be used for animations.
Uses: Web images with limited colors; supports transparency and
animation PNG | Portable Network Graphic | .png File Extension e PNG
le format was created as an alternate to GIF. PNGs can display more than
256 colors and have better compression. A PNG also contains transparency.
Uses: Web images; supports transparency TIFF/TIF | Tagged Image File
Format | .tif File Extension e TIFF le format is used for high-resolution
graphics. TIFFs use lossless compression, so they contain a lot of image data,
which translates to large le sizes. TIFF les support a variety of color
formats (e.g., grayscale, CMYK, RGB) and content including layers and
image tags.
Uses: Photo editing and page layout PSD | Photoshop Document | .psd File
Extension e PSD le format is the native Photoshop le format. PSD les
contain layers and allow the designer to work with an image’s layers across
work sessions. e layers can be attened and the image converted into a
JPG, GIF or TIFF, so it can be shared. Tip: Always save the PSD le with its
layers intact before converting the le format. Be careful not to overwrite the
le during the conversion.
Uses: Multilayer images AI | Adobe Illustrator | .ai File Extension e AI
le format is the native Illustrator le. AI les are used to create vector
images, which were introduced earlier in this chapter.
 Uses: Vector images INDD | InDesign Document | .indd File Extension
e INDD le format is the principal document type in InDesign. INDD
les contain formatting and linked les. ey are used for desktop
publishing to create single- or multipage documents, such as yers,
magazines or newspapers.
Uses: Single- or multi-page documents SVG | Scalable Vector Graphics |
.svg File Extension e SVG le format is used for vector images online.
Uses: Web graphics EPS | Encapsulated PostScript | .eps File Extension e
EPS le format is a vector format used to print to PostScript printers and
imagesetters. It is the best choice for high-resolution printing of illustrations.
EPS les are created and edited in Illustrator.
Uses: High-resolution illustrations PDF | Portable Document Format | .pdf
File Extension e PDF le format is generally associated with desktop
publishing; however, it can also be used to share images and layout designs
across platforms. PDF les can be created (i.e., saved, exported) from each of
the applications in the Adobe Creative Cloud and many other applications.
e PDF format can be used to share designs with audiences that do not
have access to the Adobe applications and therefore cannot open the
applications’ native le formats (i.e., PSD, AI and INDD). PDF les can be
read in multiple applications, including Adobe Acrobat Reader † and any
Web browser.
Uses: Sharing formatted documents across platforms Raw Images Raw les
contain a lot of data that is uncompressed, which translates to very large
image le sizes. ese les usually come straight from a digital camera and
have not yet been processed, so they cannot be edited or printed. ere are
many different raw formats; each major camera company has its own
proprietary format. Raw les are usually converted to TIFF before image
editing begins.
Uses: Capturing details in a photograph Looking Ahead is chapter
described the connection between intended output of a design and its le
properties. As we begin working in the Adobe applications, think about how
the selected le properties and le formats support the image’s presentation
onscreen or in print. Next up, an introduction to Adobe Photoshop, its
workspace and tools, is provided.
Discussions
Discussion 5.1: Corresponding File Properties Scenario:
You have volunteered to create a series of graphics for
a community clean-up event. The graphics will be used
across several media platforms in order to broadly
promote the event.
is list describes the graphics and where each will be used: 1. Graphic 1:
A scalable logo for the event that will be printed on T-shirts for volunteers
and will also be on display on a local billboard, a space that has been
donated to support the event.
2. Graphic 2: A graphic that will be included in a mass email sent to
community members. e graphic needs to include photos from last
year’s event and text announcing this year’s dates.
3. Graphic 3: A graphic that will be printed in color in the local
newspaper. e graphic’s content will match that of Graphic 2, it will
just be larger.
For each of these graphics, indicate which image type (bitmap, vector),
color mode (RGB, CMYK) and resolution (72, 150, 300 ppi) you would
recommend using, and why.

Discussion 5.2: A Stylistic Choice: Bitmap vs. Vector

Consider the stylistic differences between bitmap and
vector images; refer to Figure 5.6 for reference. Identify
a scenario when each of these styles would be well
suited. Determine what is included in each design
solution (e.g., photo, text or symbols). How does the
selected image type best support your design?

Activities
Activity 5.1: Change the Color Mode Exercise le: Ch05-
Ex01-photo.jpg (Refer to Figure 5.7)
 Figure 5.7
Activity file (Activities 5.1 and 5.2). Mountain goats in Glacier National
Park, Montana.

If you are familiar with Photoshop, complete the following activity that
tasks you with changing the color mode of the provided image, Ch05-Ex01-
photo.jpg.
Note: If you are not familiar with Photoshop, proceed to Chapter 6: Getting Started in Photoshop, and
then return to this activity once you are comfortable navigating the Photoshop workspace.

Changing the Color Mode Step 1: Open the provided file (Ch05-
Ex01-photo.jpg) in Photoshop.
• From the File menu, select the Open… menu command [File menu >
Open… | ⌘O].
• In the Open dialog box, navigate to the downloaded image le.
• Click Open to launch the le.

Step 2: Take note of the le’s current color mode, which is shown in the
Document window tab. In this tab the le name, the current magni cation,
the color mode and the bit depth are listed.

Step 3: Change the current RGB Color to CMYK Color.

• From the Image menu, position the cursor over the Mode menu
command to view the available options.
 • Select CMYK Color from the list, clicking on the option.
• is action launches an alert window; click OK to close the Photoshop
message.
Did you notice any change of color within the photo when the CMYK
color mode was applied?

Step 4 (Optional): Use the Undo and Redo menu commands to look for a
shi in colors.
• Select the Undo menu command from the Edit menu, looking for a
change in the image colors [Edit menu > Undo | ⌘Z].
• To redo the action, return to the Edit menu, and select the Redo menu
command [Edit menu > Undo | ⌘Z].
Changing an image’s color mode is just that straightforward. Remember to
consider the image’s intended output when selecting a color mode.

Activity 5.2: Changing the Resolution Exercise le: Ch05-

Ex01-photo.jpg (Refer to Figure 5.7) If you are familiar with
Photoshop, complete the following activity, which tasks
you with changing the resolution of the provided
image.
Note: If you are not familiar with Photoshop, continue to Chapter 6: Getting Started in Photoshop, then
return to this activity once you are comfortable navigating the Photoshop workspace.

Changing the Resolution Step 1: Open the provided file (Ch05-

Ex01-photo.jpg) in Photoshop.
• From the File menu, select the Open… menu command [File menu >
Open… | ⌘O].
• In the Open dialog box, navigate to the downloaded image le.
• Click Open to launch the le.

Step 2: Take note of the le’s current resolution.

• From the Image menu, select the Image Size… menu command [Image
menu > Image Size…].
 • e Image Size dialog box lists the image dimensions, resolution and le
size (Figure 5.8).

Figure 5.8
Image size dialog box (Photoshop), Image menu > Image size….

Step 3: Reduce the le’s resolution (150 ppi) to 72 ppi in the Image Size
dialog box.
• In the Image Size dialog box, select the current resolution value and
enter the new resolution.
• Make sure that the interpolation method (Resample) is set to its default
“Automatic” option.
• Look for the updated Image Size shown in the top row of the dialog box.
is value should be less than the original Image Size listed in
parentheses “was ##.”
• Click OK to perform the conversion.

Step 4: Save the adjusted image, adding “-72” to the end of the le name
[File menu > Save As…]. Note: Do not include the quotation marks in the
le name addendum.

• Select Save As… from the File menu [File menu > Save As… | ⌘S].
• In the Save As dialog box, add -72 to the le name, before the
punctuation and le extension (Ch05-Ex01-photo-72.jpg).
Step 5: Reopen the provided le (Ch05-Ex01-photo.jpg) in Photoshop.

Step 6: Increase the le’s resolution (150 ppi) to 300 ppi.

• Again, notice the new Image Size value. It should be larger than the
previous value.
Step 7: Save the adjusted image, adding “-300” to the end of the le name.

Step 8: Open all three les in Photoshop in order to compare their

dimensions and image quality. Note: Use the same magni cation for each
le. Use the Zoom Tool as needed to adjust these values [View menu >
Zoom In (⌘+); View menu > Zoom Out (⌘−)].
What differences do you notice across the three les? In your opinion, is
the difference in le size worth the change? Again, think about the image’s
intended output when assigning resolution.

Exercise File(s) Available on the Companion Website,

URL
Ch05-Ex01-photo.jpg | Activity le (Activities 5.1 and 5.2). Mountain goats
in Glacier National Park, Montana.
URL: http://www.crcpress.com/9780367075347

External Links Mentioned in the Chapter Adobe

Acrobat Reader | http://acrobat.adobe.com

 
* e “K” in CMYK stands for key, because in four-color printing, cyan, magenta and yellow printing
plates are carefully keyed, or aligned, with a black key plate.
** Photoshop uses channels to store color information about an image. e image’s color mode
determines the number of color channels created: RGB, three channels (red, green, blue); and
CMYK, four channels (cyan, magenta, yellow, key).
† Adobe Acrobat Reader is a free soware application that allows the viewer to view, print, sign and
annotate PDF les; for more information about this application, visit http://acrobat.adobe.com
 6
Getting Started in Photoshop

We begin our discussion with the obvious question, why use Adobe
Photoshop? Adobe Photoshop is the industry standard for professional
photo editing, graphic design and digital imaging. Digital imaging involves
the process of acquiring or importing images from scanners, digital cameras
or other devices into a computer. Using Photoshop, designers can
manipulate, enhance and apply effects to selected parts of an image or to an
entire image. Photoshop can also be used to create images from scratch.
Originally intended for simple digital photo editing, Photoshop’s
functionality has greatly expanded over time to be used by graphic
designers, publishers and photographers.

Photoshop Overview
is chapter begins with a high-level overview of Photoshop, outlining how
to create and save an image le, then shiing attention to the application
workspace and tools. is knowledge is put into practice through Exercise
6.1 in which you will be tasked with creating an image le, adding content to
the image using selected tools and saving the le.
Photoshop provides an extensive collection of tools; however, most
designers rely on a subset of these tools for the bulk of their projects. We
follow suit, beginning with a limited number of tools. is chapter
introduces and utilizes a subset of the available tools, tools selected to get
you quickly creating in Photoshop. When you are ready to expand your
personal toolset, access the Photoshop Online Help resource, which is always
available via the Help menu [Help menu > Photoshop Help…].
 Notes to the Reader
• is chapter is most effective when you have the Photoshop
application open in front of you while reading. is allows you to
learn and then do, navigating the interface and utilizing the tools.
• If you do not have access to the application, the included screen
captures serve as visual references for much of the content.
• roughout this chapter, you are directed to perform speci c
actions. A path listing the related menu and menu command is
provided to help you navigate the task.
• For example, when instructed to apply the Mosaic lter to an
image, you are directed to click on the Filter menu, then select
the Pixelate menu command and nally select Mosaic; the
accompanying path reads [Filter menu > Pixelate > Mosaic].
• Keyboard shortcut commands are also listed for frequently used
tasks. Refer to Figure 6.1 for a guide to frequently used keyboard
keys and their corresponding symbols.
• For example, to save a le you can either access the File menu
and select Save or press the following combination of keys on
the keyboard, Command + S (macOS); Control + S (Windows)
[File menu > Save | ⌘S].
• If you are just beginning in Photoshop, rst get to know the
menus and their respective menu commands. en, once you
are comfortable with the interface, gradually incorporate
keyboard shortcut commands into your work ow. With
repeated use, these shortcuts will become second nature.
 Figure 6.1
Symbols and corresponding keyboard keys.

Creating an Image File

When Photoshop opens, a Home Screen* appears welcoming the designer to
the application (Figure 6.2). In this dialog box, select either the “Create
New…” or “Open…” button located along the le side of the window to get
started. Let’s choose “Create New…,” which launches the New Document
dialog box.

Figure 6.2
Home Screen dialog box.
 In the New Document dialog box, Photoshop provides a series of preset
values based on the project type and expected output (Figure 6.3); these sets
include Photo, Print, Art & Illustration, Web, Mobile, and Film & Video.
Once a blank document preset has been selected, the following preset
properties can be reviewed and modi ed as needed to accommodate a
project.

Figure 6.3
New Document dialog box, File menu > New….

Preset Details (descriptions drawn from Photoshop Online Help) • Name:

Set the name for this new document (Default: Untitled-1).
• Size: Select the size (i.e., Width, Height) and the unit of measure for the
new document.
• Orientation: Portrait (vertical), Landscape (horizontal).
• Artboards: Toggles the Artboards option** on, off.
• Resolution: Set the resolution for the new document.
• Color Mode: Set the color mode for the new document.
• Bit Depth (located to the right of Color Mode): Specify the bit depth,
a.k.a. the maximum number of colors that can be used (see box, “Bit
Depth: Color Information”).
 • Background Contents: Set the initial background contents for the new
document.
• Advanced Options/Color Pro le: Specify a color pro le for color
management.
• Advanced Options/Pixel Aspect Ratio: Set the pixel aspect ratio for the
new document.

To proceed, select a set; let’s choose the Photo set. en, from the available
Blank Document Presets select Default Photoshop Size (7 × 5 in. @ 300 ppi).
e le properties associated with this selection are listed along the right
side of the dialog box. Click the Create button and the resulting image le
appears in the workspace.

Bit Depth: Color Information

Bit depth refers to the color information stored in an image le. e
higher the bit depth of an image, the more colors it can store. e
simplest image, a 1-bit image, can show only two colors, black and
white. is is because the 1-bit can store only one of two values, 1
(black) and 0 (white). An 8-bit image can store 256 possible colors,
while a 24-bit image can display approximately 16 million colors.
Along with an image’s resolution, its bit depth contributes to the le
size of the image. As the bit depth goes up, the le size of the image also
increases, because more color information has to be stored for each
pixel in the image.

Saving an Image File

It is a good habit to save a new image le before creating content in the
image. is practice can help the designer avoid losing work should the
application or computer freeze and need to be restarted while working.
roughout this book, you are encouraged to save your work, early and
oen.
 To save a new le, access the File menu and select the Save As… menu
command [File menu > Save As… | ⌘S]. Note: Once this initial Save As
has been completed and content added to the le, the Save menu command
will be available under the File menu [File menu > Save | ⌘S].
e Save As dialog box is presented in Figure 6.4. Here the le can be
named, if this was not done when creating the image le (in the New
Document dialog box). Tip: When naming a le, be careful to not overwrite
the provided le extension, which is included in the Save As eld. e native
Photoshop le is a Photoshop Document, which uses the (.psd) le extension.
e provided le extension matches the current le format (shown in the
Format dropdown menu). If the le format needs to be changed, do so via
the Format dropdown menu, selecting the desired le type. Do not type the
desired le extension into the le name eld (Save As eld) and assume the
le type will be changed; this technique will not work and can prevent the
le from opening in the future due to the disconnect between the listed le
extension and the actual le format.

Figure 6.4
Save As dialog box, File menu > Save As….
 Finally, before saving the le, know where the image le will be saved.
When in doubt, select the computer’s desktop for easy le retrieval. Select an
appropriate location, † and then click the Save button. Note: If the computer
is connected to the internet, options may be available to save an image le
on a cloud drive (e.g., iCloud Drive, Creative Cloud Files).
 File Naming
When naming les, avoid using special characters (e.g., @, #, $, %, *).
Similarly, do not use spaces, as some soware will not recognize le
names that contain spaces. In lieu of a space, consider using a hyphen
(-) or an underscore (_). Or, try using Camel Caps, a technique in
which the rst letter of each word in a le name is capitalized, such as
UsingCamelCaps.psd. Finally, try not to make le names too long as
lengthy le names do not work well with all soware and across all
platforms.

Photoshop Workspace Introduction

e Photoshop workspace is presented in Figure 6.5; the workspace is
composed of the following labeled elements. ese descriptions are drawn
from the Photoshop Online Help.
 Figure 6.5
Photoshop workspace: (A) Photoshop/application menu bar, (B)
Options bar, (C) Tools panel, (D) Document window, (E) Status bar and
(F) Panels.

A. e Photoshop menu bar, also referred to as the menu bar, provides

access to the application’s menus and menu commands.
B. e Options bar displays options for the currently selected tool.
C. e Tools panel contains tools for creating and editing images.
D. e document window displays the image le.
• e working area is referred to as the canvas; this is where the image
will be created.
• If more than one le is open at a time, document windows can be
tabbed and, in certain cases, grouped and docked.
E. e status bar is part of the document window; information about the
image le is displayed here, including the image’s current zoom level or
magni cation.
F. Panels help you monitor and modify your work.
Adobe provides the ability to reset the Photoshop workspace to the default
workspace when opening the application. Resetting the workspace returns
the tools and panels to their default settings. is option is useful while
getting to know the workspace as you experiment with tools and their
settings. To reset the workspace, hold down the following keyboard keys
when starting Photoshop: Option + Command + Shi (macOS); Alt +
Control + Shi (Windows). Release the keys when the application prompt,
Delete the Adobe Photoshop Settings File? appears on screen. Click Yes in
response to the prompt to complete the reset process. Tip: Resetting the
workspace at the start of a work session is a good habit when working in a
public computer lab where settings may have been changed by others since
your last work session.

Application Tip: Interface Appearance

e Color eme of the Photoshop interface can be changed under the
application’s menu to one of the following colors: Black, Dark Gray,
Medium Gray or Light Gray (Figure 6.6) [Photoshop CC menu >
Preferences > Interface…]. Screen captures in this book use the Light
Gray color theme to increase readability within the images.

Figure 6.6
Color theme, Photoshop CC menu > Preferences > Interface….
The Photoshop Menu Bar
Located along the top of the application window, the Photoshop menu bar
consists of a series of menus, including Photoshop CC, File, Edit, Image,
Layer, Type, Select, Filter, 3D, View, Window and Help. Clicking on a menu’s
name presents a list of related menu commands. As shown in Figure 6.7,
some menu commands are followed by ellipses (…), such as the New… and
Open… menu commands. e ellipses indicate that the menu command is
augmented by a dialog box where additional settings can be entered. Other
menu commands are followed by a right-pointing arrow, which indicates a
submenu of related commands. Notice that many menu commands are
followed by keyboard command shortcuts, which are provided to facilitate
your use of the application.

Figure 6.7
Photoshop menu bar, File menu selected and related menu commands
shown.

The Options Bar Below the Photoshop menu in its

default location is the Options bar, which is context sensitive;
its content changes when different tools are selected.
Figure 6.8 presents multiple instances of the Options
bar, illustrating its appearance when three different
tools are selected (i.e., Lasso Tool [L], Brush Tool [B]
and Paint Bucket Tool [G]). Some tool properties
available in the Options bar (e.g., Opacity and
Painting Modes) are common to several tools, while
others are specific to a particular tool. The Options bar
can be moved from its default location to anywhere in
the work area using the gripper bar‡ located along the
left edge of the Options bar.
Tip: If the Options bar is not visible in the workspace, access: Window
menu > Options.

Figure 6.8
Multiple instances of the Options bar showing different tools selected:
(A) Lasso Tool (L) options, (B) Brush Tool (B) options and (C) Paint
Bucket Tool (G) options, (D) Gripper bar.
The Tools Panel
Generally located along the le side of the application’s workspace, the Tools
panel provides the designer with an extensive collection of tools with which
to create. e Photoshop CC 2019 Tools Panel Overview presented in Figure
6.9 and continued in Figure 6.10 lists all of the Photoshop tools organized by
the following broad function-based categories: Selection, Crop and Slice,
Measuring, Retouching, Painting, Drawing and Type, Navigation. is guide
is also available as a printable PDF le on the book’s companion website.
Tip: is is a useful reference to have available when learning the tools, their
names and their locations. A brief description of each tool’s functionality is
available via the Photoshop Online Help.
Tip: If the Tools panel is not visible in the workspace, access: Window
menu > Tools.
Figure 6.9
Photoshop CC 2019 Tools Panel Overview.
 Figure 6.10
Photoshop CC 2019 Tools Panel Overview continued.

When interacting with the Tools panel, if the cursor hovers over a tool
icon, a Rich Tooltip¶ may appear below the cursor’s pointer presenting a
simple animation of the tool in use along with the tool name. A simpli ed
version of the Tooltip§ is also available, which only presents the tool name.
As shown in Figure 6.11, when available, a keyboard shortcut is listed to the
right of the tool name. Keyboard shortcuts can be used to select tools in the
Tools panel, allowing the designer to remain focused on an image. Using
these keyboard shortcuts, the designer can avoid shiing their attention
between the canvas and the Tools panel.

Figure 6.11
Tools panels: (A) Lasso Tool’s Rich Tooltip and associated keyboard
shortcut; (B) Lasso Tool’s Tooltip and associated keyboard shortcut; and
(C) Lasso Tool selected, hidden tools visible.

Looking at the Tools panel in Figure 6.9, only a portion of the available
tools is currently visible. Notice that a majority of the tool icons display a
small triangle in their lower-right corner; this triangle indicates that hidden
tools are present, tools that share space with other tools. Refer to Figure 6.11
to see the Lasso Tool’s hidden tools: Polygonal Lasso Tool (L) and Magnetic
Lasso Tool (L). To access a hidden tool, position the cursor over the visible
tool icon, then hold down the mouse button and from the resulting list of
tools, select the desired tool. Keyboard shortcuts can be used to select some,
but not all, hidden tools. To select a hidden tool using its keyboard shortcut,
 rst, select the visible tool that shares space with the hidden tool, then hold
down the Shi key while pressing the hidden tool’s associated shortcut key.
Press the shortcut key until the desired tool is visible in the Tools panel.
When the hidden tool is visible in the Tools panel, it is available for use.

Application Tip: Tools Panel The Tools panel can be

displayed in one or two columns, as shown in Figure 6.12.
The choice between these options is based on personal
preference and available screen space. To change the
Tools panel from the default single-column display to two
columns, click the >> icon in the upper-left corner of the
Tools panel. Clicking the << icon returns the two-column
display to a single column.
Figure 6.12
Tools panel: (A) single-column display and (B) two-column
display.
The Document Window By default, a document window is
presented as a tab within the workspace. As shown in
Figure 6.13 the tab contains the file name, zoom level
(e.g., 100%, the current degree of magnification), color
mode and bit depth. When more than one file is open,
the document windows are presented in a group of
tabs docked below the Options bar. To select a specific
file, click on its tab, and the corresponding document
window appears in front of the other tabs, its canvas
visible.

Figure 6.13
Document window tabs.

Tabs can be rearranged by dragging a window tab to a new location within

the group. To undock or oat a document window from a group of
windows, click and hold down the mouse button and then drag the window
tab out of the group and release it over the workspace. To return an
undocked window to a docked position, click and hold down the mouse
button along the top of the le. While continuing to hold down the mouse
button, move the cursor toward the other docked le tabs. When a blue bar
appears above the docked le tabs, release the mouse button; the undocked
window should now be docked. Tip: If an open le is “misplaced” or not
visible in the workspace, click on the Window menu and look to the bottom
of this menu for a list of open les. Select the name of the desired le, and it
will be brought to the forefront of all open les.
The Status Bar
e status bar is available for each image le. Located in the lower-le
corner of the document window, the status bar displays the active image’s
zoom level or current degree of magni cation (e.g., 66.67%) (see Figure 6.5).
To display other types of information in this bar, click the right arrow (>) in
the status bar, and select one of the options presented in this menu.
Document Sizes is a useful option to display in the status bar; this feature
can help the designer keep track of the le’s size. Photoshop presents two
numbers to approximate the size of the image. e rst number (le)
represents the size of the le if the le were to be attened, combining any
individual layers into one and saving the le in the native Photoshop le
format (PSD). e second number (right) shows the size of the le,
including layers, channels and other components. Accordingly, the second
number is generally larger than the rst. For information about the other
options available in the status bar, refer to the Photoshop Online Help.
Panels In addition to being accessed from the Options
bar, tool properties can be accessed from individual
panels. Panels help the designer monitor and modify
images and their elements. The list of available panels
is accessible from the Window menu. When a panel
name is selected in the list, the associated panel is
displayed in the workspace. A checkmark located to
the left of the panel’s name means that the panel is
open in the workspace.
Tip: An open panel can be hidden behind other panels. If an open panel
(indicated by the checkmark shown in the Window menu) is not visible in
the workspace, try closing and reopening the panel. To do so, close the panel
by rst selecting the panel from the Window menu, then reopen the panel by
selecting it again from the Window menu. Once reopened, the panel should
be visible in front of other open panels.
 A dock is a collection of panels or panel groups displayed together,
generally in a vertical orientation. Panels can be docked and undocked by
moving them into and out of a dock. To dock a panel, drag its tab into the
dock, at the top, bottom or in between other panels. To dock a panel group,
drag its title bar (the solid empty bar above the tabs) into the dock. To
remove a panel or panel group, drag it out of the dock by its tab or title bar.
is panel or panel group can be dragged into another dock or le free
oating. A oating panel can be positioned anywhere in the workspace.
Panels can also be collapsed to icons to reduce clutter on the workspace.
Our rst view of the default workspace in Figure 6.5 included panel icons
(i.e., Color, Properties and Layers). For more information about managing
panels, visit the Photoshop Online Help.

A Subset of Tools
e following subset of tools is selected from the Tools panel.
Accompanying the selected tools are each tool’s keyboard shortcut
command, if available, and the tool’s respective description drawn from the
Photoshop Online Help. As you read these descriptions, locate the tools in
the Tools panel and refer to the Photoshop CC 2019 Tools Panel Overview
(see Figure 6.9). Remember that some of these tools may be hidden.
Selection Tools
• e Move Tool (V) moves selections, layers and guides.
• e Marquee Tools (M) make rectangular, elliptical, single-row and
single-column selections.
• e Lasso Tools (L) make freehand, polygonal (straight-edged) and
magnetic (snap-to) selections.
• e Quick Selection Tool (W) lets you quickly “paint” a selection using
an adjustable round brush tip.
• e Magic Wand Tool (W) selects similarly colored areas.

Measuring Tools • The Eyedropper Tool (I) samples colors

in an image.
Retouching Tools
• e Eraser Tools (E) erase pixels and areas of an image to a previously
saved state or to transparency.
Painting Tools
• e Brush Tool (B) paints brush strokes.
• e Paint Bucket Tool (G) lls similarly colored areas with the
foreground color.

Drawing & Type Tools • The Type Tools (T) create type in
an image.
Navigation Tools
• e Hand Tool (H) moves an image within its window.
• e Zoom Tool (Z) magni es and reduces the view of an image.

e lower portion of the Tools panel contains several useful features

shown in Figure 6.14.

Figure 6.14
Tools panel, Colors, Quick Mask, and Screen Modes: A: Default
Foreground and Background Colors (D), B: Foreground Color, C: Switch
Foreground and Background Colors (X), D: Background Color, E: Edit in
Quick Mask Mode (Q), and F: Change Screen Mode (F).
Colors
• e Foreground and Background Colors set foreground color and
background color.
• Default Foreground and Background Colors (D).
• Switch Foreground and Background Colors (X).
Screen Views
• Standard Screen Mode (F) • Full Screen Mode With Menu Bar (F)
• Full Screen Mode (F) Note: Additional tools will be introduced in
Chapter 7: Photoshop Continued and Chapter 9: Photo Editing in
Photoshop.
It is time to put this information into practice. Exercise 6.1 is designed to
help you explore the Photoshop workspace and become familiar with the
processes of creating and saving an image le. If needed during the exercise,
refer to the earlier explanations of the workspace components, processes and
tool descriptions.

Exercise 6.1: Create, Save and Add Content to an Image File

Exercise brief: Create and save an image le, then use the following tools to
add content to the le: Brush Tool (B), Marquee Tools (M), Lasso Tool (L)
and Paint Bucket Tool (G).

Step 1: Create a new image le using Photoshop’s Document Type presets,

speci cally the Default Photoshop Size, which is available under the Photo
set.
• Begin at the File menu and select the New… menu command [File menu
> New… | ⌘N].
• In the New Document dialog box look for the Photo header, and from the
Blank Document Presets select Default Photoshop Size (7 × 5 in. @ 300
ppi).
• Take a moment to review the Preset Details, the le properties
associated with this selection: Width, 7 in.; Height, 5 in.; Orientation,
Landscape; Resolution, 300 pixels/in.; Color Mode, RGB Color; Bit
Depth, 8 bit; and Background Contents, White.
• Click Create to generate the image le.
Step 2: Save the new image le as a Photoshop Document. Use Ch06-Ex01
for the le name, Photoshop for the le format and select an appropriate
location for the le (Ch06-Ex01.psd).
 • With the new image le open in the workspace, access the File menu
and select Save As… [File menu > Save As… | ⌘S].
• In the Save As dialog box, enter the le name, Ch06-Ex01, verify the File
Format (Photoshop) and navigate to an appropriate location.
• Click Save to save the image le.

Step 3: Add content to the image le using the Brush Tool (B).
• Select the Brush Tool (B) in the Tools panel and then position the cursor
over the canvas.
• Hold down the mouse button while “painting” on the canvas to create a
mark.
• e color being used by the Brush Tool (B) is the current Foreground
Color, which is visible in the lower portion of the Tools panel (see
Figure 6.12).
• Tip: Until another tool is selected, in the Tools panel or using a keyboard
shortcut, the cursor will remain a brush.
• Try changing the appearance of the brush (e.g., brush, size and
hardness) and paint some more.
• Look to the Options bar while the Brush Tool (B) is selected, to see the
brush properties that can be adjusted (Figure 6.15). Photoshop provides
an assortment of brushes via the Brushes Preset picker. Once selected,
each of these brushes can be modi ed.
• Additional brush options and property controls can be found in the
Brush panel. To access this panel, go to the Window menu and select the
Brush menu command [Window menu > Brush]. Tip: Be careful not to
get distracted by the variety of available brushes; try a few and then
move on.
 Changing Values
ere are multiple ways to change a property’s value in the Options bar
or in a panel; these labeled options are shown in Figure 6.15.

Figure 6.15
Options bar, Brush Tool selected, Brush Preset visible. Three ways to change
values, (A) enter value; (B) slider bar; (C) side-to-side “scrub” over the
property name.

A. Highlight the current value and type a new value.

B. Use the available slider, dragging the slider to increase or decrease
the value.
C. Position the cursor on top of the value’s name (the cursor’s
appearance will change to a scrubby cursor), then click and drag the
cursor side to side to “scrub” to a larger or smaller value.

Step 4: Change the color used for the Brush Tool (B) and add additional
content to the image le.
• Click once on the Foreground Color chip in the Tools panel, and the
Color Picker (Foreground Color) dialog box will open (Figure 6.16).
 Figure 6.16
Color Picker dialog box.

• e Color Picker dialog box presents multiple methods for representing a

color (i.e., HSB, RGB, #: Hexadecimal, Lab, CMYK). Refer to Chapter 3:
Color in Design for a review of the different color modes.
• Click anywhere within the gradient located on the le side of the Color
Picker dialog box to select a new foreground color.
• To change the range of available colors within the gradient, click on the
desired hue in the spectrum of colors located to the right of the
gradient.
• e selected “new” color will be shown as a chip above the “current”
color chip located near the center of the Color Picker dialog box.
• Click OK to change the foreground color.
Note: To change the Background Color, use the same process: First click on the Background Color chip
in the Tools panel. is action launches the Color Picker (Background Color) dialog box. A new color
can also be selected using either the Color panel or the Swatches panel. Access to these panels is
available from the Window menu [Window menu > Color | Swatches].
Step 5 (Optional): Clear the canvas. If you would like to remove all content
from the canvas before moving forward, do so now. If not, move ahead to
Step 6.
• Go to the File menu and choose the Revert menu command [File menu
> Revert].
• e Revert menu command returns an image le to its last saved state,
which in this exercise occurred when the newly created image le was
saved in Step 2.

Step 6: Add content to the image le using the Marquee Tools (M) in
conjunction with the Fill menu command and then the Paint Bucket Tool
(G). A selection area will rst be created, and then it will be lled with color.

• Select the Rectangular Marquee Tool (M) in the Tools panel and then
position the cursor over the canvas.
• Click and hold down the mouse button while moving the cursor
diagonally away from its starting point.
• A tooltip will appear during this step below the cursor pointer listing
the dimensions of the shape being created (i.e., W: Width and H:
Height).
• When the shape reaches a desired size, release the mouse button.
• e rectangle-shaped selection area is empty; it does not contain any
content.
• A bounding box will appear along the borders of the shape; this
animated outline of dashed lines is referred to as “marching ants.”
• Note: e selection area can be moved around the canvas. To do so, rst
con rm that the Rectangular Marquee Tool (M) is still selected in the
Tools panel. en, position the cursor within the selection area (the
cursor’s appearance will change), and click and drag the rectangular
selection to the desired location.
• Tip: If you try to move the selection area using the Move Tool (V), any
content within the bounding box may be moved along with the
selection area.
 • Next, ll the selection area with content. ere are multiple ways to
complete this task; here are two options to try.
• Option 1: Use the Fill… menu command to ll a selection area with
content.
• Begin at the Edit menu and select the Fill… menu command [Edit
menu > Fill…].
• In the Fill dialog box, † † select the ll contents from the Contents
dropdown menu (i.e., Foreground Color, Background Color, Color…,
Content-Aware, Pattern, History, Black, 50% Gray, White).
• Blending options are available (i.e., Mode and Opacity) to alter the
appearance of the ll.
• Click OK to apply the ll.
• Option 2: Use the Paint Bucket Tool (G) to ll a selection area with
content. By default, the Foreground Color in the Tools panel is used as
the source of the ll.
• Select the Paint Bucket Tool (G) in the Tools panel.
• Review the properties presented in the Options bar and make any
adjustments before using the tool (e.g., source for ll area, ll mode
and opacity).
• Position the cursor within the selection area, and click once to apply
the ll. Note: Additional clicks repeat the ll layering content within
the selection area.
Application Tip: When an area on the canvas is selected, only that selection
area can be modi ed. For example, if you try clicking outside of the
selection area with the Paint Bucket Tool (G), no color will be applied.

Tool Tip: Marquee Tools

By default, the Marquee Tools (M) create rectangles and ellipses.
However, these tools can also create squares and circles, respectively. To
do so, hold down the Shi key on the keyboard while drawing the
shape. Tip: Release the mouse button before the Shi key in order to
preserve the shape.
 Shapes created using the Marquee Tools (M) can be created from the
center point of the shape outward. Tip: Turn on the document grid
before attempting this technique [View menu > Show > Grid | ⌘’].
Use an intersection of guidelines as the center point for a shape,
growing the shape out from that point. Place the cursor at one of these
intersection points and then hold down the Option key while drawing
the shape outward from the center point.
To create a circle using this method, hold down both the Shi and
Option keys before or while using the Elliptical Marquee Tool (M) to
draw the circle. Release the mouse button rst, then the keyboard keys
to preserve the shape.

Step 7: Save and close the le and then quit Photoshop.

• Return to the File menu and select Save, or try the following keyboard
shortcut command: Command + S (macOS); Control + S (Windows)
[File menu > Save | ⌘S].
• To close the image le, go to the File menu and select Close [File menu
> Close | ⌘W].
• is step will close the document window but will leave the Photoshop
application open.
• Finally, to end the work session, quit Photoshop by going to the
Photoshop CC menu and selecting Quit Photoshop CC [Photoshop CC
menu > Quit Photoshop CC | ⌘Q].
Congratulations, you have completed your rst exercise, and you have
created a Photoshop image composed of lines and shapes. While perhaps
not a masterpiece, it is a start, and hopefully, you are becoming familiar with
the Photoshop workspace. Before proceeding, let’s discuss some important
nuggets of information that will facilitate your work in Photoshop. ese
topics are called Need to Know Fundamentals, a label that will surface in the
application-based chapters.

Need to Know Fundamentals

Undoing Your Work
When you perform a task, it is helpful to know how to undo that task.
Under the Edit menu, the Undo menu command allows the most recent
operation to be undone [Edit menu > Undo | ⌘Z]. Photoshop supports
multiple levels of undo. ‡ ‡ Another way to undo and redo multiple
operations is to use the History panel.
Note: If an operation cannot be undone, the menu command is dimmed
and changes to Can’t Undo.
Using the History Panel
e History panel allows the designer to jump to any recent state of the
image created during the current working session. † To access the History
panel, go to the Window menu and select the History menu command
[Window menu > History]. Tip: e History panel is a useful panel to keep
docked along the right side of the application window for easy access.
Each time a change is made to an image, the new image state is added to
the History panel as the bottommost entry. For example, if the designer
makes a selection and lls it with color, then rotates the selection, each of
these steps is a separate image state in the History panel. When one of the
earlier states is selected, the image reverts to how it looked when that change
was rst applied. Work can then proceed from that state, recognizing that
subsequent changes will be deleted.
e History panel can also be used to delete image states and, in
Photoshop, to create a document from an image state or snapshot.§§ For
more information about these options, access the Photoshop Online Help.
Selection Options
Once a selection area has been created and lled, it would be helpful to view
the canvas without the marching ants outlining the selection. To deselect an
area, go to the Select menu and choose the Deselect menu command [Select
menu > Deselect | ⌘D]. Within the Select menu, menu commands are
available to select: All [⌘A], Reselect [⌘D] and Inverse, the opposite of the
current selection [⌘I].

Image Size, Color Mode and Canvas Size

When beginning a design project that involves acquired or provided images,
it is a good practice to review the properties of the assets before working
with them. is step allows you to make any necessary changes in an effort
to standardize image properties (e.g., dimensions, resolution and color
mode). Certain le properties are listed in the Properties panel, which can be
accessed from the Window menu [Window menu > Properties].
Image Size
An image’s dimensions and resolution can be accessed via the Image menu
and the Image Size… menu command, which opens the Image Size dialog box
(Figure 6.17) [Image menu > Image Size… | ⌥⌘I]. First, review the
Dimensions elds and con rm the unit of measure used for Width, Height,
and then look to the Resolution eld.

Figure 6.17
Image Size dialog box, Image menu > Image Size.

If you need to adjust the image’s dimensions, make sure the link icon is
selected to preserve the image’s proportions. With this option enabled, when
the width is changed, the height will automatically be updated to an
appropriate size.
Note: If a le contains content on multiple layers, when an image is resized,
content on each layer will be affected.
If you need to adjust a le’s resolution, refer to Chapter 5: File Properties,
“Resampling and Interpolation,” for a refresher on the challenges of
resampling (reducing resolution) and interpolation (increasing resolution).
Based on this information, we know that increasing an image’s size can
result in the image becoming pixelated. Accordingly, it is better to reduce
the size of an image, reducing its dimensions or resolution. When you
change the resolution, the image’s dimensions (and le size) will be altered
accordingly; if the resolution is increased, the dimensions will increase, as
will the le size, conversely, if the resolution is decreased, the dimensions
and le size will decrease.
Color Mode
Earlier in this chapter, you learned that the color mode and bit depth of a le
are listed in the document window tab. If either of these values needs to be
adjusted, access the Image menu and select Mode [Image menu > Mode].
Refer to Chapter 5: File Properties for possible rationales for such a change.
e submenu provides the following options, for color mode: Bitmap,
Grayscale, Duotone, Indexed Color…, RGB Color, CMYK Color, Lab Color
and Multichannel; and these for bit depth: 8 Bits/Channel, 16 Bits/Channel
and 32 Bits/Channel.
Note: Not all Photoshop functions (e.g., lters) work in all color modes. If
the application prevents you from making a change or a menu command is
grayed out, you may need to change the color mode, generally to RGB
Color, to complete the change; when nished with adjustments, return the
color mode to the desired option.
Canvas Size
ere will come a time when you need additional room to work in a le,
a.k.a. additional canvas space. To increase the canvas, access the Image menu
and select Canvas Size…, which launches the Canvas Size dialog box (Figure
6.18) [Image menu > Canvas Size… | ⌥⌘C].

Figure 6.18
Canvas Size dialog box, Image menu > Canvas Size.

Canvas Size is most oen used to extend the canvas, increasing the image
work area. To do so, rst enter new values for the Width and Height, always
double-checking the unit of measure. Unlike changing the Image Size,
Canvas Size does not offer a proportional setting, so you need to enter values
for both settings, as applicable. Relative indicates whether the new size
dimensions are absolute or relative. Tip: If in doubt about how large to make
the canvas, give yourself plenty of room to work and double the existing
dimensions. You can always trim any unnecessary areas using the Crop
Tool, which is introduced in Chapter 9: Photo Editing in Photoshop.
 Next, determine on which side or sides you would like the canvas
extension(s) applied. e Anchor indicates where the new size will take
effect. In its default position, the center square, the anchor point distributes
space evenly on all sides. If additional space is only needed along the right
and bottom sides of the image, relocate the anchor point by clicking once on
the upper-le corner box and notice the directional arrows that indicate
where the canvas extensions will be applied.
Finally, select the Canvas extension color from the provided dropdown
menu (i.e., Foreground, Background, White, Black, Gray, Other… [Color
Picker]). Note: If the image le does not contain a Background layer, the
canvas extension will be transparent; information on layers is presented in
Chapter 7: Photoshop Continued.
When Canvas Size is used to decrease the image work area, the following
Photoshop alert is presented, e new canvas is smaller than the current
canvas size; some clipping will occur. In this scenario, clipping is the process
of deleting content around the edges of the image on one, two, three or four
sides. Click Proceed to accept the clipping; click Cancel to dismiss the
change.

Looking Ahead A lot of information has been presented

in this chapter. Spend time experimenting with the tools
and repeating the processes until you feel comfortable
navigating the Photoshop workspace, creating a file
and saving a file. Chapter 7: Photoshop Continued builds on
the Photoshop basics, expanding your use of the
application. The fundamentals of layers and type are
presented.

Staying Current with Software Updates and New Tools

Soware updates routinely introduce new tools and capabilities to
Photoshop and the other Adobe applications. ese new features
expand the respective application’s functionality and the designer’s
 ability to create. When updates are released, access the online Adobe
Photoshop Learn & Support resource for information about changes
made to the application. In the User Guide section, the designer will
nd answers to questions and guided instructions for completing
speci c tasks. In the Tutorials section, the designer will nd tutorials
from novice to expert intended to expand their application knowledge
and skills. ese online tools can provide just-in-time solutions,
answers to questions while the designer is working in the application.
To access these resources, go to the Help menu and select the Photoshop
Online Help… menu command, which will launch the Adobe website
[Help menu > Photoshop Online Help…].

Discussion
Discussion 6.1: Photoshop the Verb In recent years, the
term photoshop has been used as a verb to describe
altering the contents of a photo, image edits that may
or may not be performed in Adobe Photoshop CC, for
example, in the following statements: • It’s okay, I will
just photoshop their head from another photo in which
their eyes are open.
• Yes, I can photoshop the power line out of the photo to remove the
distracting line.

What verb is photoshop replacing in these statements? Are you familiar

with, or have you used this terminology yourself? How does use of this term
enter our lexicon?

Activity
Activity 6.1: “Learn & Support” Tutorials Access the
Photoshop Online Help and watch one of the available
tutorial videos (Tutorials) [Help menu > Photoshop
Online Help…]. Once on the Adobe Photoshop Learn &
Support website, click on Tutorials to find a collection of
tutorials organized by experience level. Select a topic
that is of interest to you and that reflects your
experience level with the application.
Tip: Bookmark this site for easy access in the future,
https://helpx.adobe.com/photoshop/tutorials.html.

Exercise File(s) Available on the Companion Website,

URL
Ch06-Photoshop-CC-2019-Tools-Overview.pdf | Photoshop CC 2019 Tools
Panel Overview URL: http://www.crcpress.com/9780367075347

External Links Mentioned in the Chapter Photoshop

Resources Adobe Photoshop Learn & Support |
https://helpx.adobe.com/photoshop/tutorials.html
Photoshop Online Help | https://helpx.adobe.com/photoshop
Photoshop Tool Galleries (Photoshop User Guide > Workspace > Tool
Galleries) | https://helpx.adobe.com/photoshop/using/tools.html

 
* To disable the Home Screen, go to the Photoshop CC menu, access Preferences > General…, select
“Disable the Home Screen” and click OK [Photoshop CC menu > Preferences > General…].
** In Photoshop, artboards are useful when creating multiple instances of the same design,
particularly for websites or apps, which are prepared for multiple devices. Behaving like a special
type of layer group, artboards provide an in nite canvas. For more information about artboards,
access the Photoshop Online Help.
† Tip: For designers using the macOS, pressing the down arrow located to the right of the Where eld
provides additional options for navigating to a speci c location on the computer.
‡ A similar gripper bar is available on other windows and panels with the same purpose, to move
objects within the application’s workspace.
¶Rich Tooltips can be turned off in the application’s preferences [Photoshop CC menu > Preferences
> Tools > Use Rich Tooltips].
§ Tooltips are labels or short descriptions displayed when you hover the cursor over a tool or
property. is feature is available across all Adobe applications. Note: Tooltips can be turned off in
the application’s preferences [Photoshop CC menu > Preferences > Tools > Show Tooltips].
†† Once a selection has been made, pressing the keyboard’s Delete key will also launch the Fill dialog
box.
‡‡ Photoshop CC 2019 is the rst version of the application to support multiple levels of undo. For
designers using earlier versions of the application, to undo multiple operations, return to the Edit
menu and select Step Backward [Edit menu > Step Backward]. Notice that there is also a menu
command for Step Forward, in case you undo one too many steps [Edit menu > Step Forward].
ese steps are comparable to using the History panel, which can also be used to undo and redo
multiple operations.
† When a le is closed, the current work session for that document is concluded, and information
pertaining to the session is discarded (e.g., iterative states in the History panel and data copied to
the clipboard).
§§ e Snapshot command (available from the History panel menu) lets you make a temporary copy
of any state of the image. Snapshots are only available while the document is open; they are not
saved with the image.
 7
Photoshop Continued

Building on the Photoshop fundamentals presented in the previous chapter,

this chapter introduces layers and the roles that layers play in adding graphic
elements, text and text effects to an image. Exercise 7.1 presents an
opportunity to use layers to enhance an image le. en, attention shis to
creating text in Photoshop and the associated type properties; Exercise 7.2
provides practice in using these tools and processes. Following each exercise,
Need to Know Fundamentals contribute enriching nuggets of information
about the application, its tools and its capabilities.

Understanding Layers in Photoshop

Layers are a key component to the designer’s ability to create and edit an
image in Photoshop. ink of layers like a stack of overhead transparencies,
clear sheets of acetate. You can see through transparent areas of a layer to the
layers below, just like you can see through the stack of transparencies to
content on the bottommost sheet.
Every image le contains at least one layer. Each time content is pasted
into an image le, a layer is created; when type is created, a layer is created.
ese are just two ways that layers can be added to an image. e number of
layers and layer effects added to an image are limited only by the computer’s
memory.
The Layers Panel The Layers panel, shown in Figure 7.1, is
accessible from the Window menu [Window menu >
Layers]. In this panel all of the layers, layer groups and
layer styles in an image file are listed whether seen in
the image or not. The Layers panel can be used to
show and hide layers (a.k.a. turning the visibility of
layers on and off), lock layers, create new layers, delete
layers and work with groups of layers. Additional
commands and options can be accessed via the Layers
panel menu, available in the upper-right corner of the
panel. Many of these commands are also available
from the Layer menu in the Photoshop/application menu
bar.

Figure 7.1
Window menu > Layers panel. View 1: Layer group expanded, (A)
Visibility toggle (eye icon); (B) Hidden layer (no eye icon); (C) Layers
panel menu; (D) Layer group; (E) Layer with layer style applied; and (F)
Locked layer. View 2: Layer group collapsed, (G) Create a new group;
(H) Create a new layer; and (I) Delete layer.

Application Tip: In order to edit content in an image, the content’s

respective layer must be selected in the Layers panel. If the correct layer is
not selected, the edit could be performed on the wrong content or the
following Photoshop alert will appear, Could not use the [selected tool]
because no layers are selected. In this situation, click OK to dismiss the alert,
then select the correct layer in the Layers panel and complete the edit.

Renaming, Managing, Deleting and Grouping Layers

Layers can be renamed, reordered, deleted and
organized in the Layers panel. When a new layer is
created, it is named Layer #; “#” is an incremental value
(e.g., Layer 1, Layer 2, …). To change a layer name,
double-click on the current name in the Layers panel and
when the layer name is highlighted, enter a new name.
When finished, press the Return/Enter key on the keyboard
to commit the change. A layer can also be renamed
via the Layer menu by selecting the Rename Layer… menu
command, which highlights the layer name in the Layers
panel [Layer menu > Rename Layer…]. Tip: Unlike a file
name, spaces can be used in a layer name without
causing potential conflict.
e order in which layers are presented in the Layers panel, the stacking
order, affects the presentation of layered content in an image. e topmost
layer in the Layers panel is closest to the viewer. e stacking order can be
changed by clicking on a layer name and while holding down the mouse
button, dragging the layer up or down within the Layers panel. A highlight
line appears where the layer will be inserted when the mouse button is
released. e order of layers can also be adjusted via the Layer menu using
the Arrange menu command (i.e., Bring to Front ⇧⌘] | Bring Forward ⌘] |
Send Backward ⌘[ | Send to Back ⇧⌘[) [Layer menu > Arrange]. If
content onscreen is “missing” aer layers have been reordered, the content is
likely hidden behind another layer’s content. To resolve this issue, return to
the Layers panel and adjust the stacking order.
Deleting a layer will delete any content that the layer contains from the
image. is action is as straightforward as selecting the layer to be deleted in
the Layers panel, then clicking on the Delete layer icon (trashcan icon)
located along the bottom edge of the panel. Deleting a layer can also be
completed via the Layers panel menu and the Layer menu [Layer menu >
Delete Layer].
A layer group serves to organize layers in the Layers panel. ere are
multiple ways to create and utilize a layer group; here are two options.

• Option 1: Create the layer group rst, and then move the layers into the
layer group.
• Create the layer group by clicking on the Layer Group icon (folder
icon) along the bottom edge of the Layers panel. Or, from the Layers
panel menu, select New Group….
−e new layer group is named Group 1.
−Layer groups use an incremental numbering system in their
naming (e.g., Group 1, Group 2, …), similar to layer names.
• Click once on the layer that will be moved into the layer group; this
action selects the layer.
• en, click and hold down the mouse button over the layer name and
drag the layer over the layer group (Group 1).
−An outline appears around the layer group when the cursor is in
position over the layer.
• When the outline appears around the layer group, release the mouse
button. is action moves the selected layer into the layer group.
−Layers within a layer group appear indented beneath the layer
group name.
−Note: When a layer group is collapsed, layers within the layer
group are not visible in the Layers panel (see Figure 7.1, View
2). In this example, the Boat and Iceberg layers are no longer
visible.
−To view the layers within the layer group, expand the group by
clicking on the disclosure triangle (>) located to the le of the
group name (Group 1).
• Option 2: Select the layers to be grouped, and then create the layer
group.
 • Select the layers that will be grouped. Note: Layers can be moved one
at a time or in groups. To select more than one layer, try the following
methods.
−If the layers are located next to one another in the Layers panel,
within this group of layers, click on the topmost layer, then
while holding down the Shi key on the keyboard, click on the
bottommost layer. All of the layers in between should be
selected. Release the Shi key.
−To select multiple layers that are scattered throughout the Layers
panel, use the Command key on the keyboard. Click on one
layer, then press and hold down the Command key while
clicking on the other layers. When all of the layers have been
selected, release the Command key.
• With the layer(s) selected and the cursor positioned over a selected
layer, hold down the mouse button and drag the layers over the Layer
Group icon located along the bottom edge of the Layers panel.
−Notice that the cursor icon changes to a closed st during this
process.
• Release the mouse button over the Layer Group icon; this action
creates the new layer group (Group #).
−To view the layers within the layer group, expand the group by
clicking on the disclosure triangle (>) located to the le of the
group name (Group #).

Rename the layer group by double-clicking on the provided name (Group

#) and entering a new name.
 The Background Layer
When a new image le is created, the designer is presented with a
choice of Background Contents for the image (i.e., White, Black,
Background Color, Transparent and Custom). If a color option is
chosen, the bottommost layer in the Layers panel is de ned as the
Background. Note: An image le can have only one background layer.
By default, the Background possesses certain limitations: the stacking
order of the background layer is always the bottommost layer in the
Layers panel, and the blending mode or opacity of the background
layer cannot be changed. However, the Background can be unlocked
and converted into a regular layer, allowing its stacking order to be
changed and its attributes to be adjusted. To initiate this change, click
once on the lock icon located to the right of the background layer name;
this action converts the Background to Layer 0, an editable layer.
During the le creation process, if the designer chooses Transparent
for the Background Contents, the image le will not contain a
background layer. Instead, a transparent layer is created in the Layers
panel and used as the basis of the image. is layer is not constrained
like a background layer; its stacking order can be changed, and its
opacity and blending mode can be adjusted.

Layer-Friendly File Types Only certain file types support

layers, meaning these file types preserve layer
information and make the layers available across work
sessions. The Photoshop Document (PSD) is one such file
type; a PSD does not flatten an image file’s layers,
discarding layer information when saving the file.
Another le type that supports layers is the Tagged-Image File Format
(TIFF; TIF). Photoshop can save layers in a TIFF le; however, if the TIFF
le is opened in another application, such as Preview, only a attened image
(without layers) is opened.
 When the time comes to save an image le, if the le contains layers, be
sure to select a le type that supports layers, in case the le needs to be
edited at a later date. is sounds obvious, but when forgotten creates
unnecessary work for the designer. Without editable layers, making changes
to an image can be time-consuming and can sometimes necessitate re-
creating the image.
Once an image le has been saved with its layers preserved, it is normal to
save another instance of the image to share with others who do not have
access to Photoshop. is second le differs from the Photoshop Document
because it is at; it does not contain layer information. For more
information on le formats and their capacities, refer to Chapter 5: File
Properties, “File Formats.”
Let’s put this information into practice with an exercise that involves
creating new layers in an image le and then using these layers to affect
content in the image. First, review the exercise brief and then get started.

Exercise 7.1: Working with Layers

Exercise brief: Using the provided image le, a photograph taken at the
annual Albuquerque International Balloon Fiesta,* add additional hot air
balloons to the image. Content will be selected and then duplicated using
the Copy and Paste menu commands, a process that will produce a new
layer each time it is used. Use the Move Tool (V) to reposition and resize the
new hot air balloons.
Exercise le: Ch07-Ex01-photo.jpg (Figure 7.2)
 Figure 7.2
Exercise 7.1
file. Ascension, Albuquerque International Balloon Fiesta,
Albuquerque, New Mexico.

Step 1: Open the provided image le (Ch07-Ex01-photo.jpg) in Photoshop.

• Begin at the File menu and select the Open… menu command [File
menu > Open… | ⌘O].
• In the Open dialog box, navigate to the photograph.
• en, click Open to open the image le in the workspace.

Step 2: Identify which hot air balloon will be copied (your choice), then
zoom in on this area of the canvas to make the selection area larger and
easier to see.
• Select the Zoom Tool (Z) in the Tools panel.
• In the Options bar, con rm that the tool is set to Zoom In (+).
• Zoom in on the selected hot air balloon.
• Using the Zoom Tool (Z), click once on the image over the selection
area. Note: Each click enlarges the image magni cation to the next
preset percentage and centers the display on the point clicked.
 • Or, click and hold down the mouse button while dragging the Zoom
Tool (Z) over the selection area. en, release the mouse button.
• Try using the keyboard shortcut commands for Zoom In (⌘+) and
Zoom Out (⌘-).
• Tip: A related command, Fit on Screen (⌘0, Command+Zero),
shows the entire canvas, zooming in or out as needed to t the image
to the display screen.
• ese menu commands are available from the View menu [View
menu > Zoom In (⌘+) | Zoom Out (⌘-) | Fit on Screen (⌘0)].
• e current zoom level is listed in two easy-to-spot locations within the
Photoshop workspace.
• One instance is in the document window tab, located between the le
name and the color mode and bit depth (e.g., Ch07-Ex01-photo.jpg @
214% (RGB/8)).
• Another instance is in the Status bar, located along the lower-le edge
of the document window. is instance can be selected and a new
zoom level entered. Give this a try; change the degree of
magni cation to 300%.
• As needed, use the Hand Tool (H) to move the viewable area of the
image. Center the selected hot air balloon on the canvas.
• Note: e Navigator panel can also be used to move and change the
magni cation of the visible area of the image [Window menu >
Navigator].

Step 3: Use the Lasso Tool (L) to select the hot air balloon.
• Select the Lasso Tool (L) in the Tools panel and then position the cursor
over the canvas.
• Hold down the mouse button while drawing a selection area around the
chosen hot air balloon.
• Tip: e application will close a selection area using a straight line to
connect the start and end points of a selection. So, return the cursor
to the starting point (or close to it) before releasing the mouse button.
 • When the mouse button is released, the selection area is outlined
in marching ants (Figure 7.3, View 1).

Figure 7.3
Exercise 7.1, selection areas. View 1: Selection complete; View 2:
Selection incomplete, too small; View 3: Selection too large.

Making an onscreen selection takes practice, so be patient. Here are a few

tips that may help: • Need to start the selection again? Remember that any
selection can be deselected via the Select menu using the Deselect menu
command [Select menu > Deselect | ⌘D].
• Need to add to the selection? Perhaps the entire hot air balloon was not
included in the selection when the mouse button was released, as shown
in Figure 7.3, View 2. In this situation, to add to a selection, hold down
the Shi key on the keyboard while using the Lasso Tool (L) to select the
missing area(s).
• Need to remove content from the selection? Perhaps the selection area
was too large when the mouse button was released, as shown in Figure
7.3, View 3. To subtract or take away content from a selection, hold
down the Option key on the keyboard while selecting the area(s) that
should be removed.
is method of adding to and subtracting from a selection can be used
with most selection tools or a combination of tools. For example, if the
original selection area was created using the Lasso Tool (L), a Marquee Tool
(M) can be used to add or subtract from this selection area.
 Default vs. Precise Pointer
How did you know where the Lasso Tool (L) would make its selection?
Each default pointer has a different hotspot, where an effect or action in
the image begins. With most tools, the designer can switch to a precise
pointer, which appears as crosshairs centered on the hotspot. To
activate the precise pointer, turn on the Caps Lock feature on the
keyboard by pressing the Caps Lock key. To return to the default
pointer, turn off Caps Lock.

Step 4: Duplicate the selection using the Copy and Paste menu commands
to add a hot air balloon (and a layer) to the image.
• With the selection made (marching ants should be visible around the
selected hot air balloon), go to the Edit menu and select the Copy menu
command [Edit menu > Copy | ⌘C].
• e copied data has been placed in the computer’s clipboard.†
• Now, return to the Edit menu and select the Paste menu command [Edit
menu > Paste | ⌘V].
• e action of pasting data in the le creates a new layer in the Layers
panel for this content.
• e copy of the hot air balloon (Balloon #1) has been pasted into the
original selection area, on top of the original selection. e new hot
air balloon is currently not distinguishable from the original photo.
• In contrast, if the Deselect menu command had been used between
copying the selection and pasting the selection, Balloon #1 would
have been pasted into the center of the viewable canvas [Select menu
> Deselect | ⌘D].
Tool Tip: When the Move Tool (V) is selected, look to the Options bar and
turn on the Auto-Select: Layer option. is option automatically selects the
appropriate layer when the designer clicks on a layer’s content in the
document window. Similar to using keyboard shortcut commands, this
feature saves time and attention, reducing the number of moves between the
canvas and the Layers panel. If you elect not to use this feature, con rm that
the correct layer is selected in the Layers panel before performing an edit.

Step 5: Move Balloon #1 to a different location within the image.

• Select the Move Tool (V) in the Tools panel and position the cursor over
Balloon #1 on the canvas.
• Click once on Balloon #1 to select the layer in the Layers panel (Balloon
1). Note: If the Auto-Select: Layer option was not activated, select the
Balloon 1 layer in the Layers panel.
• Click and hold down the mouse button and drag Balloon #1 to a new
location.
• If a blue halo around the hot air balloon is visible, do not worry, this is
sky that was included in the original selection of the hot air balloon.
e halo may be visible in the new location against a different shade
of blue or another hot air balloon. is extraneous content is
addressed in an upcoming step (Step 13).
By default, the layer name is Layer 1 [“Layer #” (# is an incremental value
in sequence)]; this name can be easily changed by double-clicking on Layer
1 and entering a new value.

Step 6: Rename the new layer (Balloon 1).

• In the Layers panel, double-click on the new layer name (Layer 1) to
select the layer name.
• While the layer name is selected, enter Balloon 1 as the new layer name.
• e layer name could also be changed via the Layer menu and the
Rename Layer… menu command [Layer menu > Rename Layer…].
Step 7: Save the image. Note: e original image le was a JPEG le, a
format that does not support layers, so the le format will need to be
changed.
• From the File menu, select the Save menu command [File menu > Save |
⌘S].
 • Notice that this action launches the Save As dialog box. Photoshop
recognizes that the le format needs to be changed in order to
support layers and so the Save As dialog box is opened.
• In the Save As dialog box, con rm that the Format dropdown menu lists
“Photoshop.”
• e application has defaulted to its native Photoshop Document
(PSD), which supports layers; use this le format.
• Below the Format dropdown, look for the Layers checkbox and
con rm it is checked in order to preserve layers in the le.
• Review the le name located in the Save As eld, it should also re ect
the Photoshop Document; the le name should include the PSD le
extension, Ch07-Ex01-photo.psd.
• Click Save to save the image le (and its layers).

e computer’s clipboard retains the copied content (Balloon #1), until

another selection is copied or the clipboard is cleared. So, to add another
instance of the hot air balloon to the image, the hot air balloon does not
need to be reselected and copied again. Instead, the contents of the clipboard
can simply be pasted into the image le and a second instance of the balloon
will be added to the image.

Step 8: Add a second instance of the copied selection (Balloon #1) to the
image.
• Return to the Edit menu and select Paste [Edit menu > Paste | ⌘V].
• Balloon #2 (a duplicate of Balloon #1) is added to the image, and
another layer (Layer 2) is created in the Layers panel.
• Since there was no active selection area (no marching ants) onscreen
when the second instance was pasted, Balloon #2 is pasted into the
center of the viewable canvas.
Step 9: Rename the new layer (Balloon 2).
• In the Layers panel, double-click on the new layer (Layer 2) to select the
layer name.
• While the layer name is selected, enter Balloon 2 as the new layer name
(Figure 7.4, View 1).

Figure 7.4
Exercise 7.1,Window menu > Layers panel. View 1: (A) Link layers; (B)
Add a layer style; (C) Add a layer mask; (D) Create new fill or
adjustment layer; (E) Create a new group; (F) Create a new layer; and
(G) Delete layer. View 2: Group layer visibility.
 Transparency
Transparent areas of an image le appear as a gray and white
checkerboard pattern (Figure 7.5). ese areas do not contain content.
Note: e nal image will not display the gray and white checkerboard
pattern.

Figure 7.5
Transparency example.

Certain le types support transparency, including the Photoshop

Document (PSD) and certain Web graphics (i.e., GIF: Graphics
Interchange Format; PNG: Portable Network Graphic). When used on
a website, these images let the viewer see through transparent areas of
the image to the Web page content, generally, a background color or
pattern. If an image containing transparency is saved using a le format
that does not support transparency (e.g., JPEG: Joint Photographic
 Experts Group), the transparent areas will be lled with white in the
nal image.

Step 10: Organize the layers using a layer group in the Layers panel.
• In the Layers panel, use the Move Tool (V) and click once on the
topmost layer to ensure that the layer group will be added above all
other content in the Layers panel.
• Still in the Layers panel, click the Create a new group icon located along
with bottom edge of the panel.
• By default, the new layer group is named Group 1.
• Move the two balloon layers (Balloon 1, Balloon 2) into Group 1.
• Click and hold down the mouse button on the Balloon 1 layer and
drag the layer over Group 1.
• When the group name is outlined, release the mouse button; this
action moves the layer into the layer group.
• e Balloon 1 layer is now indented beneath Group 1.
• Repeat the process for the Balloon 2 layer.
• Try turning off the visibility of Group 1. is action should hide both
balloons (Balloon #1 and Balloon #2) in the image.
• Toggle the visibility of Group 1 and its layers off and on by clicking
the eye icon located to the le of the layer group name (see Figure 7.4,
View 2).
• Turn the visibility of Group 1 back on.
• Optional: Rename Group 1.
• e process for renaming a layer group is similar to renaming a layer.
Double-click on the layer group name and while the name is selected,
enter a new name. Press the Return/Enter key on the keyboard to
complete the change.

Step 11: Resize the second hot air balloon (Balloon #2).
• First, zoom out on the canvas to provide enough viewable canvas to
complete the next step [View menu > Zoom Out | ⌘-].
 • Select the Move Tool (V) in the Tools panel and click once on Balloon
#2.
• is action should select the Balloon 2 layer in the Layers panel,
which will allow the layer content to be edited.
• From the Edit menu, select the Transform menu command and then the
Scale command [Edit menu > Transform > Scale].
• A bounding box with handles should appear around the selection.
• Select one of the corner handles of the bounding box, then click and
hold down the mouse button and drag the handle to increase or
decrease the size of the selection (Balloon #2).
• Starting in Photoshop CC 2019, scaling occurs proportionally,
changing the width and height of an object at the same time.
• For designers using earlier versions of the application, holding down
the Shi key on the keyboard while scaling an object ensures that the
object scales proportionally. Release the mouse button before the Shi
key to preserve the proportional scale and to avoid distorting the
shape of the hot air balloon.
• When satis ed with the hot air balloon’s new size, release the mouse.
Press the Return/Enter key on the keyboard or click the Commit button
✓ in the Options bar to con rm the transformation.
• To cancel this transformation, press the ESC key on the keyboard or
click the Cancel button ⦸ in the Options bar.

Step 12: Reposition the balloons so they overlap; move Balloon #2, so it
slightly overlaps Balloon #1.
• Select the Move Tool (V) in the Tools panel, and use the tool to
reposition Balloon #2 so it overlaps Balloon #1.
• Do you notice a blue halo around the edge of Balloon #2? If so, do not
worry, this halo of blue pixels was created in the selection of the rst hot
air balloon (Step 3). It is time to remove this extraneous content.

Step 13 (Optional): Clean up the edges of the selections.

ere are several ways that this halo of pixels can be removed; one of the
easiest methods involves the Magic Wand Tool (W), a tool that selects
similarly colored pixels. Note: e Magic Wand Tool (W) is a hidden tool,
sharing space with the Quick Selection Tool (W), so double-check that you
have the correct tool selected before proceeding.
• First, turn off the visibility of the Background in the Layers panel to
make the blue halo easier to see.
• Click on the eye icon located to the le of the background layer name
to toggle off the visibility of the layer.
• Select the Move Tool (V) in the Tools panel and use this tool to select
Balloon #2 in the image (and its layer, Balloon 2 in the Layers panel),
allowing the layer content to be edited.
• Return to the Tools panel and select the Magic Wand Tool (W); position
the cursor over the canvas.
• Click once anywhere in the blue halo that surrounds Balloon #2 and a
selection area indicated by marching ants encircles the halo.
• If the entire halo is not selected, remember that holding down the
Shi key on the keyboard while clicking with the Magic Wand Tool
(W) in an unselected area of blue will expand the selection.
• With the blue halo selected, go to the Edit menu and choose the Clear
menu command to delete the selected pixels [Edit menu > Clear].
• Note: e Delete key on the keyboard can also be used to eliminate the
selected content.
• Repeated this process as needed for Balloon #1.
• When these edits are complete, turn on the visibility of the Background
in the Layers panel.
• Click on the eye icon located to the le of the background layer name
to toggle on the visibility of the layer.
Step 14: Save the le.
• Return to the File menu and select the Save menu command [File menu
> Save | ⌘S].
Well done, you have successfully altered a photograph adding content and
layers to an image le. Before moving on, here are some Need to Know
Fundamentals that pertain to the exercise.

Need to Know Fundamentals

Show Transform Controls
e basic transformation commands used to alter an object are available
from the Edit menu and the Transform menu command [Edit menu >
Transform]. ese commands include Scale, Rotate, Skew, Distort,
Perspective, Warp and Flip.
Photoshop provides an option that makes these commands readily
available in the workspace. To activate this feature, select the Move Tool (V)
and look to the Options bar and turn on the Show Transform Controls
option. is feature displays a bounding box around a selected object, which
allows the designer to use the handles of the bounding box to transform the
object (e.g., scale, stretch and ip).

Magic Wand Tool vs. Quick Selection Tool

e more time spent working in Photoshop, the more recognizable the
subtle and not so subtle differences between related tools will become. In
Exercise 7.1 (Step 13), the Magic Wand Tool (W) was used to select content,
speci cally, the blue halo surrounding a hot air balloon. is tool works well
when selecting semi- at colors ‡ that may or may not be connected
(contiguous). However, if the object to be selected contains many colors and
tones, the Quick Selection Tool (W) is preferable. When the Quick Selection
Tool (W) is moved over an object, Photoshop continuously samples the
surrounding area, doing its best to create a seamless selection. Give this tool
a try. Reopen the original photograph (Ch07-Ex01-photo.jpg) and use the
Quick Selection Tool (W) to select one of the hot air balloons. Try selecting
the black hot air balloon with the colorful accents near the center of the
photo, and this will demonstrate the tool’s ability to select multiple colors.
The Eraser Tools
Another way to remove the blue halo around the hot air balloon would have
been to use one of the three Eraser Tools (E). e following descriptions
drawn from the Photoshop Online Help highlight the subtle differences
between the three tools: • e Eraser Tool (E) erases pixels and restores
parts of an image to a previously saved state.
• e Background Eraser Tool (E) erases areas to transparency.
• e Magic Eraser Tool (E) erases solid-colored areas to transparency
with a single click.
Let’s give these tools a try, comparing their capabilities rst-hand.
Practice 1: Using the Eraser Tools Practice brief: Save a copy of
the completed Exercise 7.1 image file, then experiment with the
Eraser Tools (E) in this file copy.
Step 1: Save a copy of the completed Exercise 7.1 image le (Ch07-Ex01-
photo.psd).
• Open the le in Photoshop.
• From the File menu, select the Open… menu command [File menu >
Open… | ⌘O].
• Navigate to the le (Ch07-Ex01-photo.psd).
• Click Open to open the le in the workspace.
• Return to the File menu and select the Save As… menu command [File
menu > Save As… | ⇧⌘S].
• In the Save As dialog box, check the Save: As a Copy checkbox. is
action should append “copy” to the le name in the Save As eld (Ch07-
Ex01-photo copy.psd).
• Notice that a space was inserted in the le name. Consider changing
the space to a hyphen or underscore to further the practice of good
le naming (Ch07-Ex01-photo-copy.psd).
• Select an appropriate location to save the le copy, and then click Save.
• Tip: e copy of the le just created is not open in Photoshop. Check the
document window tab and notice that the open le is the original
 version of the le that was created (Ch07-Ex01-photo.psd).
• From the File menu, select the Open… menu command and navigate to
the newly created copy of the le (Ch07-Ex01-photo-copy.psd) [File
menu > Open… | ⌘O].
• Click Open to open the le in the workspace.

Step 2: Experiment with each of the eraser tools (i.e., Eraser Tool [E],
Background Eraser Tool [E], Magic Eraser Tool [E]).
• With the le copy open, select the Balloon 2 layer in the Layers panel so
the contents of this layer can be edited.
• Select the Eraser Tool (E) in the Tools panel.
• Notice the properties that can be adjusted in the Options bar
including the Mode of the eraser (i.e., Brush, Pencil and Block).
• Select a mode of your choice and adjust the size of the eraser as
needed.
• Click and drag the Eraser Tool (E) over Balloon #2 in the canvas.
• As the cursor is dragged over content, the content is erased, making
the Background behind the hot air balloon visible.
• Tip: e Eraser Tool (E) only impacts content on the selected layer in
the Layers panel. When the Eraser Tool (E) is used on the Background
layer, erased areas are lled with the current Background Color shown
in the Tools panel.
• Select the Background in the Layers panel, then choose the Background
Eraser Tool (E) in the Tools panel and try erasing content on the
Background.
• e Background Eraser Tool (E) allows the designer to erase the
background layer, introducing areas of transparency into the image.
• Notice that use of the Background Eraser Tool (E) changes the nature
of the Background to a regular layer and in the process renames the
layer, Layer 0.
• Now, use the Background Eraser Tool (E) on Balloon #1, the contents of
the Balloon 1 layer. Tip: Remember to rst select the appropriate layer
before beginning the edit.
 • When used on the Balloon 1 layer, the Background Eraser Tool (E)
behaves like the traditional Eraser Tool (E).
• Select the Magic Eraser Tool (E) in the Tools panel. is tool allows
solid-colored areas to be erased with a single click.
• Give this tool a try by erasing content on the former background layer
(now, Layer 0).
• Continue to experiment with the Eraser Tools (E), then save or revert
the le to its previously saved state [File menu > Save | ⌘S; File menu
> Revert].
Tool Tip: e Eraser Tools (E) do not work on an editable type layer (the
next topic to be introduced). If attempted, the cursor changes to a Cancel
symbol indicating that the tool will not work on the current layer. A type
layer would need to be rasterized before the eraser tools could be used to
edit the text. Note: Rasterizing and the steps involved with rasterizing type
are presented later in this chapter; see “Rasterizing Type Layers.”

Using the Type Tool

Type in Photoshop consists of vector-based type outlines, mathematically
de ned shapes that describe the letters, numbers and symbols of a typeface.
Typography is discussed in detail in Chapter 10: Typography in Design. So,
for now we stick with the basics and review the three ways that type can be
created in Photoshop, at a point, inside a paragraph and along a path. ese
three methods are illustrated in Figure 7.6.
 Figure 7.6
Examples of the three methods used for creating type in Photoshop: (A)
point type, (B) paragraph type, and (C) type on a path. Typeface:
Myriad Pro.

A. Point type is a horizontal or vertical line of text that begins where the
cursor is clicked in the image.
• Entering text at a point is a useful way to add a few words to an
image.
• When point type is created, each line of type is independent, the line
expands or collapses as the content is edited, but it does not wrap to
the next line.
B. Paragraph type uses boundaries to control the ow of characters, either
horizontally or vertically.
• is method is a useful way to create one or more lines or paragraphs.
• When paragraph type is created, the lines of type wrap to t the
dimensions of the bounding box. e bounding box can be resized,
causing the type to re ow within the adjusted rectangle. e bounding
box can also be used to rotate, scale and skew type.
C. Type on a path ows along the edge of an open or a closed path. A path
consists of one or more straight or curved segments. Note: Paths will be
presented in detail in Chapter 11: Getting Started with Illustrator.
• Paths are generally created using the Pen Tool (P) or a Shape Tool (U).
 When nished entering the text, the designer must signal the end of the
text entry; any of the following actions can be used to indicate the end of the
text entry.
• Click elsewhere on the canvas with the Type Tool (T).
• Click the Commit button in the Options bar.
• Select another tool in the Tools panel.

A new type layer is added to the Layers panel when type is created. Once
created, type can be edited and its appearance adjusted using a variety of
properties. Another way to affect type appearances is to apply a layer style to
the type layer. A layer style is a nondestructive way to add an effect, such as a
drop shadow or stroke, to the contents of a layer.

Converting between Point Type and Paragraph Type

Type can be converted from point type to paragraph type in order to
adjust the ow of characters within a bounding box. Similarly,
paragraph type can be converted to point type to make each text line
ow independently from the others. To convert the type, rst select the
type layer in the Layers panel. en, from the Type menu, select either
the Convert to Paragraph Type or the Convert to Point Type menu
command [Type menu > Convert to Paragraph Type | Convert to Point
Type].
When paragraph type is converted to point type, a carriage return is
added at the end of each line of type (except the last line). Be aware that
during the conversion process, all characters that over ow the
bounding box are deleted. Tip: To avoid losing text, adjust the
bounding box so that all type is visible before the conversion.

As with other tools, when the Type Tool (T) is selected in the Tools panel,
the Options bar displays the properties available for adjustment (Figure 7.7).
ese options include the following labeled properties (from le to right):
 Figure 7.7
Options bar, Type Tool options: (A) Toggle text orientation; (B) Search for
and select fonts; (C) Set the font style; (D) Set the font size; (E) Set the
anti-aliasing method; (F) Align text; (G) Select the text color; (H) Create
warped text; and (I) Toggle the Character and Paragraph panels.

A. Toggle text orientation (i.e., Horizontal, Vertical) B. Search for and

select fonts C. Set the font style (e.g., Regular, Italic, Bold) D. Set the
font size E. Set the anti-aliasing§ method (i.e., None, Sharp, Crisp,
Strong, Smooth) F. Align text (i.e., Le, Center, Right) G. Select the
text color (opens the Color Picker) H. Create warped text¶
I. Toggle the Character and Paragraph panels e Character panel and
Paragraph panel, shown in Figure 7.8, provide additional properties
and formatting options for adjusting type. e Character panel provides
options for formatting characters and letterforms. Use the Paragraph
panel to change the formatting of columns and paragraphs. Both panels
are accessible via the Window menu or the toggle button on the Options
bar [Window menu > Character | Paragraph].
 Rasterizing Type Layers
Certain commands and tools (e.g., lter effects and painting tools)
cannot be applied to type or shape layers in their original state. e
content on these layers must rst be rasterized before it can be affected.
e process of rasterizing converts a type layer into a regular layer
making its contents uneditable as text, using the Type Tool (T);
however, the layer content can be edited as a pixel-based bitmap image.
To rasterize a type layer, rst, select the type layer in the Layers panel.
From the Layer menu, choose the Rasterize menu command and then
the Type command [Layer menu > Rasterize > Type]. Note: e
selected type layer can also be rasterized via the Type menu, selecting
the Rasterize Type Layer menu command [Type menu > Rasterize Type
Layer].

Figure 7.8
Window menu > Character | Paragraph.

Let’s use this information in Exercise 7.2 to add text to an image and then
stylize the text. Review the exercise brief and get started.
Exercise 7.2: Working with Type
Exercise brief: Add type to an image and then apply a layer style to the type.
Use the image le created in Exercise 7.1 (or use the provided image le,
Ch07-Ex02.psd) for this exercise.
Exercise le: Ch07-Ex02.psd (Figure 7.9)

Figure 7.9
Exercise 7.2
file. Ascension, Albuquerque International Balloon Fiesta,
Albuquerque, New Mexico.

Step 1: Open the image le that will be used in this exercise.

Step 2: Create a line of text (point type) in the image promoting the
“Albuquerque International Balloon Fiesta.”
• Select the Type Tool (T) in the Tools panel and position the cursor over
the canvas.
• Click once on the canvas to create point type and begin typing.
• When nished entering the text, click elsewhere on the canvas with the
Type Tool (T) to signal the end of the text entry.
• e text will be placed on its own layer in the Layers panel.
 • By default, the name of the type layer is based on the text that was
entered.
• e name of the type layer can be changed by double-clicking on the
layer name and entering a new value. Note: Changing the name of the
type layer will not affect the onscreen text.
• Use the properties available in the Options bar or the Character or
Paragraph panels to alter the appearance of the type (e.g., font, size and
color). Note: e type must be selected before its properties can be
changed.
• Select the text using the Type Tool (T) and then adjust the desired
properties.
• Tip: Some transformations require the designer to Cancel or Commit
the change(s) before work on the image le can continue. In this
situation, look to the Options bar for the Cancel button (Alternative:
Escape key on the keyboard) and the Commit button (Alternative:
Return/Enter key on the keyboard).

Step 3: Apply a layer style to the line of type.

• Use the Move Tool (V) to select the line of type on the canvas (and its
associated layer in the Layers panel).
• In the Layers panel, click on the Add a layer style icon located along the
bottom edge of the panel; the icon is highlighted in Figure 7.10. is
action opens a menu of layer styles that can be applied to the selected
layer and its content.
 Figure 7.10
Exercise 7.2, Window menu > Layers panel. Add a layer style icon
highlighted.

• e menu of layer styles can also be accessed from the Layer menu
[Layer menu > Layer Style].
• Select Drop Shadow… from the menu of layer styles.
• is action opens the Layer Style dialog box (Figure 7.11). Here the
properties associated with the selected layer style (Drop Shadow) can
be modi ed (e.g., opacity of the shadow, angle of the shadow and
distance of the shadow from the object).
 Figure 7.11
Layer Style dialog box, Layers panel > Layer Style.

• Note: Con rm that the Preview checkbox is checked in the dialog box;
this feature allows the designer to view the layer style being applied to
the onscreen text as adjustments are being made.
• When satis ed with the drop shadow, click OK.
• Notice that the layer style is listed in the Layers panel below the layer
to which it is applied.
• e visibility of the layer style can be turned off and on just like the
visibility of a layer or layer group. Click on the eye icon to toggle the
layer style off and on.
Multiple layer styles can be applied to a single layer. However, make sure
that the layer styles do not distract from the text and its message.

Step 4: Save the le and view the image in Full Screen Mode (F).
• Return to the File menu and select the Save menu command [File menu
> Save | ⌘S].
• Compare the workspace’s appearance in each of the screen modes.
 • In the lower portion of the Tools panel, click and hold down the
mouse button on the Change Screen Mode icon to see the available
options (i.e., Standard Screen Mode, Full Screen Mode with Menu
Bar and Full Screen Mode).
• e screen mode can also be changed via the View menu and the
Screen Mode menu command [View menu > Screen Mode].
• View the completed image in the Full Screen Mode (F).
• When the Full Screen Mode (F) is selected, the following Photoshop
alert appears. In Full Screen Mode, panels are hidden. ey can be
accessed on the sides of the screen or revealed by pressing Tab. While in
Full Screen Mode, you can return to Standard Screen Mode by pressing
“F” or Esc.
• Select Full Screen Mode (F) to ll the screen with the image.
• To exit Full Screen Mode (F) and return to Standard Screen Mode (F),
press the ESC key on the keyboard, or the letter “F.”
Well done. You have completed Exercise 7.2. You should be feeling familiar
with the Photoshop workspace and comfortable adding text to an image le.
Before continuing, here are some additional Need to Know Fundamentals
related to the tools and processes used in Exercise 7.2.

Need to Know Fundamentals

Creating Warped Type
Another way to alter the appearance of text, aside from layer styles, is to
create warped text. Examples shown in Figure 7.12 illustrate the variety of
effects available to the designer. e warp style is an attribute of the type
layer. It can be changed at any time to alter the overall shape of the warp.
Warping options allow for precise control over the orientation and
perspective of the warp effect.

Figure 7.12
Warped text. Typeface: Minion Pro.

To create warped text, try the following steps:

• Use the Type Tool (T) to create a line of type (point or paragraph type).
• Activate the text frame by clicking in the text frame using the Type Tool
(T).
 • In the Options bar, click on the Create warped text icon. Or, in the Type
menu, select the Warp Text… menu command [Type menu > Warp
Text…]. Both actions launch the Warp Text dialog box.
• In the Warp Text dialog box, select a warp style.
• Experiment with the orientation (i.e., Horizontal, Vertical), bend and
distortion options.
• Click OK to apply the warp or Cancel to discard the warp.
• Now, click elsewhere on the canvas with the Type Tool (T) to signal the
end of text entry.
• In the Layers panel, notice that the layer’s thumbnail has changed to
indicate the presence of a warp style.
• Once applied, the Warp Text dialog box can be reopened to alter the
appearance of the text. To do so, select the affected type layer in the
Layers panel and then click on the Create warped text icon in the Options
bar to launch the Warp Text dialog box.

Rulers, Guides and the Grid

e following resources, rulers, guides and the grid, can be useful when the
designer needs to position content precisely, for example, when working to
achieve alignment among elements, particularly text. For more about the
role of alignment in design, refer to Chapter 2: e Elements and Principles
of Design.
Rulers can be displayed along the top and le edges of the document
window (Figure 7.13). To turn the rulers on or off, access the View menu and
select the Rulers menu command [View menu > Rulers | ⌘R]. e rulers’
unit of measure re ects the application’s units, a setting available in the
Preferences dialog box [Photoshop CC menu > Preferences > Units &
Rulers…]; options include pixels, inches, centimeters, millimeters, points
and picas. Note: e Preferences dialog box can be accessed by double-
clicking on a ruler. e unit of measure can also be changed by right-
clicking (Control + click) on a ruler and selecting an option from the
provided list.
 Figure 7.13
Rulers, guides and the grid: (A) rulers, (B) guides (cyan lines) and (C)
the grid.

Guides appear as nonprinting lines overtop an image in the workspace (see

Figure 7.13). Guides can be moved, removed and also locked in position to
avoid being accidentally moved. ere are multiple methods for bringing a
guide on to the canvas; here are two.

• Option 1: Drag a guide onto the workspace from one of the rulers.
• Con rm that the rulers are available along the top and le sides of the
document window.
−If the rulers are not present, turn them on. Go to the View menu
and select the Rulers menu command [View menu > Rulers |
⌘R].

• Position the cursor over one of the rulers.

−Notice that the cursor icon changes to a lled arrow.
 • Press and hold the mouse button down and then drag the cursor from
the ruler onto the canvas.
−Accompanying the cursor is the guide (a straight line) and a
tooltip indicating the guide’s position (e.g., X, Y).
• When the guide is in the desired location, release the mouse button.
−In position, the guide is a cyan line (a shade of blue).

• Option 2: Use the New Guide… menu command to generate a guide.

• From the View menu, select the New Guide… menu command [View
menu > New Guide…].
• e New Guide dialog box provides options to de ne the guide’s
orientation (i.e., Horizontal, Vertical) as well as the position for the
guide.

Guides remain in position and visible until a guide is moved or its

visibility is turned off. Use the Move Tool (V) to reposition guides on and
around the canvas. To delete a guide, position the cursor over the guide,
then click and hold down the mouse button and drag the guide to the
corresponding ruler and then release the mouse button. To hide or toggle off
the visibility of all guides, access the View menu and select the Show menu
command and then Guides [View menu > Show > Guides | ⌘;]. Guides can
also be locked in position or removed from the image le via the View menu
[View menu > Lock Guides | View menu > Clear Guides]. For additional
information about other guide options, including New Guide Layout… and
New Guides from Shape, access the Photoshop Online Help.
e grid is another helpful resource for laying out image elements
symmetrically (see Figure 7.13). is feature can be turned on via the View
menu and the Show Grid menu command [View menu > Show Grid | ⌘’].
e Snap to feature assists with precise placement of selection edges and
cropping borders. e designer can select what they would like to Snap to
(i.e., Guides, Grid, Layers, Slices, Document, Bounds, All, None) via the
View menu [View menu > Snap to]. When Snap to is active and the designer
is moving an object, the object may jerk across the image as though it is
being attracted by a magnet. Just as this feature can be turned on via the
View menu, it can also be disabled there [View menu > Snap].
Tool Tip: To nudge an object, changing its position by a small amount, use
the arrow keys on the keyboard to reposition an object 1 pixel at a time.
Holding down the Shi key on the keyboard while pressing the arrow key
moves an object by 10 pixels.

Looking Ahead This chapter contains a lot of

information about Photoshop. Spend time
experimenting with the tools and features until you feel
comfortable working with the concepts presented. An
end-of-chapter activity awaits when you are ready for a
fresh challenge. Read through the provided brief, and
then be creative. Utilize the Photoshop skills developed
here in combination with the design principles and
color theory presented in earlier chapters to create an
effective and eye-catching design. Then, when you are
ready to proceed, the next chapter introduces the art
of digital photography and its role in graphic design.

Discussions
Discussion 7.1: Scaling Proportionally In Exercise 7.1, Step
11, a hot air balloon was scaled proportionally, the
width and height of the image changed at the same
time. When resizing an image, why is it important to
scale proportionally? Is this more or less important
when working with images of people? Why or why not?
Discussion 7.2: Types of Layers
Look at the Layers panel presented in Figure 7.14 and identify the following
elements:
 Figure 7.14
Discussion 7.2, Layers panel.

• Type layer • Layer style • Warped type layer • Layer group • Hidden
layer • Rasterize type layer • Linked layers Based on the contents of the
Layers panel, we cannot tell what the image looks like. Why not?

Activity
Activity 7.1: Create a Postcard
Activity brief: Create a postcard for a destination (city or country) of your
choice. For this activity, you are encouraged to use your own photographs,
or the provided photos of London, England, available on the book’s
companion website.
Activity les: Ch07-Ex03A-photo.jpg, Ch07-Ex03B-photo.jpg, Ch07-
Ex03C-photo.jpg, Ch07-Ex03D-photo.jpg, Ch07-Ex03E-photo.jpg, Ch07-
Ex03F-photo.jpg, Ch07-Ex03G-photo.jpg, Ch07-Ex03H-photo.jpg, Ch07-
Ex03I-photo.jpg, Ch07-Ex03J-photo.jpg, Ch07-Ex03K-photo.jpg Guidelines
1. Use at least three photographs in the design. Feel free to use more, but
target at least three.
2. Include a text element that identi es the location.
File Properties
Image size: 4.25 in. × 6 in. (horizontal postcard) or 6 in. × 4.25 in. (vertical
postcard) Resolution: 150 ppi Color mode: CMYK
File naming: Use yourlastname-city/country-name.psd as the le name, for
example, hughes-london.psd Exercise File(s) Available on the Companion
Website, URL
Ch07-Ex01-photo.jpg | Exercise 7.1 le, Ascension, Albuquerque
International Balloon Fiesta, Albuquerque, New Mexico.
Ch07-Ex02.psd | Exercise 7.2 le, Ascension, Albuquerque International
Balloon Fiesta, Albuquerque, New Mexico.
Ch07-Ex03A-photo.jpg | Activity 7.1 le. London, England.
Ch07-Ex03B-photo.jpg | Activity 7.1 le. London, England.
Ch07-Ex03C-photo.jpg | Activity 7.1 le. London, England.
Ch07-Ex03D-photo.jpg | Activity 7.1 le. London, England.
Ch07-Ex03E-photo.jpg | Activity 7.1 le. London, England.
Ch07-Ex03F-photo.jpg | Activity 7.1 le. London, England.
Ch07-Ex03G-photo.jpg | Activity 7.1 le. London, England.
Ch07-Ex03H-photo.jpg | Activity 7.1 le. London, England.
Ch07-Ex03I-photo.jpg | Activity 7.1 le. London, England.
Ch07-Ex03J-photo.jpg | Activity 7.1 le. London, England.
Ch07-Ex03K-photo.jpg | Activity 7.1 le. London, England.
URL: http://www.crcpress.com/9780367075347
External Links Mentioned in the Chapter Photoshop Online
Help | https://helpx.adobe.com/photoshop

 
* e Albuquerque International Balloon Fiesta is a 9-day event held each October in Albuquerque,
New Mexico. e event attracts hot air balloonists, fans and photographers from around the world.
For more information, visit http://www.balloon esta.com.
† e clipboard is a temporary storage area for data that the designer wants to copy from one place or
le to another.
‡ Flat colors exclude gradients, textures and shadows.
§Anti-aliasing produces smooth-edged type by partially lling the edge pixels. As a result, the edges of
the type blend into the background.
¶ Warped text conforms to a variety of shapes, such as Arc, Bulge, Flag and Rise.
 8
Digital Photography in Design

First things rst, let’s answer an obvious question, why include a chapter on
photography in a graphic design book? e answer is found in the media
and images that we consume. Look around—you are likely to spot multiple
designs that are based on or include photographs. ese may be
photorealistic images (actual photos) or graphics that include altered or
stylized photos.
Photography is one of the means that the designer has for acquiring an
image; another is to create an image from scratch. Many of us are fortunate
to carry a camera with us wherever we go, the camera on our cell phone.
is accessibility makes it easy to capture something seen in passing, an
unfolding event or a reference for later use. Many photos taken in a day can
be described as snapshots. ese are photos that we take with little thought
about the shot’s composition or overall quality of the image. In contrast, the
photograph that we make ideally includes some forethought and planning in
order to achieve a compositionally strong image that is effective in attracting
and holding the viewer’s attention.

Controlling Exposure
At its most basic, photography is the art of capturing light. is was
originally done on glass, then on lm and these days using image sensors in
digital cameras that record data. Cameras utilize three elements, aperture,
shutter speed and ISO, to control the amount of light captured, or the
exposure of the photo. Exposure refers to the lightness or darkness of an
image.

The Exposure Triangle The Exposure Triangle is composed

of aperture, shutter speed and ISO (Figure 8.1). In the
triangle, as in a camera, these three elements work
together to generate the exposure of a photo. When
one element is adjusted, the other two elements must
also be adjusted in order to maintain consistent
exposure across photos, which is the desired outcome.

Figure 8.1
The Exposure Triangle. Use the Exposure Triangle to decide how to adjust
exposure. When the exposure for one element is increased (a red
arrow), the exposure for one or both of the remaining elements must be
reduced (the blue arrows) in order to maintain consistent exposure
across photos.

Cameras shooting in an automatic mode (Auto), including cell phone

cameras, will determine the appropriate settings for aperture, shutter speed
and ISO based on the amount of available light when a photo is taken.
However, it is important to understand these elements in order to adjust
them as needed to accommodate a subject or location or to achieve a
particular look in a photo.

Aperture is an adjustable opening in the camera lens that limits the amount
of light passing through the lens and hitting the image sensor. As the
aperture is adjusted, the depth of eld changes, affecting how much of the
photo is in focus or is completely sharp. When the aperture is small, little
light is let into the lens (less exposure), which produces a large depth of
eld. A large depth of eld means that more of the photo is in sharp focus.
As the aperture is opened or “stopped up,” more light is let into the lens
(more exposure), which produces a shallower depth of eld. In a photo with
a shallow depth of eld, the subject may be in focus while the background or
foreground is out of focus or blurry. Compare the depths of eld (large vs.
shallow) in the two photos of sun owers in Figure 8.2. Notice the relative
blurriness of the background in the photo illustrating shallow depth of eld.
 Figure 8.2
Aperture examples: (A) large depth of field (ISO 100, f/22, 1/30th); and
(B) shallow depth of field (ISO 100, f/5.6, 1/800th). Sunflowers, Emerald
Isle, North Carolina.

Unit of measure: f-stop // A stop is a doubling or halving of the amount of

light let into the camera lens when taking a photo.
Examples: (less exposure) f/64, f/32, f/16, f/11, f/8, f/5.6, f/4, f/2.8, f/1.4
(more exposure) Shutter speed determines how long the camera shutter stays
open to let light in when the shutter release button is pressed. Shutter speed
can also affect the clarity of a shot caused by a subject’s movement or the
camera not being held still. A fast shutter speed provides less exposure and
freezes the action within a photo. A slow shutter speed provides more
exposure and the potential for blurred motion. Compare the photos of
owing water in Figure 8.3; notice the effect that varying shutter speeds has
on the appearance of the water.
 Figure 8.3
Shutter speed examples: (A) fast shutter speed (ISO 100, f/11, 1/180th),
Jasper National Park, Alberta, Canada; and (B) slow shutter speed (ISO
560, f/22, 1/6th), Fuller Falls, Fundy National Park, New Brunswick,
Canada.

Unit of measure: second Examples: (less exposure) 1/2000, 1/1000, 1/500,

1/250, 1/125, 1/60, 1/30, 1/15, 1/8, 1, 2 (more exposure)
How Slow is Too Slow for a Handheld Camera?
When a camera’s shutter speed is set to a value slower than 1/60th of a
second (e.g., 1/30th, 1/8th, 1 second), a tripod (a three-legged support for a
camera) or a monopod (a one-legged support for a camera) should be used
to combat movement created when holding the camera. e movement is
natural and to be expected as it is caused by the photographer’s breathing. If
you do not have access to a tripod or monopod, try placing your camera on
a sturdy surface (e.g., a table or a parked car) to provide the necessary
support and minimize camera movement and associated blur.
ISO refers to the sensitivity of a digital camera’s image sensor; this is the
equivalent to ASA lm speed* for lm cameras. ISO allows the
photographer to use the ideal combination of aperture and shutter speed
when the amount of available light would normally prevent him or her from
doing so. However, increasing the ISO reduces the quality of the photo as it
introduces noise or graininess into the image. Fortunately, as digital cameras
continue to advance, the effect of using a high ISO is less noticeable.
Compare the clarity of the photos taken at an evening hot air balloon glow
that use different ISO values (ISO 800 vs. ISO 3200) (Figure 8.4). In the
close-up of the photo that uses ISO 3200, there is a bit of noise and the areas
of color are not as clear as those in the photo that uses ISO 800. Note: If you
do not notice much difference between the photos, that is okay, just know
that ISO can be a factor in certain scenarios such as night photography.

Figure 8.4
ISO examples: (A) low ISO (ISO 800, f/4.0, 1/60th); and (B) high ISO (ISO
3200, f/3.5, 1/6th). Balloon glow, Albuquerque International Balloon
Fiesta, Albuquerque, New Mexico.

Unit of measure: Values that correspond to the ASA scale for lm, with a
higher ISO number corresponding to a more sensitive sensor Examples: (less
exposure) 100, 200, 400, 800, 1600, 3200, 6400 (more exposure) Seeing the
Shot
e design concepts presented in Chapter 2: e Elements and Principles of
Design also apply to photography, and consideration of these can help the
photographer “see the shot” through the camera’s lens. Seeing the shot refers
to looking at a scene and selectively isolating a subject or area of interest.
What is le out of the photo is oen as important as what is included,
because this can minimize distractions and center attention on the subject.
A helpful practice for isolating a subject is to use your hands to narrow
your eld of view. Hold your hands as shown in Figure 8.5, then look
through the “aperture” (the space created between your hands) and scan
your environment. What around you would make an interesting photo? Just
as a camera narrows your area of view to frame a photo, so too does this
simple technique.

Figure 8.5
Seeing the shot, low-tech aperture.

Types of Camera Shots

To expand this discussion of framing a photo, let’s review the basic types of
camera shots used in photography. Note: ese are also some of the same
camera shots used in cinematography and videography. is common
language is useful when communicating the visual elements of a shot,
particularly the size of the subject and its relationship with the background.
A. Extreme long shot (ELS) or extreme wide shot (EWS): e ELS is used
to show the space in which the visual story is taking place and thus is
sometimes referred to as an establishing shot. e subject may be shown
in the distance.
B. Long shot (LS) or wide shot (WS): e LS shows the entire subject
without lling the frame. Instead, the shot may be dominated by the
background. is shot oen sets the scene and can serve as an
establishing shot in place of an ELS/EWS.
C. Medium shot (MS): e MS shows part of the subject in detail. When
the subject is a person, the MS generally frames him or her from the
waist up. e focus of the shot may be the subject, although some
background is still showing.
D. Medium close-up (MCU): e MCU shows the subject in more detail,
falling between the MS and the CU. For a person as a subject, the MCU
usually frames him or her from the chest or shoulders up.
E. Close-up (CU): e CU lls the frame with the subject. is could be a
person’s head or face, or the person’s hands if he or she is holding
something important.
F. Extreme close-up (ECU): e ECU features a small area or detail of the
subject. For a person, this could be their eyes or mouth.
Each of these shots used for the same subject would create a unique photo
with a distinctive focal point or area of attention, as shown in Figure 8.6.
 Figure 8.6
Camera shots: (A) extreme long shot (ELS); (B) long shot (LS); (C)
medium shot (MS); (D) medium close-up (MCU); (E) close-up (CU); and
(F) extreme close-up (ECU). In flight over the Rio Grande, Albuquerque,
New Mexico.

Photographic Composition
When looking through the view nder of a camera or at the screen of a cell
phone, you are making decisions about composition. Composition is how
you choose to frame the photo you are about to make. ere are four
elements that contribute to strong photographic composition: subject and
background, sense of balance, point of view, and simplicity.
Subject and Background Photographs that contain
layers of content in the foreground, midground and
background of the image can achieve a sense of
depth in a two-dimensional medium. The 2-week-old
alpaca in the foreground of the photo in Figure 8.7 is in
focus and is the main subject of the photo. However, by
including the two other alpacas in the background, the
viewer’s eye is drawn from the baby alpaca across the
rest of the photo. When framing a shot, do not just
concentrate on the subject, look at what is happening
around it, particularly in the background. Use this
opportunity to adjust your position or to zoom in on the
subject in order to eliminate distracting background
elements or to zoom out to provide needed context for
the subject.
 Figure 8.7
Subject and background. Alpacas at Eastland Alpacas, Mount Joy,
Pennsylvania.

Sense of Balance Balance can refer to the position of

the subject in the image frame or the overall balance
of the photo. Looking at the overall photo, a straight
horizon line** provides stability to the image. A crooked or
angled horizon line can distract from the overall impact
of a photo as the viewer tries to reconcile the
unexpected horizon line. Take time in the field to look at
the horizon line and adjust the camera as needed to
achieve an accurate horizon. Similarly, if
photographing a building, observe its lines and ensure
that they are appropriately perpendicular or parallel to
the ground. In Chapter 9: Photo Editing in Photoshop, the
process for straightening an angled horizon line in
Photoshop is presented.
e rule of thirds is an important concept when it comes to positioning a
subject to create a more engaging and balanced photo. e rule of thirds
involves mentally overlaying a tic-tac-toe grid on the image, dividing the
image into nine equal parts using two horizontal and two vertical gridlines
(Figure 8.8). Position the important elements in the shot along these
gridlines or at the intersections where these gridlines meet. Note: Some
cameras have a menu item that allows you to turn on gridlines in the
view nder. ese gridlines are a guide intended to help you frame the shot
and will not show up in the photo.

Figure 8.8
Rule of thirds (A) photo, (B) photo with rule of thirds gridlines shown.
Sheep at the Hill of Tara, County Meath, Ireland.

e rule of thirds is based on the idea that an off-centered composition is

more pleasing to the eye and looks more natural than one where the subject
is placed right in the middle of the frame. is technique also encourages
the photographer to make creative use of the negative space, the empty areas
around the subject. Note: is rule is really just a “suggestion,” and when
intentionally broken, center positioning of a subject can have a powerful
visual impact. But in general, the rule of thirds is a good starting point for
any composition.
 Positioning the Horizon Line
Use the rule of thirds to guide your placement of the horizon in a shot.
A photograph with the horizon in the middle of the frame can cut the
photo in half and create a sense of indifference within the viewer.
However, putting the horizon line higher will focus attention on the
land, while putting the horizon line lower will give prominence to the
sky.
e horizon does not have to align exactly with the horizontal
gridlines; positioning it off-center closer to the top or bottom of the
frame will generally produce a more pleasing composition than a
centered horizon. is rule can be applied when in the eld shooting
the photo, or it can also be used during production when you edit the
photo, cropping excess parts of the photo.

Point of View Photos taken at eye level generally result

in a neutral effect on the viewer. Changing the angle of
the shot can create new perspectives and engaging
photos. Whether that means elevating yourself on a
stepladder or lowering yourself to ground level, such
changes will introduce variety into your photos. When
photographing children or animals, position yourself
and your camera at their levels, so the camera lens is
eye level with the subject. This simple adjustment will
increase the viewer’s engagement with the subject and
produce a stronger photo.
Varying points of view can also be used to elicit an emotional response
from the viewer: • High angle: When a subject is photographed from above
eye level, the photo can have the effect of making the subject seem
vulnerable, weak or frightened.
 • Low angle: When a subject is photographed from below eye level, the
photo can have the effect of making the subject look powerful, heroic or
dangerous.
• Tilt: When the camera is set at an angle so the horizon line is not level,
this can express a disoriented or uneasy state.

Simplicity When you look at a scene with your naked

eye, your brain quickly picks out subjects of interest. In
contrast, the camera does not discriminate, it captures
everything in front of it, which can result in a cluttered,
messy photo with no central focal point. So before
taking a photo, choose your subject, then select the
type of shot that frames the subject well. Be aware of
other objects in the shot, and try to keep them in the
background or make them part of the visual story. The
photo of a bull elk (Figure 8.9) isolates the animal from
the rest of the herd that was grazing in the
campground. Singling out the bull and shifting
positions to place him against a simple background
(no cabins or RVs included in the shot) allows the
viewer to focus their attention on the bull.
 Figure 8.9
Simplicity, Bull elk, Estes Park, Colorado.

Photo Tips
In addition to these fundamentals, the following composition tips are simple
and effective ways to elevate snapshots to photographs. ese tips are also
useful for general composition, whether applied to a photo or other type of
image.
• Fill the frame: Zoom in on the subject to ll the frame or get closer to
the subject (if possible and if safe). Doing so will help the viewer know
what is important in the shot and where the attention should be
focused.
• Avoid the middle (a.k.a. rule of thirds): Many cameras have an autofocus
feature set to the center of the lens. is feature makes it natural to
position a subject in the center of the frame and take a shot. However,
positioning the subject in the center of the image can create static,
boring photos. Refer to the earlier discussion of the rule of thirds and
the bene ts that this technique can provide.
• Leading lines: Use lines to control the way the viewer’s eyes move around
the photo. Converging lines (think of receding railroad tracks) provide a
strong sense of perspective and depth, drawing the viewer into a photo
(Figure 8.10). Curved lines can lead the viewer on a journey around the
frame, leading them toward the main subject. ese lines may take form
in fences, roads, buildings or telephone wires, or they may be implied by
the subject’s sightline, the way that a person or animal is looking.
 Figure 8.10
Leading lines. Breckenridge Ski Resort, Breckenridge, Colorado.

• Creative with colors: Bright colors attract the viewer’s attention,

especially when they are used in contrast with complementary colors.
ink back to the color schemes presented in Chapter 3: Color in
Design. ese color combinations can be used to create effective color
contrasts, for example, using a splash of bright color against a
monochromatic background. Be selective about how the subject is
framed, in order to exclude unwanted colors from the photo.
• Aspect ratio: A collection of photos taken with a point-and-shoot or
DSLR (digital single-lens re ex) camera may include a majority of
horizontal images. e physical design of DSLR cameras encourages
horizontal photos. However, sometimes a subject would be better served
with a vertical photo, or this change of orientation may provide a more
interesting perspective. For cell phone photographers, the natural
inclination may be to take vertical photos given the device’s form. If this
sounds familiar, make a point to turn your screen 90° and take a
horizontal photo instead.
 Although the general shape of some subjects suggests a natural
orientation, such as a beach (horizontal) or a skyscraper (vertical), try
taking photos of the same subject in both directions. Notice how the
unexpected shot (e.g., the vertical photo of a beach) can narrow the eld of
view. As you experiment with the orientation of photos, remember to use
the camera’s zoom feature to take the best type of shot to feature the subject.
Compare the two photos of a eld lupine (Figure 8.11). e height of the
plants supports the use of vertical orientation; however, the number and
variety of plants support the use of horizontal orientation. Our take-away
from this example should be that there is more than one right answer in
design (and in life). e photographer should take both photos; the designer
should try both options before deciding which photo best serves the overall
design.

Figure 8.11
Visual orientation, landscape (horizontal) vs. portrait (vertical). Lupine,
Prince Edward Island National Park, Prince Edward Island, Canada.

Stock Images
For certain projects, the designer may need to look beyond their own
photographs or illustrations to complete the task at hand. On such
occasions, consider the use of stock images. Stock images are existing works
that can be licensed, paying a fee to the author of the work or to an agency
for use of the work. Using stock images can save time, since the images are
ready for use as soon as the licensing fee is paid, and money, since the
licensing fee may be less than the costs associated with hiring a
photographer to capture a speci c photo. Assessing the project’s needs and
budget will guide the decision on the number of images to license and the
kind of license that is appropriate for the project (e.g., royalty-free license †
or Creative Commons license‡).
A Web search for “stock images” generates a lengthy list of prospective
online sources. Included in this list is Adobe Stock (https://stock.adobe.com),
Adobe’s contribution to the stock image market featuring images, videos,
templates and 3D objects. Other potential sources include Creative
Commons (https://creativecommons.org), Getty Images
(https://www.gettyimages.com) and Shutter Stock
(https://www.shutterstock.com).
Note to photographers: Many stock image websites not only license images
but also purchase images for use. Consider this as a possible outlet for your
work.

Copyright
is is an appropriate time to discuss copyright and your rights as a
designer. Copyright protects your rights to display, publish or reproduce
copies of your creative work. It also prevents others from copying,
publishing or adapting your work without your permission.
Putting a copyright notice (©) on work is not required, but its presence
tells others that the work is copyrighted. In Photoshop, a watermark, text or
a logo superimposed on an image can be easily added to an image to
discourage copyright infringement, someone claiming the image as their
own. e process for creating and applying a watermark is presented in
Chapter 9: Photo Editing in Photoshop, “Adding a Watermark.”
In the United States, legal protection of a copyrighted work lasts for the life
of the author plus 70 years. For designers interested in registering copyright,
visit the U.S. Copyright Office website (https://www.copyright.gov) for
information and process requirements.
In most cases, you own the copyright to your work the moment you create
it, as soon as an idea has been transferred from your mind to a xed form of
expression, something drawn or created and saved on a computer. An
exception to this is the “Work Made for Hire” doctrine. When the designer
works for someone else as a full-time employee, the employer is considered
the author and automatic copyright owner of any work that the designer
creates within the scope of their employment. If the designer is working as
an independent contractor, their work can legally be “work made for hire”
only if this is speci ed in their contract. For more information on this
subject, refer to the references at the end of this chapter (see External Links
Mentioned in the Chapter).

Copyright vs. Trademark

A copyright protects any completed graphic element. Copyright gives
the original creator certain exclusive rights, such as the right to
reproduce the work, publish the work, make adaptations and
communicate the work to the public.
A trademark covers a broad range of design elements, including logos
and product shape and design. ese are brand marks that give a
particular product or service a distinct identity or help distinguish
between various products or services.
Where copyright ownership arises from authorship or original
creation, trademark ownership arises from use in the marketplace. It is
the distinct identity of the brand that is protected.

Copyright Infringement Let’s take a moment to state the

obvious, do not use someone else’s work without their
permission; doing so is copyright infringement. Copyright
infringement occurs when someone makes copies or
commercially exploits a work without the copyright
owner’s permission.
If you happen to create a similar work independently, this is not
infringement; the second work must actually be copied from the rst work
to be considered infringement. If you use another designer’s work for
reference, problems can arise. e standard for infringement is whether the
second work is “substantially similar” to the original work.

Fair Use Fair use will excuse an otherwise infringing use

under certain limited circumstances, such as
noncommercial or educational uses. Transformative works
may also be fair use. A work is transformative when the
copyright material is “transformed in the creation of
new information, new aesthetics, new insights and
understanding” (Kattwinkel 2018).

Looking Ahead This introduction to photography

included the Exposure Triangle and the elements that
control exposure, the types of camera shots available
and composition techniques that can strengthen our
photos. In the next chapter, we expand our set of
Photoshop tools, review basic photo editing practices,
and discuss alternate sources of photos along with the
role of copyright in the design process.

Discussions
Discussion 8.1: Camera Shots When you take a photo,
what type of camera shot do you generally use? What
is your “go-to” camera shot? Here is a refresher of the
types of camera shots: extreme long shot (ELS), long
shot (LS), medium shot (MS), medium close-up (MCU),
close-up (CU) and extreme close-up (ECU). How do
your choice of subject and your location influence the
type of camera shot that you use?
Discussion 8.2: The Elements of Composition Survey
your current surroundings, and identify a potential
subject to photograph. Without taking any photos,
discuss how you could apply each of the four elements
of composition to strengthen your shots. As a refresher,
the elements of composition include subject and
background, sense of balance, point of view and
simplicity. Which element of composition would have
the greatest impact on the resulting photo? Why?

Activities
Activity 8.1: Scavenger Hunt Take a series of
photographs based on the following list of subjects:
1. Lights 2. Pattern 3. Red 4. Reflection 5. Writing
6. Food 7. Flowers/leaves 8. Architecture 9. Looking
up 10. Your choice Guidelines
• Interpret the list as you wish, but just try to take the photos in a creative
way. ink outside of the box.
• Do not edit, crop or apply effects to the photos; use them straight out of
the camera (or cell phone).
• If you cannot nd a particular subject to photograph, move on and then
revisit the skipped subject once the others have been found.
• Take your time and think about each subject.

Activity 8.2: Composition-Based Scavenger Hunt Take a

series of photographs that illustrate the following
elements of photographic composition: 1. Subject and
background 2. Sense of balance 3. Point of view
4. Simplicity 5. Fill the frame 6. Avoid the middle
7. Leading lines 8. Creative with colors 9. Aspect
ratio: Using the same subject, take two photos, one
horizontal and one vertical 10. Your choice Guidelines
• Interpret the list as you wish, but just try to take the photos in a creative
way. ink outside of the box.
• Do not edit, crop or apply effects to the photos; use them straight out of
the camera (or cell phone).
• If you cannot nd an example of a particular element, move on and then
revisit the skipped element once the others have been found.
• Take your time and think about each subject.

External Links Mentioned in the Chapter Stock Images

Adobe Stock | https://stock.adobe.com
Creative Commons | https://creativecommons.org
Getty Images | https://www.gettyimages.com
Shutter Stock | https://www.shutterstock.com

 
* ASA is a scale created by the American Standards Association that is no longer widely used. Now,
most lm is labeled by ISO, which was created in 1987 by the International Organization for
Standardization.
** A horizon line is the physical or visual boundary where the sky separates from land or water.
† A royalty-free license refers to being able to use the image freely aer the initial license has been
purchased, without additional royalties; it does not mean that there is no cost for a license.
‡ A Creative Commons (CC) license is used when an author wants to give people the right to share,
use and build on a work that the author has created.
 9
Photo Editing in Photoshop

Even aer the most successful photo shoots, there are photographs that need
edits or adjustments to strengthen the images. Photo editing is easily
completed in Photoshop. e intended goal of photo editing is to strengthen
a photo’s composition (refer to Chapter 8: Digital Photography in Design) in
preparation for output, whether print or digital. is chapter presents
situations that necessitate photo editing and identi es tools and processes
that can be used to address these issues. Tip: ere is oen more than one
way to complete many of these edits. So, try the suggested tools and
processes, then as you explore additional tools, revisit these situations and
try alternate methods.
 Notes to the Reader
• is chapter provides a series of exercises created to allow you to
practice the presented techniques. To avoid becoming overwhelmed
by the tools and processes, pace yourself; do not complete all of the
exercises in one work session.
• e photographs used in the chapter exercises are available via the
book’s companion website for your use to practice the photo editing
techniques.
• is chapter is most effective when you have the Photoshop
application open in front of you while reading. is will allow you to
learn and then do, navigating the interface and utilizing the tools. If
you do not have access to the application, the included screen
captures will serve as visual references for much of the content.

A Subset of Image Editing Tools

e following image editing tools are presented in addition to the tools
introduced in Chapter 6: Getting Started in Photoshop. Aer reading the
tools’ descriptions, drawn from the Photoshop Online Help, locate the tools
in the Tools panel (refer to the Photoshop CC 2019 Tools Panel Overview, see
Figure 6.9); remember that some of these tools may be hidden.
Crop and Slice Tools
• e Crop Tool (C) trims images.
Retouching Tools
• e Spot Healing Brush Tool (J) removes blemishes and objects.
• e Clone Stamp Tool (S) paints with a sample of an image.
• e Healing Brush Tool (J) paints with a sample or pattern to repair
imperfections in an image.
• e Red Eye Tool (J) removes the red re ection caused by a camera ash.

ese tools are presented in the context of photography; however, they can
also be used to edit other images in Photoshop.

Back Up before Editing

When a photograph is opened in Photoshop for the rst time, the
Background layer in the Layers panel contains the image content. Before
photo editing begins, it is a good practice to duplicate the Background layer.
is allows edits to be performed on the copy of the layer (Background
copy), preserving the original Background layer as an easily accessible
reference to the original photo.

Exercise 9.1: Duplicate the Background Layer

Exercise le: Ch09-Ex01-photo.jpg (Figure 9.1)
 Figure 9.1
Exercise 9.1file. Iceberg at the dock, Bridgeport, Newfoundland and
Labrador, Canada.

Step 1: Create a copy of the Background layer. ere are multiple ways to
complete this task; here are two options.
• Option 1: Duplicate the Background layer via the Layer menu.
• Begin at the Layer menu in the application bar and select the Duplicate
Layer… menu command [Layer menu > Duplicate Layer…].
• In the Duplicate Layer dialog box, shown in Figure 9.2, name the new
layer or accept the provided name, Background copy.
 Figure 9.2
Duplicate Layer dialog box, Layer menu > Duplicate Layer….

• Click OK to create the new layer.

• Option 2: Duplicate the Background layer in the Layers panel.
• Open the Layers panel from the Window menu [Window menu >
Layers].
• From the Layers panel menu available in the upper-right corner of the
window, select Duplicate Layer….
• In the Duplicate Layer dialog box, name the new layer or accept the
provided name, Background copy.
• Click OK to create the new layer.
• e new layer will be positioned above the original Background layer in
the Layers panel, refer to Figure 9.3.
 Figure 9.3
Duplicated layer (Background copy) in the Layers panel, Window menu
> Layers.

Step 2: Save the image le as a Photoshop document, Ch09-Ex01.psd.

• Now that the le contains two layers, it should be saved as a Photoshop
Document (PSD), which is capable of containing more than one layer.
• From the File menu, select the Save As… menu command [File menu
> Save As…].
• In the Save As dialog box, con rm that Photoshop is selected in the
Format dropdown menu.

Photo Editing Workflow

e following Photo Editing Work ow can be useful when assessing the
needs of a photo. e work ow serves as a checklist of what can be done to
strengthen a photo. e suggested order is intentional, rst addressing the
overall size and orientation of the photo, then focusing on necessary touch-
ups and repairs, and concluding with enhancements to bring out the details,
textures and colors in the photo. Special processes, such as adding a
watermark and combining multiple photos to create a panorama round out
the work ow. Apply these steps as needed, recognizing that not all steps will
be relevant to a particular photo.
Photo Editing Work ow 1. Compositional Edits a. Straighten the photo
b. Crop for content c. Photo orientation (Landscape [Horizontal] vs.
Portrait [Vertical], vice versa) 2. Touch-Up Edits
a. Spot and blemish removal b. Patching areas c. Red eye removal
3. Enhancements
a. Color and tone adjustments b. Filters
4. Special Processes a. Photomerge (a.k.a. Panorama) b. Watermark
Photo edits are generally applied on a photo-by-photo basis, with some
exceptions. For example, when the same edit needs to be performed to
multiple photos (e.g., resizing, tonal change, le naming) Photoshop
provides the Batch command [File menu > Automate > Batch…]; for
instructions on how to use Batch, access the Photoshop Online Help.

Destructive vs. Nondestructive Changes

Edits performed in Photoshop can be categorized as either destructive
or nondestructive. Destructive edits save over the original image,
preventing the designer from returning to that original image. In
contrast, nondestructive edits are saved as steps in a process, which can
be undone or hidden allowing the designer to return to the original
image.

Compositional Edits
Edits made to strengthen the overall composition of a photo can have a
dramatic impact on the visual appeal of the image. Changes in this area
include straightening a photo to correct a slanted horizon line or a tilted
building, cropping a photo to increase attention on the subject and changing
a photo’s orientation to improve the framing of the subject. Each of these
changes can be completed using the Crop Tool (C).
 Refer to Figure 9.4 for a view of the Options bar when the Crop Tool (C) is
selected; this view presents the properties associated with the tool. e
following property descriptions are drawn from the Photoshop tooltips:

Figure 9.4
Options bar, Crop Tool selected: (A) Aspect Ratio menu, (B) Swap Width
and Height, (C) Clear, (D) Straighten, (E) Overlay Options, (F) Set
additional crop options, (G) Delete Cropped Pixels, (H) Content-Aware,
and (I) Reset.

A. Aspect Ratio menu: Select a preset aspect ratio or crop size.

B. Swap Width and Height: Swaps width and height values.
C. Clear: Clear aspect ratio values.
D. Straighten: Straighten the image by drawing a line on it.
E. Overlay Options: Set overlay options for the Crop Tool. Note: e
overlay guides can be turned off here; select “Never Show Overlay.”
F. Set additional crop options.
G. Delete Cropped Pixels: Determines if pixel data outside the crop box is
retained or deleted.
H. Content-Aware: Fill areas outside the original image.
I. Reset: Reset the crop box, image rotation and aspect ratio settings.
When the Crop Tool (C) is selected in the Tools panel, a crop box appears
around the photo. e content inside the crop box will be preserved when
the edit is performed. e size of the crop box can be adjusted using the crop
handles available on each side and in each corner of the crop box. When one
of the crop handles is selected, a visual guide or overlay appears on the
photo. e default overlay* is the rule of thirds. e overlay is intended to
assist with compositional adjustments and to provide a preview of the edit.
ese guides are only visible within Photoshop—they will not appear in the
nal image.

Straightening a Photo When the Crop Tool (C) is used to

straighten a photo, the photo is rotated, then the
canvas is automatically resized to accommodate the
rotated pixels and the excess canvas is trimmed.

Exercise 9.2: Straighten the Horizon Line Using the Crop Tool
Exercise le: Ch09-Ex02-photo.jpg (Figure 9.5)

Figure 9.5
Exercise 9.2 file. Icebergs, Twillingate, Newfoundland and Labrador,
Canada.

Step 1: Select the Crop Tool (C) in the Tools panel and review the tool’s
properties in the Options bar.
Step 2: Rotate the photo to straighten the horizon line; here are two options
to try.
• Option 1: Straighten the photo using the Straighten feature,** available as
a property for the Crop Tool (C) in the Options bar.
• Click the Straighten button in the Options bar, which changes the
cursor’s appearance to the Straighten Tool.
 • Using the Straighten Tool, position the cursor along the horizon line
or another line that can be used to straighten the image.
• Hold down the mouse button and draw a reference line along the line
that needs to be straightened or made parallel with an edge of the
photo. Tip: e reference line can be short; it does not need to span
the width or height of the photo.
• A tooltip appears adjacent to the cursor displaying the angle of
rotation that will be applied when the mouse button is released.
• Once the line is drawn, release the mouse button. e photo will
straighten according to the reference line (Figure 9.6).
• If satis ed with the straightening, commit the change (Step 3). Or, if
dissatis ed, cancel the rotation (Step 3).

Figure 9.6
Exercise 9.2, Step 2.

• Option 2: Straighten the photo by hand using the rotate command.

• Position the cursor outside of the crop box and look for the cursor’s
appearance to change into a curved double-headed arrow; this is the
symbol for rotate.
 • When the cursor appears as a curved double-headed arrow, press and
hold down the mouse button, then move the cursor to rotate the
photo. e crop box remains xed, and only the photo rotates behind
the box.
• When satis ed with the rotation, release the mouse button and
commit the change (Step 3). Or, if dissatis ed, cancel the rotation
(Step 3).
Step 3: Commit or cancel the straighten, and crop the photo.

• When satis ed with the changes, press the Return/Enter key on the
keyboard or click the Commit button ✓ in the Options bar to apply the
changes.
• If dissatis ed, press the ESC key on the keyboard or click the Cancel
button in the Options bar to cancel the changes.
• e Options bar also provides the ability to Reset the changes and try
again.
Cropping a Photo
Cropping a photo can strengthen its composition by removing unwanted
portions of the image. Such an edit can also reframe a subject to improve the
overall balance within a photo. e designer can select to preserve or discard
the cropped pixels for later use (nondestructive vs. destructive edit) in the
Options bar when the Crop Tool (C) is selected (see Figure 9.4).

Exercise 9.3: Apply the Rule of Thirds Using the Crop Tool
Exercise le: Ch09-Ex03-photo.jpg (Figure 9.7)

Figure 9.7
Exercise 9.3 file. Making friends at Eastland Alpacas, Mount Joy,
Pennsylvania.

Step 1: Select the Crop Tool (C) and review the tool properties in the
Options bar. From the Aspect Ratio dropdown menu, select Original Ratio
to constrain the dimensions of the crop box.
• Select the Crop Tool (C) in the Tools panel.
 • In the Options bar, select Original Ratio from the Aspect Ratio dropdown
menu (Ratio).
• Apply any other properties as desired in the Options bar (i.e., overlay
options, delete cropped pixels) to control the behavior of the tool.

Step 2: Use the provided Rule of irds overlay to crop the photo so the
subjects fall along or near an intersection of gridlines. ere are multiple
ways to use the Crop Tool (C); here are three options to try: • Option 1:
Draw a crop box over the area of the photo to be kept.
• Option 2: Drag the crop handles from a side or corner of the photo to the
desired positions.
• Tip: Adjusting a corner crop handle will change the crop boundaries
on two sides of the photo at once.
• Option 3: In the Options bar, select Ratio from the Aspect Ratio
dropdown menu. en, enter numerical values in the Width and Height
elds.
• For example, enter “2” in the rst eld (Width) and “3” in the second
eld (Height). is creates a vertical crop box that uses a 2:3 ratio
(e.g., 4 in. × 6 in.).
• Click the Swap Height and Width icon to generate a horizontal crop
box that uses a 3:2 ratio (e.g., 6 in. × 4 in.).
Step 3 (Optional): Reposition the photo within the crop box if needed.
• Position the cursor within the crop box.
• Hold down the mouse button and move the cursor to reposition the
photo within the crop box.
• Use this technique to position the subjects of the photo near a rule of
thirds gridline or near an intersection of these gridlines (Figure 9.8).
• When satis ed with the repositioned photo, release the mouse button.
 Figure 9.8
Exercise 9.3,Step 3; Crop box visible around selection; Crop handles
present on sides and in corners of crop box; Rule of Thirds overlay visible
within crop box.

Step 4: Commit or cancel the crop.

• When satis ed with the change, press the Return/Enter key on the
keyboard or click the Commit button ✓ in the Options bar to apply the
change.
• If dissatis ed, press the Escape key on the keyboard or click the Cancel
button in the Options bar to cancel the change.
• e Options bar also provides the ability to Reset the edit and try again.

Application Tip: Maintaining the Original Ratio

When using the Crop Tool (C), the Aspect Ratio dropdown menu
located in the Options bar provides an option for Original Ratio, which
maintains the ratio of the photo’s original dimensions; this option links
the width and height. When a crop handle is moved to adjust the
photo’s width, the crop boundary for height moves proportionally.
Using Original Ratio is particularly important when cropping a photo
 that will be framed to ensure that the edited photo ts the frame
opening.

Changing a Photo’s Orientation

e Crop Tool (C) can also be used to change a photo’s orientation from
Landscape (horizontal) to Portrait (vertical) or vice versa. Use this technique
to improve the framing of a subject or to eliminate distracting elements
within a photo.

Exercise 9.4: Change Orientation (Landscape/Portrait) Using

the Crop Tool
Exercise le: Ch09-Ex04-photo.jpg (Figure 9.9)

Figure 9.9
Exercise 9.4 file. Irish country cottage, Inis Mór, County Galway, Ireland.

Step 1: Select the Crop Tool (C) and review the tool properties in the
Options bar. Reset the Aspect Ratio dropdown menu if values persist from
the previous exercise.
 • Select the Crop Tool (C) in the Tools panel.
• Reset the Aspect Ratio dropdown menu by selecting “Ratio” and then
pressing the Clear button if values are listed in the width and height
elds.
• Tip: Before cropping the photo, be sure to review the horizon line and
straighten the photo as needed using the Crop Tool (C).
Step 2: Rotate the crop box, so it is vertical.
• Press the Swap Height and Width icon in the Options bar, which changes
the orientation of the crop box.

Step 3: Reposition the photo within the crop box, as needed, to strengthen
the compositional position of the subjects (Figure 9.10).

Figure 9.10
Exercise 9.4, Step 3.

• Position the cursor within the crop box.

• Hold down the mouse button and move the cursor to reposition the
photo within the crop box.
• When satis ed with the repositioned photo, release the mouse button.
Step 4: Commit or cancel the change.
• When satis ed with the change, press the Return/Enter key on the
keyboard or click the Commit button ✓ in the Options bar to apply the
change.
• If dissatis ed, press the Escape key on the keyboard or click the Cancel
button in the Options bar to cancel the change.
• e Options bar also provides the ability to Reset the edit and try again.

Touch-Up Edits
Performing touch-up edits on a photo can enhance the image by eliminating
distracting elements whether small or large. From removing dust spots to
repairing areas and eliminating red eyes, these edits contribute to the overall
impact of the photo.
Tip: When touching up a photo, use the Zoom Tool (Z) to increase or
decrease the view of the area to be edited [View menu > Zoom In ( +) |
Zoom Out ( −)]. Changing the view can help you achieve a clean and
complete edit with no stray edges or gaps in the touch-up.
Spot Removal
e Spot Healing Brush Tool (J) is the default image repair tool in Photoshop.
e tool can be used to seamlessly blend content cloned from a sample area
into a target area. To use the Spot Healing Brush Tool (J), click on the spot
or blemish to be eliminated, and Photoshop works out the rest. Repeat as
needed. To repair a larger area, click and drag the tool to paint the affected
area.
Refer to Figure 9.11 for a view of the Options bar when the Spot Healing
Brush Tool (J) is selected; this view presents the properties associated with
the tool:

Figure 9.11
Options bar, Spot Healing Brush Tool selected: (A) Brush Options, (B)
Mode, (C) Type, and (D) Sample All Layers.

A. Brush Options: Set the Size (Brush diameter), Hardness, Spacing,

Angle, Roundness.
B. Mode: Normal, Replace, Multiply, Screen, Darken, Lighten, Color,
Luminosity.
C. Type: Content-Aware: Compares surrounding areas to seamlessly ll
the selection while retaining important details such as shadows; Create
Texture: Uses pixels in the selection to create a texture; Proximity
Match: Uses pixels around the edge of the selection to nd an area to
use as a patch.
D. Sample All Layers: Uses data from all visible layers to resolve the issue.
Deselect “Sample All Layers” to sample only from the active layer, the
selected layer in the Layers panel.

Exercise 9.5: Remove Dust Spots Using the Spot Healing Brush
Tool
Exercise le: Ch09-Ex05-photo.jpg (Figure 9.12)
 Figure 9.12
Exercise 9.5file. Overlooking the Badlands, Badlands National Park,
South Dakota.

Note: In the provided photo, dust spots are visible in the blue sky.
Step 1: Select the Spot Healing Brush Tool (J) and review the tool properties
in the Options bar.
• Choose the Spot Healing Brush Tool (J) in the Tools panel.
• In the Options bar, use the following properties to control the behavior
of the tool: • Brush Options: Adjust the size of the brush to t the spot
that is being removed. Tip: A brush that is slightly larger than the area
being xed works best; this allows the entire area to be covered with one
click.
• Type: Set the source sampling type to Content-Aware; this mode works
out how to best ll the area.
Step 2: Remove the dust spots from the sky.
• Click once on the spot that is being removed or for larger areas use the
brush to paint (Figure 9.13). e edit should be visible immediately.
 Figure 9.13
Exercise 9.5, Step 2, View 1: Dust spots circled; View 2: Dust spots
corrected.

• If there are multiple spots to remove, adjust the brush size as needed
between repairs to t the brush to the targeted spots.
• Tip: Press the right-bracket key (]) on the keyboard to increase the size
of the brush, or press the le-bracket key ([) to decrease the size of the
brush.
Removing Large Areas of Content
When there is a large area of the photo that needs to be removed, the Spot
Healing Brush Tool (J) may not be able to effectively address the size of the
repair. In this situation, try using a Content-Aware Fill to complete the edit.
When using Content-Aware, Photoshop uses the area around the selection to
determine the best x for the selected area.

Exercise 9.6: Remove a Large Area Using a Content-Aware Fill

Exercise le: Ch09-Ex06-photo.jpg (Figure 9.14)
 Figure 9.14
Exercise 9.6 file. Looking up to St. Colman’s Cathedral, Cobh, County
Cork, Ireland.

Step 1: Use a selection tool (e.g., Lasso Tools [L], Marquee Tools [M]) to
select the area of the photo that will be removed. In the provided photo, start
by removing the red boat in the lower-right corner of the photo. Be sure to
include the boat’s re ection on the water in the selection.
 • Tip: To add to an existing selection, press and hold down the Shi key on
the keyboard while selecting the additional content. To remove an area
from a selection, press and hold down the Option key on the keyboard
while selecting the content.

Step 2: Apply a ll based on the area surrounding the selection.

• Go to the Edit menu and select the Fill… menu command [Edit menu >
Fill…].
• In the Fill dialog box, select Content-Aware from the Contents dropdown
menu (Figure 9.15).

Figure 9.15
Fill dialog box, Edit menu > Fill….

• Click OK to perform the ll.

Step 3: Deselect the selection area.

• From the Select menu, choose the Deselect menu command [Select menu
> Deselect | D].

Step 4 (Optional): Use the same Content-Aware Fill to remove other

elements from the photo, for example, the man on the ramp or the lamp
pole and its attached wires.

Step 5 (Optional): Crop the photo using the Original Ratio aspect ratio to
reduce the amount of negative space created by the removal of the boat
(Figure 9.16).

Figure 9.16
Exercise 9.6, Step 5.
Cloning Areas of a Photo
Photoshop provides the means to replicate content within a photo for use
elsewhere in the same image. ere are two tools that can perform this
action with varied results: the Clone Stamp Tool (S) and the Healing Brush
Tool (J). e Clone Stamp Tool (S) produces an exact copy of the sample area
in the new location, while the Healing Brush Tool (J) blends the copy into the
new location. ere will be occasions when each tool is needed to perform a
speci c edit.
Both of these tools necessitate setting a source point within the image
before the sample area can be copied. e source point serves as a kind of
anchor point from which the sample area will be based as it is painted
elsewhere in the image. Tip: When locating a source point, look for an area
with similar coloring, lighting and texture as the destination area to help the
sample match seamlessly.
Refer to Figure 9.17 for a view of the Options bar when the Clone Stamp
Tool (S) is selected; this view presents the properties associated with the tool.
e following property descriptions are drawn from the Photoshop tooltips:

Figure 9.17
Options bar, Clone Stamp Tool selected, (A) Brush Preset picker; (B)
Brush Options; (C) Brush Settings panel shortcut; (D) Clone Source
panel shortcut; (E) Mode; (F) Opacity; (G) Pressure for Opacity; (H)
Flow; (I) Airbrushed-style build-up effects; (J) Stroke offset; (K) Sample;
(L) Ignore adjustment layers; and (M) Pressure for Size.

A. Brush Preset picker: Click to open the brush preset picker.

B. Brush Options: Set the Size (Brush diameter), Hardness, Spacing,
Angle, Roundness.
C. Brush Settings panel shortcut: Toggle the Brush Settings panel.
D. Clone Source panel shortcut: Toggle the Clone Source panel.
E. Mode: Effect Mode.
F. Opacity: Set opacity for stroke.
 G. Pressure for Opacity: Always use Pressure for Opacity. When off, Brush
Preset controls pressure.
H. Flow: Set ow rate for stroke.
I. Airbrushed-style buildup effects: Enable airbrushed-style buildup effects.
J. Stroke offset: Use same offset for each stroke.
K. Sample: Clone sample mode (Current Level, Current & Below, All
Layers).
L. Ignore adjustment layers: Turn on to ignore adjustment layers when
cloning.
M. Pressure for Size: Always use Pressure for Size. When off, Brush Preset
controls pressure.

Exercise 9.7: Replicate Part of a Photo Using the Clone Stamp

Tool
Exercise le: Ch09-Ex07-photo.jpg (Figure 9.18)

Figure 9.18
Exercise 9.7 file. Chipmunk, Zion National Park, Utah.
Step 1: Select the Clone Stamp Tool (S), and review the tool properties in
the Options bar.
• Choose the Clone Stamp Tool (S) in the Tools panel.
• In the Options bar, adjust the size of the brush, as needed, in preparation
for replicating the animal.
• Tip: Select a brush size that ts within the head of the chipmunk.

Step 2: Set a source point to sample.

• Position the cursor over the spot that will serve as the source point.
• e source point should be located within the sample area, the part of
the photo to be copied.
• Press and hold down the Option key on the keyboard, which will cause
the cursor’s appearance to change.
• While continuing to hold down the Option key, click the mouse button
once on the source point.
• Release the Option key.
Step 3: Paint in another area of the photo to replicate the content from the
sample area.
• Move the cursor to another area of the photo.
• Note: As the cursor moves from the source point to the painting area,
the cursor previews a brush tip’s worth of content from the sample
area.
• Begin painting.
• e brush is painting with content from the sample area.
• e brush and the source point are linked; as the brush moves, the
source point also moves in relation to the original source point
(Figure 9.19).
 Figure 9.19
Exercise 9.7, Step 3.

Note: If the Clone Stamp Tool (S) is used without rst setting a source point,
Photoshop provides the following alert: Could not use the clone stamp
because the area to clone has not been de ned (option-click to de ne a source
point). If this occurs, click OK to close the message window, then set a
source point (see Step 2).
Step 4 (Optional): Repeat this exercise using the Healing Brush Tool (J)
instead of the Clone Stamp Tool (S) and compare the results.
• Select the Healing Brush Tool (J) in the Tools panel.
• Set a source point to sample (see Step 2).
• Move the cursor to another area of the photo and begin painting.
• Compare the results of the two tools.
• e Clone Stamp Tool (S) makes an exact, full color replica of the
chipmunk.
 • e Healing Brush Tool (J) blends the exact replica into the target area
resulting in a lighter copy of the chipmunk.
When you need or want to create a reversed clone of the chipmunk, as
shown in Figure 9.20, try the following technique.

Figure 9.20
Exercise 9.7, Alternate.

Exercise 9.7 (Alternate): Reverse Cloned Content

Exercise le: Ch09-Ex07-photo.jpg (see Figure 9.18) Overview: A new layer
will rst be created to contain the cloned content. en, the content on the
new layer will be ipped horizontal.
Step 1: Create a new blank layer (Layer 1) in the Layers panel. is is the
layer on which the cloned chipmunk will be created.
• From the Window menu, select the Layers menu command [Window
menu > Layers].
 • Click once on the Create a new layer icon located along the bottom edge
of the Layers panel.
• is action adds a new layer (Layer 1) to the Layers panel.
• e new layer is active, which means that this is where the cloned
chipmunk will be created.
Step 2: Select the Clone Stamp Tool (S) and choose “All Layers” from the
Sample dropdown menu in the Options bar.
Step 3: Set a source point to sample.
• Position the cursor over the chipmunk’s eye in the sample area; this will
serve as the source point.
• Press and hold down the Option key on the keyboard, then click the
mouse button once on the source point.
• Release the Option key.

Step 4: With the new layer selected, paint in another area of the photo to
replicate the content from the sample area.
• Con rm that Layer 1 is selected in the Layers panel.
• If Layer 1 is not selected, click once on the layer to select it.
• Move the cursor to another area of the photo away from the original
chipmunk.
• Begin painting; the brush should paint with content from the sample
area.
• Note: Do not worry if the cloned chipmunk overlaps with the original
as the clone is on its own layer and can be repositioned as needed.
• If the painting strays beyond the cloned chipmunk to include unwanted
portions of the background, use the Eraser Tool (E) to clean up any
edges along the clone.
Step 5: Flip the cloned subject and reposition it as needed.
• With Layer 1 still selected, from the Edit menu, select the Transform
menu command and then the Flip Horizontal command [Edit menu >
Transform > Flip Horizontal].
 • is action ips the cloned chipmunk.
• Use the Move Tool (V) to reposition the cloned chipmunk as desired.

Removing Red Eye Red eye is created when light from a

camera’s flash bounces off the blood vessels in a
person’s or animal’s eyes.† The Red Eye Tool (J) removes
the red reflection caused by the flash. Red eye is more
often encountered when taking photos in a darkened
room, because in this space, the subject’s iris is wide
open. Tip: Many cameras offer a red eye reduction
feature to prevent red eye. If your camera supports this
feature, turn it on and save yourself this step when
photo editing.
Refer to Figure 9.21 for a view of the Options bar when the Red Eye Tool
(J) is selected; this view presents the properties associated with the tool.

Figure 9.21
Options bar, Red Eye Tool selected: (A) Pupil Size and (B) Darken
Amount.

A. Pupil Size: Increase or decrease the area affected by the Red Eye tool.
B. Darken Amount: Sets the darkness of the correction.

Tip: When the cursor is positioned over the name of one of these
properties, a slider is available, which can be dragged side to side to increase
or decrease the property’s value.

Exercise 9.8: Remove Red Eye Using the Red Eye Tool
Exercise le: Ch09-Ex08-photo.jpg (Figure 9.22)
 Figure 9.22
Exercise 9.8 file. Daisy, Lake Toxaway, North Carolina.

Use the Zoom Tool (Z) to increase or decrease your view of the area to be
edited before getting started [View menu > Zoom In ( +) | Zoom Out (
−)].

Step 1: Select the Red Eye Tool (J) and review the tool properties in the
Options bar.
 • Select the Red Eye Tool (J) in the Tools panel.
• In the Options bar, use the following properties to control the behavior
of the tool.
• Set the Pupil Size to 50%.
• Set the Darken Amount to 100%.

Step 2: Eliminate the instances of red eye. Tip: Click in the center of each
affected area to produce an even repair.
• Click on the affected red eye area within a pupil; the change is
immediate.
• If the darkened area extends beyond the dog’s eye, undo the action
[Edit menu > Undo | Z]. en try it again, having rst positioned
the cursor in the center of the eye.
• Repeat this action for the second eye.

Color and Tonal Edits and Enhancements

Whether converting a color photo to grayscale or increasing the color
saturation in a photo, color enhancements can in uence the overall mood
and impact of an image. ere are multiple ways to achieve the desired
results, including both nondestructive and destructive methods.
Adjustment Layers Adjustment Layers are a set of layers
that allow the designer to edit any other layer (or
layers) without affecting the pixels in an image. Once
applied, the visibility of adjustment layers can be
toggled off and on, and the adjustment layers can be
deleted with affecting the rest of the image. Adjustment
layers can be used to affect an entire image or a
specific area. When an adjustment layer is applied, the
Properties panel provides access to associated properties
that can refine the adjustment [Window menu >
Properties].
 What follows is a list of the adjustment layers corresponding to their
symbols shown in Figure 9.23, from le to right:

Figure 9.23
Adjustments panel, Window menu > Adjustments.

• Row 1: Brightness/Contrast, Levels, Curves, Exposure, Vibrance.

• Row 2: Hue/Saturation, Color Balance, Black & White, Photo Filter,
Channel Mixer, Color Lookup.
• Row 3: Invert, Posterize, reshold, Selective Color, Gradient Map.
As this list indicates, there are many adjustment layers available, more
than most designers use during an average work session. is chapter
explores three of the most commonly used adjustment layers,
Brightness/Contrast, Hue/Saturation and Black & White:
• Brightness/Contrast: Adjusts the exposure in an image.
• Hue/Saturation: Adjusts the hue, saturation and lightness values.
• Black & White: Converts colors to grayscale while providing control of
the tonal range.‡

Applying a Brightness/Contrast Adjustment Layer When

a photo looks too dark or too light, the
Brightness/Contrast adjustment layer can be used to
enhance the image. These scenarios are often
symptoms of the available light (too little or too much)
when the photo was taken.

Exercise 9.9: Use a Brightness/Contrast Adjustment Layer

Exercise le: Ch09-Ex09-photo.jpg (Figure 9.24)

Figure 9.24
Exercise 9.9 file. Buoys, North Rustico, Prince Edward Island, Canada.

Step 1: Apply a Brightness/Contrast adjustment layer to the image.

 • Select the Adjustments menu command from the Window menu
[Window menu > Adjustments].
• In the Adjustments panel, locate and select the Brightness/Contrast
adjustment layer.
• Move the cursor over the collection of adjustment layer symbols.
When the cursor is positioned over a symbol, the name of the
associated adjustment layer is shown.
• Find the Brightness/Contrast symbol in the top row and click once on
the symbol. is action triggers several events: the
Brightness/Contrast adjustment layer and its accompanying layer
mask are created in the Layers panel and the Properties panel opens.
• Note: e Adjustments panel and the Properties panel share the same
window. Click on the corresponding tab to toggle between panels.

Step 2: Review the contents of the adjustment layer (Brightness/Contrast 1)

in the Layers panel (Figure 9.25).
 Figure 9.25
Layers panel featuring a Brightness/Contrast adjustment layer, Window
menu > Layers. Labeled elements include (A) Layer thumbnail; (B) Link
icon: Indicates layer mask is linked to layer; (C) Layer mask thumbnail;
(D) Adjustment layer name; and (E) Create new fill or adjustment layer.

• e adjustment layer name (Brightness/Contrast #) features the selected

adjustment, Brightness/Contrast, followed by an incremental count
(e.g., 1, 2, …).
• Notice the indented position of the adjustment layer and the link icon,
which indicates that a layer mask is associated with the adjustment layer.
• e layer mask can be used to isolate the area affected by the
adjustment.
• By default, the adjustment layer is applied to the entire layer to which
it has been applied.
• Note: In Exercise 9.10, the adjustment layer will be applied to a
speci c selection instead of to the entire image.
Step 3: Use the elements in the Properties panel to re ne the effect of the
adjustment layer on the image (Figure 9.26). Note: e Properties panel, like
the Options bar, is context-sensitive; its content changes depending on
which adjustment layer has been applied or is currently selected in the
Layers panel.

Figure 9.26
Properties panel featuring a Brightness/Contrast adjustment layer,
Window menu > Properties. Labeled elements include (A) This
adjustment affects all layers below (click to clip layer); (B) Press to view
previous state (can also press \); (C) Reset to adjustment defaults; (D)
Toggle layer visibility; and (E) Delete this adjustment layer.

• e Auto button applies an automatic color correction using the current

default setting.
• Click the Auto button to see what changes are made to the photo.
• To view the photo in its previous state, before the adjustment was
made, press and hold down the View previous state icon along the
bottom edge of the Properties panel. As long as the mouse button is
held down, the previous state is visible. When the mouse button is
released, the affected state returns.
 • Another way to view the photo in its previous state is by turning off
the visibility of the adjustment layer. is can be done by toggling off
the Layer visibility icon (eye icon) along the bottom edge of the
Properties panel or in the Layers panel located to the le of the layer
name.
• To undo the adjustment state, here are two options: −Option 1: Delete
the adjustment layer. With the adjustment layer selected in the Layers
panel, click on the trashcan icon along the bottom edge of that panel.
−Option 2: Reset the adjustment layer by returning its values to
their defaults (Brightness: 0; Contrast: 0) in the Properties panel.
• Adjust the Brightness and Contrast levels using the properties’ sliders
or scrubby sliders, which appear when the cursor is placed over the
name of each property. Tip: When experimenting with properties
such as Brightness and Contrast, try dragging each slider to its
extreme positions to see what kind of effects the related element can
have on the image. Most image adjustments require subtle
corrections, but it is good to recognize what extreme changes look
like. On the rare occasion, such extreme changes can produce a
unique and successful solution to a design brief.
• Note: e Use Legacy feature is employed when editing
Brightness/Contrast adjustment layers that were created with earlier
versions of Photoshop.
Step 4: Save the le (Ch09-Ex09.PSD).
• From the File menu, select the Save menu command [File menu > Save |
S].
• Notice that the Save As dialog box is presented and that Photoshop
suggests saving the le as a Photoshop Document since the le now
contains multiple layers.
• Save the le as Ch09-Ex09.PSD.

Using a Layer Mask to Isolate an Adjustment Layer

There are occasions when the designer wants to apply
an adjustment layer to a particular part of an image
and only that part. In this situation, a layer mask is
created and used to protect the rest of the image from
being affected by the adjustment.

Exercise 9.10: Use a Layer Mask to Limit the Effect of a

Hue/Saturation Adjustment Layer
Exercise le: Ch09-Ex10-photo.jpg (Figure 9.27)

Figure 9.27
Exercise 9.10 file. Poppies along Emerald Lake, Yoho National Park, British
Columbia, Canada.

ere are multiple ways to create a Quick Mask; two options are presented
in this exercise.

• Option 1: Use a selection tool to isolate a portion of the photo before

applying the adjustment layer. e selected area will be affected by the
adjustment layer.
• Step 1: Use the selection tool of your choice to select the red poppies.
 −Consider using one of the following selection tools: Quick
Selection Tool (W), Magic Wand Tool (W) or one of the Lasso
Tools (L).
• Step 2: Apply a Hue/Saturation adjustment layer to the photo.
−In the Adjustments panel, click on the Hue/Saturation symbol,
located in the second row.
−Or, locate and hold down the mouse button on the Create new ll
or adjustment layer icon located along the bottom edge of the
Layer panel. From the dropdown menu select Hue/Saturation,
and then release the mouse button.
−Either technique triggers the creation of the Hue/Saturation
adjustment layer and its accompanying layer mask in the Layers
panel. e action also opens the Properties panel.
• Step 3: Change the values (i.e., Hue, Saturation, Lightness) in the
Properties panel to alter the color of the poppies.
• Step 4: Review the contents of the adjustment layer (Hue/Saturation
1) in the Layers panel, particularly the layer mask thumbnail (Figure
9.28).
 Figure 9.28
Exercise 9.10, Step 4.

−Look speci cally at the layer mask thumbnail to see the protected
and unprotected areas of the image, based on the selection made
in Step 1.
−e protected or unaffected area is shown in black; the
adjustment layer does not impact this area.
−e unprotected or affected area, shown in white, is the
selection; this area is impacted by the adjustment layer.
−Once a layer mask has been created, it can be edited to increase
or decrease either the protected or unprotected areas (see Step
5).
• Step 5 (Optional): Edit the layer mask to increase or decrease the
unprotected or affected area.
 −Select the adjustment layer in the Layers panel, in this example
that is Hue/Saturation 1.
−Select the Brush Tool (B) in the Tools panel and paint black or
white to alter the layer mask.
−Painting with black subtracts from the selection and reduces
the area affected by the adjustment layer.
−Areas on the adjustment layer painted with white are added to
the unprotected area.
−Note: Several tools can be used to add or subtract color from a
Quick Mask (e.g., Brush Tool [B], Eraser Tool [E], Marquee
Tools [M] + Fill).
−Tip: To con rm that you are editing the layer mask and not
directly on the photo, look to the document window tab.
−In this tab, the current adjustment layer (e.g., Hue/Saturation)
and “Layer Mask” should be listed.
−If this information is not shown in the tab, revisit the Layers
panel and select the adjustment layer.
• Option 2: Create a Quick Mask aer the adjustment layer has been
applied.
• Step 1: Apply a Hue/Saturation adjustment layer to Ch09-Ex10-
photo.jpg.
−In the Adjustments panel, click on the Hue/Saturation symbol.
• Step 2: Change the values (i.e., Hue, Saturation, Lightness) in the
Properties panel to alter the appearance of the photo.
−Note: e entire photo is affected by these changes since no
speci c selection has been made.
• Step 3: Use the Brush Tool (B) to limit the effect of the adjustment
layer on the photo using the mask layer. By default, the entire image is
unprotected so the mask thumbnail in the Layers panel is all white.
Apply black to limit the effect of the adjustment.
−In the Layers panel, click on the layer mask thumbnail in the
Hue/Saturation adjustment layer.
−Usethe Brush Tool (B) to de ne the protected (unaffected) area,
by painting black onto the mask layer.
−In areas where black is applied, the photo returns to its
original colors.
Applying Multiple Adjustment Layers
Imagine a scenario in which you want to convert a color photo to black and
white while preserving a certain portion of the image in color and then
enhancing the color elements; this is the premise for Exercise 9.11. e
exercise explores applying multiple adjustment layers to a single image.
ere are multiple solutions to this task, and each image element could be
placed on a separate layer or these image elements could be isolated using
layer masks. Each solution will be outlined.
When a le contains multiple adjustment layers, the adjustments are
stacked in the Layers panel. e adjustment layer in the highest position in
the Layers panel in uences all layers and layer groups below it, including
both content layers and other adjustment layers. An adjustment layer can be
repositioned within the Layers panel like other layers. Press and hold down
the mouse button on the adjustment layer name, then drag the layer to the
desired position within the layer stack and release the mouse button.
To limit the effect of an adjustment layer to a single content layer, the
adjustment layer can be clipped to a layer. Select the adjustment layer, then
press the Adjustment Clips icon along the bottom edge of the Properties
panel. e selected adjustment becomes further indented, and the affected
layer name is underlined.

Exercise 9.11: Apply Adjustment Layers to Multiple Layers within

the Same Image
Exercise le: Ch09-Ex11.psd (Figure 9.29)
 Figure 9.29
Exercise 9.11 file. A soft day in Ireland, Glendalough, County Wicklow,
Ireland.

Exercise brief: Use the adjustment layers listed in the parentheses to alter the
appearance of the provided photo. e background of the color photo will
be converted to grayscale (Black & White), then the background will be
colorized (Hue/Saturation); the umbrella of Figure 1 (le) will change colors
(Hue/Saturation), and the overall tone of the photo will be brightened or
darkened (Brightness/Contrast). Tip: Before starting this exercise, review the
le layers and the content on each layer.

Step 1: Apply a Black & White adjustment layer to the Background copy
layer. Note: Since a copy of each gure has been placed on separate layers,
the Black & White adjustment layer will not affect the coloring of the gures.
• Select the layer (Background copy) that will be affected by the
adjustment layer.
• Apply a Black & White adjustment layer to the selected layer (Black &
White 1).
Step 2: Alter the tones in the background of the photo using the values in
the Properties panel. is step allows you to darken or lighten the shades of
gray in the background.
• Use the values (i.e., Auto, Tint, color sliders) in the Properties panel to
alter the tones in the background of the photo A. Auto button: Applies
an automatic color correction using the current default setting.
B. Tint: Provides a shortcut to the Color Picker (Tint Color) and
applies a selected color to the photo. Note: is exercise will
achieve the tint effect using a combination of Black & White and
Hue/Saturation adjustment layers.
C. Color Sliders: Control the image’s conversion from color to
grayscale: Reds, Yellows, Greens, Cyans, Blues, Magentas. Note:
When a color image is converted to grayscale, these color sliders
continue to in uence the appearance of the photo. In the
Exercise 9.11 photo, the connection between the color sliders and
the grayscale area can be clearly seen when the Magentas level is
changed and the purple umbrella becomes correspondingly
lighter or darker in its new grayscale tone.

Step 3: Colorize the background of the photo using a Hue/Saturation

adjustment layer. is step adds monochromatic color to the previously
grayscale background. Tip: It was a cool, rainy day in Ireland when the
photo was taken, so consider selecting a color that re ects this tone.
• Select the Black & White 1 layer in the Layers panel.
• Apply a Hue/Saturation adjustment layer (Hue/Saturation 1).
• In the Properties panel, select the Colorize checkbox.
• Note: You may need to scroll down to locate the Colorize checkbox.
• Use the Hue slider to adjust the color of the background.

Step 4: Change the color of the umbrella for Figure 1 (le) using a
Hue/Saturation adjustment layer.
• Select the Figure 1 layer.
• Apply a Hue/Saturation adjustment layer (Hue/Saturation 2).
 • In the Properties panel, use the Hue slider to adjust the color of the
umbrella.
• Note: Given its position in the hierarchy of layers, the Hue/Saturation
adjustment layer will affect the entire image, until it is clipped to the
Figure 1 layer.
• While still in the Properties panel, select the Clip icon. is action limits
the color adjustment to the Figure 1 layer.
• Notice the additional indentation of the Hue/Saturation adjustment
layer and the underline that has been applied to the layer name
Figure 1.
• To limit the color change to just the umbrella, create a layer mask to
protect the gure (not the umbrella).
• In the Layers panel, click on the layer mask thumbnail in the
Hue/Saturation 2 layer to activate the layer mask.
• In the Tools panel, click once on the Default Foreground and
Background Colors icon (D), which is located below the foreground
and background color chips. is action should set the foreground
color to white. Now, click once on the Switch Foreground and
Background Colors icon (X) to set the foreground color to black; this
color will be used limit the effect of the adjustment layer.
• Use the Brush Tool (B) to paint over the gure but not the umbrella
using black, since the goal is to protect this area from the adjustment
layer. As black is painted, the original color of the gure returns. Tip:
Since the Hue/Saturation 2 adjustment layer is clipped to the Figure 1
layer, do not worry about painting beyond the edges of the gure.
However, be careful not to paint black over the umbrella as this would
interfere with the effect of the adjustment layer on the umbrella.

Step 5: Change the tone of the overall photo using a Brightness/Contrast

adjustment layer. Note: To apply this adjustment to the entire image, the
adjustment layer needs to be the topmost layer in the Layers panel (Figure
9.30). e adjustment layer can be reordered once created, or to proactively
place the adjustment layer in the correct position, select the current topmost
layer and then apply the adjustment layer.
 Figure 9.30
Exercise 9.11, Step 5, Layers panel, Window menu > Layers.

• Select the topmost layer in the Layers panel.

• Apply a Brightness/Contrast adjustment layer. Reorder this layer
(Brightness/Contrast 1) if needed to move it to the top of the Layers
panel.
• In the Properties panel, use the Brightness and Contrast sliders to adjust
the overall tone of the photo.
• Brightening the image emphasizes the details including the low-hanging
clouds.
• Darkening the image creates a moody photo that captures the
atmosphere of the rainy day.
Step 6: Save the image (Ch09-Ex11.PSD).
• From the File menu, select the Save menu command [File menu > Save |
S].
e same results can be achieved using just the Background copy layer in
the provided le. In this scenario, layer masks protect certain image
elements from speci c adjustment layers (Figure 9.31).

Figure 9.31
Exercise 9.11, Alternate, Layers panel, Window menu > Layers.
Exercise 9.11 (Alternate): Apply Multiple Adjustment Layers to
a Single Layer
Exercise le: Ch09-Ex11.psd (see Figure 9.29) Note: Only the Background
copy layer will be used for this alternate solution. So, turn off the visibility of
the Figure 1 and Figure 2 layers.

Step 1: Apply a Black & White adjustment layer to the Background copy
layer.

Step 2: Colorize the background of the photo using a Hue/Saturation

adjustment layer.
Step 3: Create a layer mask on each of the adjustment layers created in Step
1 and 2 to limit the layers’ effects.
• Use the Brush Tool (B) to paint a black Quick Mask over Figure 1 (le)
and Figure 2 (right).
• As black is applied on each layer mask, the adjustment layer’s effect
disappears from the gures and their umbrellas.
Step 4: Change the color of the umbrella for Figure 1 (le) using a
Hue/Saturation adjustment layer.
• To proactively limit the in uence of the Hue/Saturation adjustment
layer, select the purple umbrella.
• e selected area is what will be the affected area.

Step 5: Change the tone of the overall photo using a Brightness/Contrast

adjustment layer.
Step 6: Save the image.
Alternatives to Adjustment Layers
For designers who prefer not to use adjustment layers, the same color and
tonal adjustments can be completed as destructive edits. e color
adjustment tools are available under the Image menu and the Adjustments
menu command. e list of adjustments includes those used in recent
exercises (i.e., Brightness/Contrast, Hue/Saturation, Desaturate [a.k.a. Black
& White]) [Image menu > Adjustments > Brightness/Contrast]. Keep in
mind that as destructive edits, there are limited ways to undo these changes,
including Undo [Edit menu > Undo | Z], Step Backward [Edit menu >
Step Backward] and the History panel [Window menu > History]. If the le
has not been saved since the adjustment was applied, you can also use the
Revert menu command [File menu > Revert].
Filters
Just as you might apply a lter to an Instagram photo, Photoshop provides a
variety of lter options for designers. e list of available lters is available
under the Filter menu (Figure 9.32). Some lter changes are subtle (e.g.,
Blur), while others are dramatic (e.g., Distort > Twirl; Stylize > Oil Paint).
Applying any lter is considered a destructive edit.

Figure 9.32
Filter menu.

Considerable time can be spent exploring and experimenting with lters

and their associated properties. As time permits, open a photo and try
applying different lters to the image. In the meantime, this chapter explores
a few commonly used lters including Sharpen, Blur and Artistic:
• Sharpen: Focus a selection and improve its clarity [Filter menu > Sharpen
> Sharpen]. ere are several sharpen lters, which focus blurred images by
increasing the contrast of adjacent pixels.
• Tip: Be careful not to oversharpen an image, which can divert
attention from the subject.
• Blur/Blur Gallery: Soen a selection or an entire image; these lters can
be useful for retouching.
• Artistic lters: Filters in the Filter Gallery apply painterly effects (e.g.,
Dry Brush, Palette Knife, Watercolor), as shown in Figure 9.33 [Filter
menu > Filter Gallery…].

Figure 9.33
Filter Gallery, Rough Pastels currently selected, Filter menu > Filter
Gallery….

Many lters present properties available to adjust the impact of the lter.
When changes are made to lter properties, be patient waiting for the effect
to be applied. Generally, the larger the le, the longer it takes for the lter to
be applied.
e Filter Gallery provides a preview window in which a selected lter can
be previewed before it is applied to the image le, as shown in Figure 9.33.
Controls located below this preview window allow you to zoom in, zoom
out and move the image within the window in order to view the effect of the
selected lter on a particular area of the photo. Use these features to your
advantage as you experiment with lters.

Exercise 9.12: Apply an Artistic Filter to Alter the Appearance of

a Photo
Exercise le: Ch09-Ex12-photo.jpg (Figure 9.34)

Figure 9.34
Exercise 9.12 file. A water view, Peggy’s Cove, Nova Scotia, Canada.

Step 1: Create multiple copies of the Background layer (refer to Exercise 9.1:
Duplicate the Background Layer).
• Open the Layers panel from the Window menu [Window menu >
Layers].
• From the Layers panel menu available in the upper-right corner of the
window, select Duplicate Layer….
• In the Duplicate Layer dialog box, accept the provided name Background
copy.
 • Click OK to create the new layer.
• Repeat this process several times to create multiple copies of the photo.

Step 2: Apply a unique lter on each layer, renaming the layer name to
re ect the name of the applied layer.
• Select a layer in the Layers panel and make sure that this layer is
currently visible and not hidden by layers above it in the layer stacking
order.
• Tip: Turn off or on visibility of layers to ensure that the selected layer
is visible.
• From the Filter menu, select a lter to apply to the layer content.
• If satis ed with the lter, click OK to accept the effect.
• en, rename the layer entering the name of the lter as the layer name.
If dissatis ed with the lter, click Cancel or Undo the action [Edit menu
> Undo | Z].
• Repeat this process to sample additional lters. Each time, be sure to
verify which layer is selected and currently visible.

Step 3: Save the image as a PSD le to preserve the layers (Ch09-Ex12.PSD).

• Select the Save menu command from the File menu [File menu > Save |
S].
Once multiple lters have been applied to different layers within the le,
you have the ability to compare and contrast the lters by turning on and off
the visibility of layers.

Applying Multiple Filters in the Filter Gallery It is possible

to apply multiple filters within the Filter Gallery to an
image (Figure 9.35). To do this, it is first necessary to
create a new effect layer for each additional filter by
clicking on the New effect layer icon located along the
bottom of the Filter Gallery window. The behaviors of
effect layers are similar to those of layers within the
Layers panel. The stacking order of the effect layers can
be rearranged; the visibility of each effect layer can be
toggled on and off; and an effect layer can be deleted.

Figure 9.35
Filter Gallery, Filter menu > Filter Gallery…: (A) New effect layer and (B)
Delete effect layer.

Special Processes
Adding a Watermark
If you plan to post your photos or other images online, it is a good practice
to add a watermark to these images before sharing them. A watermark can
be a useful way to promote your name and/or the name of your business.
Using a watermark lets viewers know who owns the rights to an image.
Although watermarking will not protect your images 100%, it will deter
some people from using your images without permission.
To create a reusable watermark, a custom brush is created. e custom
brush is saved in the Photoshop preferences (on the computer). Note: e
process of resetting Photoshop to the Default Workspace discards any
custom brushes that have been created. To avoid having to recreate the
brush, the designer can either export the brush or save the brush to a new
library, which can be reloaded aer the workspace has been reset.

Exercise 9.13: Create and Apply a Watermark

Exercise le: Ch09-Ex13-photo.jpg (Figure 9.36)
 Figure 9.36
Exercise 9.13 file. The Gateway Arch, Gateway Arch National Park, St.
Louis, Missouri.

Step 1: Create a new le in Photoshop with le properties that correspond

to the intended output of the image (e.g., online or print). For this exercise,
we plan to post the photo online. So, select the Web tab, and select Web
Small from the Blank Document presets.
 • Begin at the File menu and select the New… menu command [File menu
> New… | N].
• In the New Document dialog box, look for the Web set, and from the
“Blank Document Presets” select Web Minimum (1024 × 768 px @ 72
ppi).
• Click Create to generate the image le.

Step 2: Use the Type Tool (T) to create a line of black text for the watermark.
Or, move a copy of a logo from another source to this new le. Note: If the
logo is in color, convert it to grayscale before moving it to the new le.
• Select the Type Tool (T) in the Tools panel and set the typographic
properties in the Options bar to match your personal preferences.
• Set the Foreground Color to black (or gray for a multidimensional feel) in
the Options bar.
• Position the cursor over the canvas, click once and create a line of text.
• Tip: If the text does not appear on the canvas, double-check the Text
Color in the Options bar, and if the color chip is white, double-click
on the color chip to change the color to black or gray.
• When nished creating the text, click on the Move Tool (V) in the Tools
panel.

Special Characters, a.k.a. Glyphs

To add special characters to the watermark (e.g., ©, accents), access the
Glyphs panel from the Window menu [Window menu > Glyphs]. is
panel contains punctuation, superscript, subscript, symbols, special
characters and glyphs from other languages (Figure 9.37).
With a text box created and active, double-click on the glyph that you
want to add to your design, and it will appear on the canvas. Recently
used glyphs are stored at the top of this panel for easy access.
 Figure 9.37
Glyphs panel, Window menu > Glyphs, (A) Recent Glyphs; (B) Set
the font family; (C) Set Font Category; (D) Glyphs panel menu; (E)
Set the font style; (F) Zoom (Out | In); (G) Scale Glyphs (Scale
Down | Scale Up).

Step 3: Select the watermark.

• Select the Rectangular Marquee Tool (M) in the Tools panel.
• Draw a bounding box (selection) around the watermark.

Step 4: Create a brush based on the selected watermark using the De ne

Brush Preset… menu command under the Edit menu. Once created, the new
brush will be available in the Brush Catalog.
 • From the Edit menu, select De ne Brush Preset… [Edit menu > De ne
Brush Preset…].
• In the Brush Name dialog box, enter a name for the new brush.
• Click OK to create the brush.

Step 5: Save your work. Tip: Saving this le as a Photoshop Document

allows for future edits and adjustments to the design without having to
recreate the watermark from scratch.
• From the File menu, select the Save As… menu command [File menu >
Save As… |  S].

Step 6: Open the provided le (Ch09-Ex13-photo.jpg), the le to which the

watermark will be added.
• From the File menu, select the Open… menu command [File menu >
Open… | O].
• Browse to the provided exercise le, Ch09-Ex13-photo.jpg.
• Click Open.

Step 7: Use the Brush Tool (B) to apply the watermark to the image. Tip: Be
aware of the layer to which the watermark is being applied.
• Select the Brush Tool (B) in the Tools panel and adjust the properties
(e.g., Brush Size, Opacity, Color).
• If the watermark is not currently selected in the Brush Preset picker
located in the Options bar, select it.
• As the cursor is moved over the canvas, an outline of the watermark
should be visible.
• When the watermark is in the desired location, click once (Figure 9.38).
• Note: Painting with the Brush Tool (B) creates multiple instances of the
watermark.
 Figure 9.38
Exercise 9.13, Step 7.

e next time the watermark is to be added to an image, select the Brush

Tool (B) and click once. Note: is process can also be used to create a new
brush that is not a watermark, instead a shape, logo or other mark that may
be used frequently.

Creating a Panorama (Photomerge) Multiple photos

can be combined into one continuous image, a
panorama, via the Photomerge command. Three photos
taken at Bryce National Park were combined to
produce the panorama presented in Figure 9.39. In
order for the Photomerge command to be successful,
the source photos should overlap by at least a third,
but no more than 60%. Too little overlap and the tool
may be unable to assemble the panorama; too much
overlap and the tool may not be able to blend the
images. The photos to be combined can be horizontal
or vertical.
 Figure 9.39
Panorama. Thor’s Hammer as seen from Sunset Trail, Bryce National Park,
Utah.

Photoshop provides several options for the combining of photos into a

panorama in the Photomerge dialog box (Figure 9.40). Let’s review these
options before proceeding to Exercise 9.14: Create a Panorama Using
Photomerge.

Figure 9.40
Photomerge dialog box, File menu > Automate > Photomerge….
 e Layout options (i.e., Auto, Perspective, Cylindrical, Spherical, Collage,
Reposition) are used to create a pleasing composition.
e following descriptions are drawn from the Photoshop Online Help:
A. Auto: Photoshop analyzes the source images and applies either a
Perspective, Cylindrical or Spherical layout, depending on which produces a
better photomerge.
B. Perspective: Creates a consistent composition by designating one of the
source images (by default, the middle image) as the reference image.
e other images are then transformed (repositioned, stretched or
skewed as necessary) so that overlapping content across layers is
matched.
C. Cylindrical: Reduces the “bow-tie” distortion that can occur with the
Perspective layout by displaying individual images as on an unfolded
cylinder. Overlapping content across les is still matched. e
reference image is placed at the center. is is best suited for creating
wide panoramas.
D. Spherical: Aligns and transforms the images as if they were for
mapping the inside of a sphere, which simulates the experience of
viewing a 360° panorama. If you have taken a set of images that cover
360°, use this for 360° panoramas. You might also use Spherical to
produce nice panoramic results with other le sets.
E. Collage: Aligns the layers and matches overlapping content and
transforms (rotate or scale) any of the source layers.
F. Reposition: Aligns the layers and matches overlapping content but does
not transform (stretch or skew) any of the source layers.

e other available options (i.e., Blend Images Together, Vignette

Removal, Geometric Distortion Correction, Content Aware Fill Transparent
Areas) affect how the photos are combined and the handling of any gaps or
empty spaces generated during the photomerge process. e following
descriptions are drawn from the Photoshop Online Help: A. Blend Images
Together: Finds the optimal borders between the images and creates seams
based on those borders, and color matches the images. With Blend Images
Together turned off, a simple rectangular blend is performed. is may be
preferable if you intend to retouch the blending masks by hand.
B. Vignette Removal: Removes and performs exposure compensation in
images that have darkened edges caused by lens aws or improper lens
shading.
C. Geometric Distortion Correction: Compensates for barrel, pincushion
or sheye distortion.
D. Content Aware Fill Transparent Areas: Seamlessly ll the transparent
areas with similar image content nearby.

Tips: Taking Photos for a Panorama (Photomerge)

e quality of the source photos plays a large role in the success of the
panoramic compositions. Use the following tips to help increase the
quality of your source photos.
Tip 1: Create photo markers before and aer a series of photos • Before
taking the rst photo in the series, place your hand in front of the
camera lens being careful not to touch the lens or point the camera
to the ground and take a photo.
• e subject of this photo marker does not matter, just make it
something that is easily identi able as a marker (e.g., your
hand, the ground).
• Take another marker shot when you are nished taking the series
of photos for the panorama.
• When reviewing your photos, these photo markers will make it
easier to locate the series of photos earmarked for Photomerge
among other photos taken of the scene.
• If you take multiple series of photos (a good tip), this technique
also lets you know where one series of panorama photos ends and
another begins.
Tip 2: Body position • Before you begin taking a series of photos,
assess the scene and plant your feet shoulder-width apart in the
 direction of your expected last shot. en, wind yourself around to
the starting shot.
• As you take photos (overlapping each photo by at least 30%),
unwind yourself so you are looking forward (with your body
positioned in line with your feet) for the nal photo.
• is technique can provide stability and prevent you from
overextending your reach and taking uneven photos.
Tip 3: Keep the camera level • Avoid tilting the camera or changing
the camera’s height while taking the photos. If available, use a
tripod or monopod to provide camera stability.
Tip 4: Avoid the zoom • Maintain an equal distance between the
camera and the scene while taking the photos; do not zoom in or out
between photos.
Tip 5: Consistent exposure
• When possible, take the photos when the scene is evenly lit.
• e blending features in Photomerge can help smooth out some
differences in exposure; however, extreme differences (e.g.,
photographing a scene that is in both shadow and sunlight) make
alignment with the photos difficult.

Exercise 9.14: Create a Panorama Using Photomerge

Exercise les: Ch09-Ex14A-photo.jpg, Ch09-Ex14B-photo.jpg, Ch09-
Ex14C-photo.jpg, Ch09-Ex14D-photo.jpg, Ch09-Ex14E-photo.jpg
(Figure 9.41)

Figure 9.41
Exercise 9.14 files. Bryce National Park, Utah.
Step 1: Select the photos that will be combined.
• Begin at the File menu and select the Automate menu command, then
the Photomerge… command [File menu > Automate >
Photomerge…].
• In the Photomerge dialog box, look for the “Source Files” header and
below that select either Files or Folder from the source dropdown menu
(see Figure 9.40).
• Click Browse… and navigate to the series of photos.
• Select the three photos that will be used for the panorama (Ch09-
Ex14B-photo.jpg, Ch09-Ex14C-photo.jpg, Ch09-Ex14D-photo.jpg).
• Do not select the photo markers, the photos taken before and aer the
series of photos.
Step 2: Use the available options in the Photomerge dialog box to adjust the
layout of the photos and the appearance of the nal panorama.
• Under the “Layout” header, select the Auto option.
• Below the list of les to be used, select the checkboxes for both Blend
Images Together and Content Aware Fill Transparent Areas.
Step 3: Initiate the photomerge and create a panorama.
• Click the OK button.
• Photoshop creates a multilayer image from the source images, blending
where the images overlap (Figure 9.42).
 Figure 9.42
Photomerge complete. Layers panel, Window menu > Layers.

Step 4 (Optional): As needed, use the Crop Tool (C) to eliminate any
unwanted content within the panorama.
Step 5: Save the le (Ch09-Ex14.psd).
• Select the Save As menu command from the File menu [File menu >
Save As…].
• Use the following le name for the panorama, Ch09-Ex14.psd.
• Con rm that the Format dropdown menu lists “Photoshop.”

Aer creating a panorama using this combination of options, repeat the

process selecting a different Layout option. Once created, compare and
contrast the resulting panoramas. Depending on the subject matter and the
series of photos, the ideal combination of options will vary. So, it is
important to try different combinations and select the nal panorama image
based on the results.
Looking Ahead
Use the Photo Editing Work ow and the associated steps presented in this
chapter to strengthen your photos. Revisit the presented tools and processes
to increase your ease and comfort applying the necessary edits.
is chapter has presented you with a lot of information regarding photo
editing practices. Additional photographs are available via the book’s
companion website for your use to practice working with the tools and the
processes. Utilize the Photoshop skills developed here to create visually
appealing and dynamic images.

Discussion
Discussion 9.1: Can You Believe What You See?
In this digital age, can you believe what you see? Looking at magazine covers
at a newsstand or images online, are you skeptical about the authenticity and
the accuracy of what you see? Why is it important to question these images?
What incentive does a magazine or website have for featuring modi ed
photos? What impact can photos that have been modi ed, particularly
photos of celebrities and athletes, have on the viewer?
Should the media be required to inform consumers that images have been
digitally altered? What would this look like? Should a label or a symbol be
added as a kind of watermark to denote alterations? Would this apply to any
photo edits, including straightening the horizon or removing red eye from a
photo?

Activities
Activity 9.1: Photo Editing Your Photos Review the photos
that were taken as part of the Chapter 8: Digital Photography
in Design activities. Apply the necessary photo editing
techniques to these photos to strengthen their
composition and overall impact. Use the Photo Editing
Work ow as a checklist of possible edits as you assess
the needs of each photo.
When the edits on a particular photo are complete, change the le name
(e.g., appending “-v2” to the end of the le name) when saving the le [File
menu > Save As…]. is allows for a side-by-side comparison of the photo
pre- and post-edits.
Activity 9.2: Stylize a Photo Select one of the photos
taken as part of the Chapter 8: Digital Photography in Design
activities and apply a combination of adjustment
layers and filters to create a stylized image.
What impact do these edits have on the subject of the photo and the
overall presentation of the image?
Exercise File(s) Available on the Companion Website,
URL
Ch09-Ex01-photo.jpg | Exercise 9.1 le. Iceberg at the dock, Bridgeport,
Newfoundland and Labrador, Canada.
Ch09-Ex02-photo.jpg | Exercise 9.2 le. Icebergs, Twillingate, Newfoundland
and Labrador, Canada.
Ch09-Ex03-photo.jpg | Exercise 9.3 le. Making friends at Eastland Alpacas,
Mount Joy, Pennsylvania.
Ch09-Ex04-photo.jpg | Exercise 9.4 le. Irish country cottage, Inis Mór,
County Galway, Ireland.
Ch09-Ex05-photo.jpg | Exercise 9.5 le. Overlooking the Badlands, Badlands
National Park, South Dakota.
Ch09-Ex06-photo.jpg | Exercise 9.6 le. Looking up to St. Colman’s
Cathedral, Cobh, County Cork, Ireland.
Ch09-Ex07-photo.jpg | Exercise 9.7 le. Chipmunk, Zion National Park,
Utah.
Ch09-Ex08-photo.jpg | Exercise 9.8 le. Daisy, Lake Toxaway, North
Carolina.
Ch09-Ex09-photo.jpg | Exercise 9.9 le. Buoys, North Rustico, Prince
Edward Island, Canada.
Ch09-Ex10-photo.jpg | Exercise 9.10 le. Poppies along Emerald Lake, Yoho
National Park, British Columbia, Canada.
Ch09-Ex11.psd | Exercise 9.11 le. A so day in Ireland, Glendalough,
County Wicklow, Ireland.
Ch09-Ex12-photo.jpg | Exercise 9.12 le. A water view, Peggy’s Cove, Nova
Scotia, Canada.
Ch09-Ex13-photo.jpg | Exercise 9.13 le. e Gateway Arch, Gateway Arch
National Park, St. Louis, Missouri.
Ch09-Ex14A-photo.jpg, Ch09-EX14B-photo.jpg, Ch09-EX14C-photo.jpg,
Ch09-EX14D-photo.jpg, Ch09-EX14E-photo.jpg | Exercise 9.14 les. Bryce
National Park, Utah.
URL: http://www.crcpress.com/9780367075347

External Links Mentioned in the Chapter Photoshop

Online Help | https://helpx.adobe.com/photoshop

 
* Overlay options include Rule of irds, Grid, Diagonal, Triangle, Golden Ratio and Golden Spiral.
** e Straighten feature is available via both the Crop Tool (C) and the Ruler Tool (I). e Ruler Tool
(I) can straighten the photo, however excess canvas is le in the image. e most efficient way to
straighten and trim a photo is using the Crop Tool (C).
† In animals, red eye or eyeshine may appear as a yellow or green glow (not red) due to a special
re ective layer in the retina of many animals’ eyes. e Red Eye Tool (J) should be able to correct
this eyeshine using the process outlined in Exercise 9.8.
‡ Tonal range refers to the total number of tones possible in an image. In a black-and-white photo,
this equates to the available shades of gray.
 10
Typography in Design

Type is a key element of design; it is equal in importance to graphics. A

contributing factor to the tone and mood of an image, type is integral to the
overall success or failure of a design. However, type is oen one of the nal
elements incorporated. is chapter outlines the goals of type in design and
encourages the designer to utilize typography in a meaningful way.
Typography refers to the style and appearance of the printed word.
e chapter begins with an overview of type and related terminology. is
includes distinguishing characteristics used to identify type. Familiarity with
this terminology will facilitate discussions of typefaces and their
classi cations into one of four type categories. Type assessment in the forms
of legibility and readability are presented along with techniques for
improving these attributes. Finally, the methods for adjusting the
appearance of type in the Adobe Creative Cloud are discussed.

Typography Terminology
First, here is some basic terminology. It is important to recognize and
understand the fundamental elements of type and how they relate to one
another.
• Character or glyph: e basic typographic element. is refers to any
individual letter, number or punctuation mark.
• Letterform: A term used to refer to a letter’s shape.
• Typeface: e speci c letterform design of an alphabet including its
characters and symbols. Each typeface is known by a name, such as
 Arial, Cambria and Times New Roman.
e term typeface originated during times of movable type.* Blocks of
wood or metal contained a relief image of a character on one surface,
called the face.
• Font: A complete character set within a typeface in one particular size
and style. is includes upper- and lowercase, numerals, punctuation
marks, and any special characters contained in the typeface. Fonts are
also speci c computer les that contain all the characters within a
typeface.
During times of movable type, a font referred to a collection of pieces
of wood or metal type. ey were a speci c size and, therefore, could
only print one size character. Contemporary print processes can
reproduce almost any size character from one digital font. erefore,
the terms font and typeface, while distinct, are oen used
interchangeably.
• Type family: e collection of all the sizes and styles of a typeface, under
the name of the typeface. For example, all the styles and sizes of
Helvetica form the Helvetica family. A type family may contain
variations, but a strong visual continuity exists because the variations
are all based on common design characteristics.

The Anatomy of Type

As we dissect the basic anatomy of type, refer to Figure 10.1. First, look to
the guide lines used to measure different aspects of type. e baseline is the
invisible horizontal line on which all type sits. In a typeface, the height of
lowercase letters that have no ascenders or descenders is referred to as the x-
height. e meanline is based on the height of the letter “x.” e height of
this line varies depending on the font being used. e height of most
lowercase letters that extend above the x-height reach the ascender line (e.g.,
b, d, h, k, l). e exception is the letter “t,” which generally does not reach
the ascender line. In the opposite direction, lowercase letters that continue
below the baseline extend to the descender line (e.g., g, j, q). In certain
typefaces, some capital letters (e.g., J, Q) reach this line. Just as x-height is
used to measure lowercase letters, the cap line is used to measure the cap
height, the height of a capital letter above the baseline.

Figure 10.1
Typography guide lines: (A) cap line, (B) ascender line, (C) meanline, (D)
baseline, (E) descender line, (F) cap height, and (G) x-height. Typeface: Minion
Pro.

Figure 10.2 highlights some of the components and characteristics used to

describe type. Tip: Do not get overwhelmed with terminology in this
chapter; use the provided gures for reference as you get started.

Figure 10.2
Typography components: (A) bowl, (B) apex, (C) crossbar, (D) descender, (E)
ascender, (F) serif, (G) finial, (H) counter, (I) arm, (J) tittle, (K) loop, and (L) stroke.
Typeface: Minion Pro.

• Stroke: A line that forms letters.

• Bowl: e curved stroke that encloses parts of letters (e.g., B, P, R, b, p)
creating a counter.
• Apex: e point at the top of a character where two strokes meet (e.g., A,
N, M).
• Descender: e part of a lowercase or capital letter that extends below
the baseline (e.g., j, p, q, y, Q and sometimes J). e exception to this
 label is the lower part of the letter “g,” which is referred to as a loop
whether it is fully or partially closed.
• Ascender: e part of a lowercase letter that extends above the x-height,
usually continuous with a main stroke (e.g., h, l, t).
• Serif: A are or wedge-shaped form at the end of a letterform’s strokes.
• Finial: A tapered or curved end of letters (e.g., c, e).
• Counter: e enclosed or partially enclosed negative space of a
letterform (e.g., M, O, c, d). e exception to this label is the enclosed
part of the letter “e,” which is referred to as the eye.
• Arm: A horizontal stroke that does not connect to a stroke at one or
both ends, such as the top of the capital letters “E” or “T.”
• Tittle: Name for the dot above the letters “i” and “j.”
• Crossbar: Connects two strokes, as in the capital letters “A” or “H.”

Typography’s Units of Measure

e basic units of measurement used when working with type are
points and picas. Type size is measured in points from the top of the
ascender to the bottom of the descender (Figure 10.3). A pica
[pronounced: pahy-kuh] is used to measure width, such as the width of
a column or a gutter, the space between columns. Picas are more
convenient than inches because smaller spaces can be measured in
whole units instead of fractions.
Point, pica and inch conversations:

• One point = 1/72 of an inch • One pica = 12 points • One inch =

6 picas or 72 points

Figure 10.3
Type size. Typeface: Big Caslon Medium.
Categories of Type
Typefaces can be classi ed in one of four primary categories of type: serif,
sans serif, script or decorative. Within certain categories, there are subgroups
of typefaces. For more information about these subgroups, access the
reference at the end of this chapter (see External Links Mentioned in the
Chapter).
1. Serif: Serif typefaces possess a are or wedge-shaped form at the ends
of the main strokes of characters, which is called a serif (Figure 10.4).
Serif typefaces are regularly used for lengthy blocks of text in print
documents (e.g., newspapers, magazines). Online, serif typefaces are
oen used for headlines and body text providing contrast to sans serif
typefaces.

Figure 10.4
Examples of Serif typefaces.

• Subgroups include: Old Style, Transitional, Modern, Slab • Examples:

Garamond, Onyx, Times New Roman 2. Sans Serif: In French, the
word “sans” means without, so sans serif typefaces are those without
serifs on the ends of strokes (Figure 10.5). Sans serif letterforms are
typically the same thickness all the way around; they are considered
monoweight. Sans serif typefaces are widely used for online and
mobile content as their wide, open lettering is easy to read on screens.
 • Subgroups include: Grotesque, Square, Geometric • Examples: Arial,
Futura, Helvetica

Figure 10.5
Examples of Sans Serif typefaces.
3. Script: is category includes typefaces that appear to have been hand-
lettered (Figure 10.6). Script typefaces include scripts that connect,
scripts that do not connect, scripts that look like handwriting, and
scripts that look like traditional calligraphy. Scripts should not be used
for long blocks of text or instances of all caps as they are challenging to
read and can distract from the message that is being communicated.
• Subgroups include: Formal, Casual • Examples: Brush Script,
Edwardian Script, Mistral

Figure 10.6
Examples of Script typefaces.
 4. Decorative: ese typefaces are distinctive and oen ornamental
(Figure 10.7). ey provide an easy way to add personality to a design.
However, since decorative typefaces are so distinctive, it is best to use
them sparingly. Decorative fonts are oen used on posters and in
advertisements to attract attention.
• Subgroups include: Grunge, Graffiti • Examples: Curlz, Stencil,
Playbill

Figure 10.7
Examples of Decorative typefaces.

Adobe Fonts and Additional Sources

e Adobe applications come loaded with access to a lengthy list of fonts.
ese fonts are OpenType, a cross-platform font le format developed by
Adobe and Microso. e OpenType format offers cross-platform
compatibility, the same font le works on macOS and Windows computers.
For more information about OpenType, access the reference provided at the
end of this chapter (see External Links Mentioned in the Chapter).
Adobe’s list of fonts is available as a font dropdown menu in both the
Options/Control bar** and the Character panel in the Adobe Creative Cloud
applications. is menu provides a list of fonts along with a “Sample” of each
font (Figure 10.8). Fonts can be ltered based on type categories (default: All
Classes), user-designated “favorite fonts” (star icon), and fonts similar to the
currently selected font (double-wave icon). Access to the Adobe Typekit
(Tk), a subscription service for fonts, is also available from this menu.
Figure 10.8
Photoshop Character panel: (A) sample typefaces; (B) Row 1 (left to right): Show
only fonts with classifications; Show fonts from Typekit (Tk); Show favorite fonts (star
icon); Show similar fonts (double-wave icon); Add fonts from Typekit.

Should the occasion arise when the designer wants to expand their font
options, font websites are resources similar to stock image websites. On
these sites, some fonts are free for personal use, while others are available for
purchase or license. Similar to acquiring a stock image, the designer should
review the licensing options carefully. In addition to Adobe’s Typekit
(http://www.typekit.com), other potential sources include DaFont.com
(http://www.dafont.com) and Font Squirrel (http://www.fontsquirrel.com).

Monospaced vs. Proportional Fonts

e same word can take up varying amounts of horizontal space
depending on the nature of the selected typeface. e lines of text in
Figure 10.9 illustrate the difference between monospaced and
proportional fonts. In the monospaced font every letterform occupies
the same horizontal space. In contrast, the space occupied by the
proportional font varies based on the width of individual characters.
 Figure 10.9
Monospaced vs. proportional fonts. Typeface: Monospaced:
Courier (40 pt.)/Proportional: Chaparral Pro (40 pt.).

Legibility and Readability

Typography is assessed in terms of both legibility and readability. As
designers, we need to be aware of both attributes when creating and
formatting text. Legibility addresses the clarity of individual characters and
words. Building on this, readability refers to the clarity of extended amounts
of text (e.g., paragraph or page of text). Readable text affects how the viewer
processes information in a design.
So, what makes a typeface readable? e short answer is a combination of
factors. For a more thorough and useful response, let’s review some of these
factors that contribute to readable type.
Contrast: Contrast is achieved when two or more elements are markedly
different from one another, for example, using serif typeface for a headline
and sans serif typeface for body copy. Contrast is among the six principles of
design introduced in Chapter 2: e Elements and Principles of Design. In
typography, contrast can be created using typeface, size, style, color or
weight.
Contrasts in type are used to reinforce visual hierarchy, a sense of order
and organization within a design. e visual hierarchy helps to direct the
viewer to the most important information rst, and then guides the viewer’s
attention through the rest of the design.
Measure: e length of a line of text is known as its measure. An even
measure is easy to read across multiple lines or a block of text. e use of
columns can contribute to an even measure.
 Here are a few tips related to line length: • Tip 1: Be mindful of where lines
of text end • Short lines or single words le hanging at the end of a
paragraph are known as widows; those found at the top of a column are
known as orphans.
• In typography, it is a good practice to avoid widows and orphans to
encourage visual balance and an ease of reading.
• Tip 2: Limit centered text • Limit the use of center alignment to
headlines or single lines of text.
• Avoid using center alignment for blocks of text.
• Centered text requires that the viewer visually rede ne the starting
point for each line when reading. is is wasted energy and a
potentially disrupting action.
Spacing: Use negative space in and around text to allow the viewer’s eyes to
easily scan the page. e following formatting properties can be adjusted to
alter the amount of space between letters, words and lines.
• Kerning [pronounced: kur-ning]: e distance between two characters;
how close or far apart characters are horizontally. is property is
particularly useful for angled letters (e.g., A, V, W), when more negative
space exists around the letterforms.
• Tracking: e horizontal distance between characters in a large block of
text (or a word or a sentence).
• Leading [pronounced: led-ing]: e vertical space between rows of type,
measured from baseline to baseline. Adjusting leading is similar to
changing the line spacing in a word processing application (e.g., single
spacing vs. double spacing). For easy-to-read blocks of text, the leading
value should be greater than the font size, up to 1.5 times as great. For
example, a 12 pt. font could successfully use leading between 12 and 18
pts.
Figure 10.10 illustrates these properties at work. In View 1, “Visit
Your/NATIONAL/PARKS” presents the application’s default spacing
between the letters and the lines of text. In View 2, tracking has increased the
spacing between the letters in “Visit Your.” is change justi es the text on
the rst two lines, “Visit Your/NATIONAL,” now vertically begin and end
together. Next, kerning has decreased the space between the letters “P” and
“A” in “PARKS,” bringing the letters closer together for a more natural look.
Finally, leading has decreased the space between the three lines of text,
bringing them closer together for a more polished look. In View 3, the
tracking of “PARKS” has been increased to match the justi cation of the
other two lines and the text color has been changed to create the nal
design.

Figure 10.10
Spacing example: tracking, kerning, leading. View 1: default spacing; View 2:
spacing adjustments applied; and View 3: final design. Typeface: Candara.

Emphasis: When a term or phrase warrants special attention, use italics

(most popular) or bold for emphasis. Tip: Avoid using underline for
emphasis as this formatting suggests that the item is linked, as in
hyperlinked, even when presented on a printed page. Across a project,
choose one form of emphasis and be consistent. Too much emphasis can be
distracting and can disrupt readability.
Contrast, measure, spacing and emphasis in uence the layout of a single
word, line or block of text and therefore the viewer’s processing of the
message. Working in unison, these factors contribute to increased
readability of text.

Tips for Working with Multiple Typefaces Tip 1: Limit of 3.

• Use no more than three typefaces in a single project.
• If this sounds too limiting, remember that within each typeface,
there are multiple font sizes and styles (e.g., italics, bold, strong).
Tip 2: Similar x-height.
• When incorporating multiple typefaces into a design, select fonts
that have a similar x-height. is detail will help with the
alignment of characters and words.

Adobe’s Type Properties

Applications in the Adobe Creative Cloud (Photoshop, Illustrator and
InDesign) provide the means to create and alter text. Across applications,
text created using the Type Tool (T) can be adjusted via the formatting
properties available in the Options/Control bar. Additional formatting
properties can be accessed through the Character and Paragraph panels. e
paths to access these panels vary by application; however, once opened, the
panels’ formatting properties are similar across applications.
Accessing the Character and Paragraph Panels
• Photoshop: Window menu, select Character or
Paragraph [Window menu > Character|Paragraph]
• Illustrator: Window menu, select Type, then Character or Paragraph
[Window menu > Type > Character|Paragraph]
• InDesign: Window menu, select Type & Tables, then Character or
Paragraph [Window menu > Type & Tables > Character|Paragraph]
e Character panel provides options for formatting characters and
letterforms (Figure 10.11). A tooltip containing the name of the property
appears when the cursor is positioned over a symbol in this panel. ese
tooltips can be helpful while you are becoming familiar with the formatting
properties.

Figure 10.11
Character panel (Photoshop), properties listed beginning with Row 1 (left to right):
Search for and select fonts (default: Myriad Pro), Set the font style (default:
Regular); Row 2: Set the font size, Set the leading; Row 3: Set kerning between two
characters, Set the tracking for the selected characters; Row 4: Vertically scale,
Horizontally scale; Row 5: Set the baseline shift, Set the text color; Row 6: Faux Bold,
Faux Italic, All Caps, Small Caps, Superscript, Subscript, Underline, Strikethrough;
Row 7: Standard Ligatures, Contextual Alternates, Discretionary Ligatures, Swash,
Stylistic Alternates, Tilting Alternates, Ordinals, Fractions; and Row 8: Set the
language on selected characters for hyphenation and spelling, Set the anti-
aliasing method (i.e., None, Sharp, Crisp, Strong, Smooth).

e Paragraph panel provides formatting options for text, including

alignment, justi cation, indentation, space before or aer a paragraph and
hyphenation (Figure 10.12). You may be familiar with some of these
formatting properties as they are frequently used in word processing.

Figure 10.12
Paragraph panel (Photoshop), properties listed beginning with Row 1 (left to right):
Align (Left align text, Center text, Right align text), Justify (Justify last left, Justify last
centered, Justify last right), Justify All; Row 2: Indent left margin, Indent right margin;
Row 3: Indent first line; Row 4: Add space before paragraph, Add space after
paragraph; and Row 5: Automatic hyphenation.

• Alignment: is property arranges content in a straight line and uses

even spacing between words. Alignment options include Le, Center,
Right (Figure 10.13). Note: ese examples use Lorem Ipsum placeholder
text for content; placeholder text is discussed in Chapter 13: Page
Layout.
Figure 10.13
Alignment options: Left-aligned text, Center-aligned text, Right-aligned text.
Typeface: Myriad Pro.

• Le-aligned text: e le side of the paragraph is straight (or ush) and
the right side is ragged.
• Center-aligned text: Text is aligned down the vertical center of a block of
text, so ragged edges are present on both the le and right sides.
Centered text should only be used for short amounts of text, as it is
demanding to read due to the variations in line length.
• Right-aligned text: A ragged edge is produced on the le side of the
paragraph and the straight edge on the right. e viewer is continually
searching for the beginning of each line as this varies through a block of
text due to the ragged edge. Text that uses this alignment is challenging
to read.

• Justi cation: is option produces neat, straight edges on both sides of a
block of text (Figure 10.14). Justi ed text presents a formal appearance,
and the text tends to take up less room than other alignments. However,
to create the straight edges on each side of the block of text requires the
words to be unevenly spaced. Gaps of white space (a.k.a. rivers) can
appear awkwardly throughout the text. Justi cation options include
 Justify last line le, Justify last line centered, Justify last line right and
Justify All.

Figure 10.14
Justification examples: (A) justify last left; (B) justify last centered; (C)
justify last right; and (D) justify all. Typeface: Myriad Pro.

Selecting Type for a Project

When it comes right down to it, selecting typefaces for a project is a
subjective activity, and there is generally more than one right option. Your
experiences and your environment will oen in uence your decision as
much as any other factor. So, experiment with your design and try different
solutions. As suggested in Chapter 4: De ning the Project, generating
multiple options provides a good basis of comparison and conversation.
Plan to solicit feedback from your peers and your client, as applicable. ink
about how the typographic element(s) can enhance an overall design. Here
are three goals for type within a design: • Readability: e type should be
easy to see and understand.
• Functionality: e type should communicate the intended message.
• Engagement: e type should attract and hold the viewer’s attention.

With these goals in mind, revisit the project’s stated purpose. What best
suits the needs of the project and its audience? Does the subject matter
naturally lend itself to one of the four type categories? Are there thematic or
historical references that inspire the selection of a particular typeface? How
might contrast be created among the type elements?
With the answers to these questions in hand, think about the hierarchy of
information and its logical presentation. What information is most
important? What is secondary? ink about how this organization of
information can in uence the viewer’s comprehension of the message. Now,
utilize the available typefaces and your ability to alter their appearance as
necessary to incorporate meaningful text into your designs.

Looking Ahead This chapter presented a great deal of

information about type and its properties. Take some
time to apply this knowledge to your work in Photoshop
or look forward to applying these ideas in Illustrator and
InDesign. Up next is an introduction to Adobe Illustrator,
its workspace, tools and working with vector images.

Discussion
Discussion 10.1: Typeface Goals When selecting
typefaces for a project, the goals of readability,
functionality and engagement should be priorities. In
this context, engagement is described as attracting and
holding the viewer’s attention. Identify at least three
ways that you could increase the engagement of the
text presented in Figure 10.15, View 1. Which type
properties would you adjust first?

Figure 10.15
Discussion 10.1. Typeface: American Typewriter.

If the position of the words is changed (see Figure 10.15, View 2), how
does this affect the readability and functionality of the text?

Activity
Activity 10.1: Type Properties Create a new document in
the application of your choice. Use the Type Tool (T) to
create a multiline block of text: HAVE A//GOOD DAY.
Use the properties available via the Character and
Paragraph panels to complete the following text edits:
• Change the font, its size and its color.
• Change the kerning to bring the letters “A V” closer together.
• Increase the tracking on Line 2, so the words “GOOD DAY” t below
Line 1.

External Links Mentioned in the Chapter Font Resources

Adobe’s Typekit | http://www.typekit.com
DaFont.com | http://www.dafont.com
Font Squirrel | http://www.fontsquirrel.com

 
* Movable type was used to print newspapers and other publications until the late nineteenth century
when it was replaced by linotype.
** e name of the bar that contains tool properties and is located below the application bar varies
across applications; in Photoshop this bar is referred to as the Options bar, and in both Illustrator
and InDesign the bar is known as the Control bar.
 11
Getting Started with Illustrator

Adobe Illustrator is the industry standard for creating vector images and
artwork. Vectors are objects created using mathematical equations. No pixels
are used in vector images, so the images can be resized without concern for
pixelation or degradation of image quality. Vector images can be created
from scratch or based on a photo or other image.

Illustrator Overview
is chapter begins with a high-level overview of Illustrator, introducing its
workspace and tools. Some of these elements will be familiar from
Photoshop, and others may seem foreign. Signi cant differences between
the applications are noted throughout this chapter.
Illustrator provides an extensive collection of tools. is chapter features a
subset of these, tools selected to get you quickly creating in Illustrator. When
you are ready to expand your personal toolset, access the Illustrator Online
Help resource, which is available at all times via the Help menu [Help menu
> Illustrator Help…].
 Notes to the Reader
is chapter is most effective when the Illustrator application is open in
front of you while reading. is will allow you to learn and then do,
navigating the interface and utilizing the tools. If you do not have
access to the application, the included screen captures will serve as
visual references for much of the content.

Creating an Illustrator File

When Illustrator opens, a Home Screen* appears welcoming the designer to
the application (Figure 11.1). In this dialog box, select either the Create
New… or the Open… button located along the le side of the window to get
started. Let’s choose the Create New… button, which launches the New
Document dialog box.

Figure 11.1
Home Screen dialog box.
 In the New Document dialog box, Illustrator provides a series of preset
values based on the project type and expected output (Figure 11.2); these
sets include Mobile, Web, Print, Film & Video and Art & Illustration. To
proceed, select a set; let’s choose the Print set and from the Blank Document
Presets select Letter (612 × 792 pt.). Take a moment to review the Preset
Details, the le properties associated with this selection. Once a blank
document preset has been selected, the following preset properties can be
reviewed and modi ed as needed to accommodate a project.

Figure 11.2
New Document dialog box, Print set > Letter preset selected.

Preset Details (descriptions drawn from Illustrator Online Help) • Name:

Specify the name for this new document (Default: Untitled-1).
• Size: Specify the size of the artboard. [e working area in the le is
referred to as the artboard.]
• Width/Height, Unit of Measure.
• Orientation: Specify a page orientation for the document: Portrait
(vertical) or Landscape (horizontal).
• Artboards: Specify the number of artboards in the document.
 • Bleed** (Top, Bottom, Le, Right): Specify the position of the bleed along
each side of the artboard. To use different values for different sides,
delink the dimensions by clicking the chain icon.
• Advanced Options/Color Mode: Specify a color mode for the document
(Default: CMYK Color).
• Advanced Options/Raster Effects: Specify the resolution for raster effects†
in the document (Default: High [300 ppi]).
• Advanced Options/Preview Mode: Set the default preview mode for the
document (i.e., Default displays artwork created in the document in
vector view with full color; Pixel displays artwork with a rasterized
(pixelated) appearance; Overprint provides an “ink preview” that
approximates how blending, transparency and overprinting will appear
in color-separated output).
Unlike creating a new document in Photoshop, no Resolution eld is
provided since Illustrator’s vector images are resolution independent.
Another distinction between applications is that Illustrator assumes that the
intended le output is print, so the default Color Mode is CMYK. e Color
Mode can be changed under the Advanced Options header, along with Raster
Effects and Preview Mode.
Click the Create button, and the resulting illustration le appears in the
Illustrator workspace.
 Artboards in Illustrator
A single Illustrator le can contain multiple artboards (1–1,000
artboards per document depending on the size of the artboards). ink
of an artboard as a page (or a workspace) within a multipage
document. When a nished design is exported, each artboard can be
saved in a separate le or combined into a single le.

Saving an Illustration File

It is a good habit to save a new illustration le before creating content in the
illustration. is practice can help the designer avoid losing work should the
application or computer freeze and need to be restarted while they
areworking. roughout this book, you will be encouraged to save your
work, early and oen.
To save a new le, access the File menu and select the Save As… menu
command [File menu > Save As… | ⌘S]. is action launches the Save As
dialog box, shown in Figure 11.3; here the le can be named, if this was not
done when creating the illustration le (in the New Document dialog box).
Tip: When naming the le, remember to avoid using special characters and
spaces in the le name. Also, be careful to not overwrite the provided le
extension, which is included in the Save As eld. is le extension matches
the current le format (shown in the Format dropdown menu). Native
Illustrator les are Adobe Illustrator, which use the (AI) le extension. If the
le format needs to be changed, do so via the Format dropdown menu,
selecting the desired le type. Do not type the desired le extension into the
Save As eld and assume the le type will be changed; this technique will not
work and can prevent the le from opening in the future due to a disconnect
between the listed le extension and the actual le type.
 Figure 11.3
File menu > Save As….

Finally, before saving the le, know where the illustration le will be saved.
Select an appropriate location, ‡ and then click the OK button. is action
launches the Illustrator Options dialog box, which provides additional le
options including compatibility with earlier versions of the application,
compression and transparency. Click the OK button to accept the default
values and to open the newly created illustration le in the workspace.

Illustrator Workspace Introduction

e Illustrator workspace is presented in Figure 11.4; the workspace is
composed of the following labeled elements (descriptions drawn from
Illustrator Online Help):
 Figure 11.4
Illustrator workspace. (A) Illustrator menu / application bar, (B) Control
panel, (C) Tools panel, (D) Document window, (E) Status bar, and (F)
Panels.

A. e Illustrator menu bar, also referred to as the application bar,

provides access to the application’s menus and menu commands.
B. e Control panel displays options for the currently selected object.
C. e Tools panel contains tools for creating and editing images, artwork
and page elements.
D. e document window displays the le. [As previously stated, the
working area is referred to as the artboard, this is where the image will
be created.] If more than one le is open at a time, document windows
can be tabbed and, in certain cases, grouped and docked.
E. e status bar is part of the document window; information about the
image le is displayed here, including the image’s current zoom level,
current artboard in use, navigation control for multiple artboards and
current tool in use.
F. Panels help the designer monitor and modify their work. By default, the
Properties, Layers and Libraries panels are open. Additional panels can
 be accessed via the Window menu.
Adobe provides the ability to reset the Illustrator workspace to the default
workspace when opening the application. Resetting the workspace returns
the tools and panels to their default settings. is option is useful while
getting to know the workspace as you experiment with tools and their
settings. To reset the workspace, hold down the following keyboard keys
when starting Illustrator: Option + Command + Shi (macOS) or Alt +
Control + Shi (Windows).
The Illustrator Menu Bar
Located at the top of the application’s window, the Illustrator menu bar
consists of a series of menus, including Illustrator CC, File, Edit, Object,
Type, Select, Effect, View, Window and Help. Clicking on a menu name
presents a list of related menu commands.
The Control Panel
Below the Illustrator menu bar in its default location, is the Control panel,
which is context-sensitive; the contents change based on the object that is
selected on the artboard. Note: In Photoshop, this area is referred to as the
Options bar, and it is content-sensitive based on the tool that is selected in
the Tools panel.
e top row of the Control panel includes the following shortcuts and
options: a shortcut to the Home Screen (house icon); Arrange Documents
dropdown menu; a shortcut to the Learn panel¶ (lightbulb icon); Workspace
dropdown menu††; and a Search eld (Adobe Stock, Adobe Help).
Figure 11.5 presents multiple instances of the Control panel, illustrating its
contents when different objects are selected on the artboard (i.e., No
Selection, Path selected and Type selected). Some tool properties available in
the Control panel (e.g., stroke weight and brush de nition) are common
across objects, while others are speci c to a particular object.

Figure 11.5
Instances of the Control panel when different objects are selected on
the artboard: (A) No Selection, (B) Path selection and (C) Type
selection.

Tip: If the Control panel is not visible in the workspace, access: Window
menu > Control.
The Tools Panel
Generally located on the le side of the application’s workspace, the Tools
panel provides designers with an extensive collection of tools with which to
create. e Illustrator CC 2019 Tools Panel Overview presented in Figure
11.6 and continued in Figure 11.7 lists all of the Illustrator tools organized
by broad function-based categories: Select, Draw, Paint, Type, Modify and
Navigate. is guide is also available as a printable PDF le on the book’s
companion website. Tip: is is a useful reference to have available when
learning the tools, their names and locations. A brief description of each
tool’s functionality is available via the Illustrator Online Help.
Figure 11.6
Illustrator CC 2019 Tools Panel Overview.
 Figure 11.7
Illustrator CC 2019 Tools Panel Overview continued.

Tip: If the Tools panel is not visible in the workspace, access: Window
menu > Toolbars > Advanced.
When interacting with the Tools panel, if the cursor hovers over a tool
icon, the name of that tool appears as a tool tip ‡ ‡ adjacent to the cursor
pointer (Figure 11.8). A keyboard shortcut is listed to the right of the tool
name, when available. e designer can use keyboard shortcuts to select
tools in the Tools panel and avoid shiing their attention between the
artboard and the Tools panel while working on an illustration.

Figure 11.8
Tools panels: (A) Pen Tool tool tip and associated keyboard shortcut;
and (B) Pen Tool selected, hidden tools visible.

Looking at the Tools panel in Figure 11.6, only a portion of the available
tools is currently visible. Notice that more than half of the tool icons display
a small triangle in their lower-right corner; this triangle indicates that
hidden tools are present, tools that share space with other tools. Refer to
Figure 11.8 to see the Pen Tool’s hidden tools: Add Anchor Point Tool (+),
Delete Anchor Point Tool (−) and Anchor Point Tool (Shi + C). To access
a hidden tool, position the cursor over the visible tool icon, then hold down
the mouse button and select the desired tool from the provided list of tools.
Keyboard shortcuts can be used to select some, but not all, hidden tools.
The Document Window
By default, a document window is presented as a tab within the workspace.
As shown in Figure 11.9, the tab contains the le name, zoom level (e.g.,
100%, the current degree of magni cation), color mode (CMYK) and
preview mode (GPU Preview). When more than one le is open, the
document windows are presented in a group of tabs docked below the
Control panel. To select a speci c le, click on its tab and the corresponding
document window appears in front of the other open les. A tab can be
rearranged by clicking on and dragging the window tab to a new location
within the group of tabs. To undock or oat a document window from a
group of windows, drag the window tab out of the group. Tip: If an open le
is ever “misplaced” or not visible in the workspace, click on the Window
menu and scroll to the bottom of this menu for a list of open les. Select the
name of the desired le, and it will be brought to the forefront of all open
les.

Figure 11.9
Document window tabs.
The Status Bar
e status bar is available for each illustration le. Located in the lower-le
corner of the document window, the status bar displays the active image’s
current magni cation (e.g., 40%), artboard navigation and current tool
(default) (see Figure 11.4). To display other types of information in this bar,
click the right arrow in the status bar, and from the Show menu select one of
the available options (i.e., Artboard Name, Current Tool, Date and Time,
Number of Undos or Document Color Pro le).
Panels
In addition to being accessed from the Control panel, object properties can
be accessed from individual panels. Panels help the designer monitor and
modify images and their elements. e list of available panels is accessible
from the Window menu. When a panel name is selected in the list, the
associated panel is displayed in the workspace. A checkmark located to the
le of the panel name indicates that the respective panel is open in the
workspace.

A Subset of Tools
e following subset of tools is selected from the Tools panel.
Accompanying the selected tools are each tool’s keyboard shortcut
command, if available, and the tool’s respective description drawn from the
Illustrator Online Help. As you read these descriptions, locate the tools in the
Tools panel, refer to the Illustrator CC 2019 Tools Panel Overview (see Figure
11.6). Remember that some of these tools may be hidden.
Selection Tools
• e Selection Tool (V) selects entire objects.
• e Direct Selection Tool (A) selects points or path segments within
objects.
• e Lasso Tool (Q) selects points or path segments within objects.
Draw Tools
• e Pen Tool (P) draws straight and curved lines to create objects.
• e Add Anchor Point Tool (+) adds anchor points to paths.
• e Delete Anchor Point Tool (−) deletes anchor points from paths.
• e Anchor Point Tool (Shi + C) changes smooth points to corner
points and vice versa.
• e Line Segment Tool (\) draws individual straight-line segments;
related line tools include Arc, Spiral.
• e Rectangle Tool (M) draws squares and rectangles. Other shapes
include Rounded Rectangle, Ellipse (L), Polygon, Star.
• e Paintbrush Tool (B) draws freehand and calligraphic lines, as well as
art, patterns and bristle brush strokes on paths.
Navigate Tools
• e Hand Tool (H) moves the Illustrator artboard within the illustration
window.
• e Zoom Tool (Z) increases and decreases the view magni cation in
the illustration window.
e lower portion of the Tools panel contains several useful features
shown in Figure 11.10.

Figure 11.10
Tools panel: Single-column display (left); Two-column display (right).
Colors: (A) Fill Color (X), (B) Default Fill and Stroke Colors (D), (C) Switch
Fill and Stroke Colors (Shift + X), (D) Stroke Color (click to activate) (X).
Row 1: Color (<), Gradient (>), None (/). Row 2: Draw Normal, Draw
Behind, Draw Inside (Shift + D to shift modes) and (E) Change Screen
Mode.
Colors
• e Fill (X) and Stroke (X) Colors set ll color and set stroke color.
• Default Fill and Stroke Colors (D).
• Swap Fill and Stroke Colors (Shi + X).
• Color options: Color (<), Gradient (>), None (/).
Drawing Modes
• Draw Normal (Shi + D to switch modes) • Draw Behind (Shi + D
to switch modes) • Draw Inside (Shi + D to switch modes) Change
Screen Mode • Presentation (Shi + F) • Normal Screen Mode (F)
• Full Screen Mode with Menu Bar (F) • Full Screen Mode (F) Note:
Additional tools are introduced in Chapter 12: Illustrator Continued.
In Illustrator (and InDesign), color is presented as either a Fill or a Stroke,*
which is different than the Foreground and Background Colors used in
Photoshop. A vector shape can contain color (Fill) and/or be outlined by
color (Stroke).
Illustrator provides three options for the Fill and Stroke Colors of a path or
object: Color, Gradient† and None. ese options can be used in a variety of
combinations, as shown in Figure 11.11. e color options can be selected
before creating an object or applied aer an object has been created. Panels
accessed from the Window menu provide additional options for Color (i.e.,
Color, Color Guide, Color emes and Swatches) and Gradient (i.e.,
Gradient).
 Figure 11.11
Color options: (A) Fill: Color, Stroke: Color; (B) Fill: Gradient, Stroke: Color;
(C) Fill: Color, Stroke: None; and (D) Fill: None, Stroke: Gradient.

Once a stroke has been applied, its properties can be adjusted in the
Control panel or the Stroke panel (Figure 11.12) [Window menu > Stroke].
 Figure 11.12
Stroke panel, Window menu > Stroke: (A) Weight; (B) Cap (Butt Cap,
Round Cap, Projecting Cap); (C) Corner (Miter Join, Round Join, Bevel
Join); (D) Align Stroke (Align Stroke to Center, Align Stroke to Inside, Align
Stroke to Outside); (E) Dashed Line; (F) Arrowheads; and (G) Profile
(variable width strokes are available to create a more hand-drawn look).

It is time to put this information to use. Exercise 11.1 is designed to help

you explore the Illustrator workspace and become familiar with the
processes of creating and saving an illustration le. Review the exercise brief
and get started.
Exercise 11.1: Create, Save and Add Content to an Illustration
File
Exercise brief: Create and save an illustration le, then use the following
tools to add content to the le: Rectangle Tool (M), Paintbrush Tool (B) and
Pen Tool (P).

Step 1: Create a new illustration le using the Print set and the Letter size
(612 × 792 pt.).
• Begin at the File menu and select the New… menu command [File menu
> New… | ⌘N].
• In the New Document dialog box, click on the Print set and from the
Blank Document Presets select Letter (612 × 792 pt.).
• Click Create to generate the illustration le.

Step 2: Save the new illustration le as an Adobe Illustrator le. Use Ch11-
Ex01 for the le name, Adobe Illustrator for the le format and select an
appropriate location for the le (Ch11-Ex01.ai).
• With the new le open in the workspace, access the File menu and select
the Save As… menu command [File menu > Save As… | ⌘S].
• In the Save As dialog box, enter the le name, Ch11-Ex01, verify the
Format (Adobe Illustrator (ai)) and navigate to an appropriate location.
• Click Save.
• is action launches the Illustrator Options dialog box, click OK to
accept the default settings and save the illustration le.
• e additional le options include compatibility with earlier versions
of Illustrator, compression and transparency.

Step 3: Add content to the illustration le using the Rectangle Tool (M).
• Select the Rectangle Tool (M) in the Tools panel, and then move the
cursor over the artboard.
• Click and hold down the mouse button while moving the cursor
diagonally away from its starting point.
 • A tool tip appears during this step adjacent to the cursor listing the
dimensions of the shape being created (i.e., W: Width; H: Height).
• When the shape reaches its desired size, release the mouse button.
• e colors of the shape re ect the current Fill and Stroke Colors, which
are visible in the lower portion of the Tools panel (see Figure 11.10).
Until another tool is selected, in the Tools panel or using a keyboard
shortcut, the active tool will remain the Rectangle Tool (M). Tip: e
Selection Tool (V) is a good “neutral” tool to select between tasks; this choice
can prevent additional content from being accidentally added to the
illustration le.

Step 4: Change the Fill and Stroke Colors of the rectangle. To complete this
change, rst select the shape using the Selection Tool (V).

• Choose the Selection Tool (V) in the Tools panel and click once on the
shape created in Step 3.
• If the Fill Color of the shape is None, the stroke of the shape must be
clicked in order to select the shape.
• Note: When the Fill Color of the shape is None, there is no content to
click on within the shape. Symbolically, None is represented by a
white square with a red diagonal line through it in the Tools panel
and in other instances of color chips.
• Use the Fill and Stroke color chips in the lower portion of the Tools panel
or in the Control panel to change the Fill Color.
• In the Tools panel, if the Fill Color is in the foreground of the color chips
(in front of the Stroke Color), double-click on the Fill Color.
−However, if the Stroke Color is in the foreground, click once on
the Fill Color to activate it (bringing it to the foreground of the
color chips or the active position), then double-click on the Fill
Color.
• Double-clicking on the Fill Color opens the familiar Color Picker dialog
box (Figure 11.13), which presents multiple methods for representing a
color (i.e., HSB, RGB, #: Hexadecimal, CMYK). Refer to Chapter 3:
Color in Design for a review of the different color modes.
 Figure 11.13
Color Picker dialog box.

• Click anywhere within the gradient located on the le side of the Color
Picker dialog box to select a new Fill Color.
• To change the range of available colors within the gradient, click on
the desired hue in the spectrum of colors located to the right of the
gradient.
• e new color will be shown above the current color chip located near
the center of the dialog box.
• Click OK to change the Fill Color.

To change the Stroke Color, use the same process. First, con rm that the
Stroke Color in the Tools panel is in the active position (in front of the Fill
Color); then, double-click on the Stroke Color to open the Color Picker
dialog box.

Step 5: Save the le.

• Return to the File menu and select Save [File menu > Save] or try the
following keyboard shortcut command, ⌘S (Command + S).

Congratulations, you have created your rst vector. Let’s pause here and
discuss vectors and their components.
Introduction to Vectors
Vector images are made up of a collection of paths. A path is composed of
one or more straight or curved segments. e path featured in Figure 11.14 is
made up of two curved-line segments. At the beginning and end of each
segment is an anchor point. An anchor point located at the end of a path is
referred to as an endpoint.¶ A path can be closed, such as the rectangle
created in Exercise 11.1; or, a path can be open, such as the wavy line in
Figure 11.14. A closed path begins and ends at the same endpoint, while an
open path has two distinct endpoints. e shape of a path can be changed by
adjusting its anchor points, direction lines or the path segment itself.

Figure 11.14
A path and its components: (A) anchor point, (B) path segment, (C)
direction line, (D) direction point, and (E) endpoint.

Direction lines are used to achieve curved-line segments. At the end of

each direction line is a direction point, which can be moved using the Direct
Selection Tool (A). e angle of a direction line determines the slope of a
curve, while the length of a direction line determines the height or depth of a
curve.
e Selection Tool (V) is used to select an entire path (or object). With the
path selected, it can be resized, rotated or repositioned. Notice the handles
positioned on the sides and in the corners of the shape; these handles can be
used to alter the shape. In contrast, the Direct Selection Tool (A) is used to
select a speci c anchor point, a group of anchor points or a direction point.
A selected anchor point or direction point can be repositioned to affect a
path segment. e rectangles in Figure 11.15 illustrate the differences
between paths selected by the Selection Tool (V) and the Direct Selection Tool
(A).

Figure 11.15
Selected paths: View 1: selected with Selection Tool (V), and View 2:
selected with Direct Selection Tool (A).

Let’s apply this information to the Exercise 11.1 illustration le.

Step 6: Use the Paintbrush Tool (B) to create an open and a closed path.
• Select the Paintbrush Tool (B) in the Tools panel and paint an open path
(e.g., the letters “C” or “S”) and a closed path (e.g., the letter “O”).
• Make sure that each path has a Fill Color and a Stroke Color applied to it.
If needed, select the path using the Selection Tool (V) and apply the
necessary color(s). Notice how the open path creates a straight line of
the Fill Color between the two endpoints.
Step 7: Use the Direct Selection Tool (A) to adjust the shape of the closed
path.
• First, deselect all objects on the artboard. is is easily accomplished via
the Select menu and the Deselect menu command [Select menu >
Deselect | ⌘A].
• Choose the Direct Selection Tool (A) in the Tools panel and click once on
the stroke of the closed path.
• is action makes visible all of the anchor points used to create the path.
• When the cursor rolls over the path (path) or an anchor point (anchor),
corresponding labels are displayed.
• Position the cursor over an anchor point and then click once on the
anchor point to select it.
• When selected, the anchor point is lled in (blue square) and any
associated direction lines (and direction points) are also selected.
• Click and hold down the mouse button on the same anchor point and
move the mouse.
• As the position of the mouse changes, the shape of the path changes.
• When satis ed with the altered shape, release the mouse button.
• Use the Direct Selection Tool (A) to ne-tune the shape by changing the
position and length of a direction handle.
• Click on and drag a direction point, which controls the direction line
(handle).
• Tip: Remember, the angle of a direction line determines the slope of a
curve, while the length of a direction line determines the height or
depth of a curve.
 ere are times when a path has too many or too few anchor points to
achieve the desired shape. Illustrator provides tools to facilitate each of these
scenarios.
• e Delete Anchor Point Tool (−) deletes anchor points from a path.
• e Add Anchor Point Tool (+) adds anchor points to paths.

Note: ese tools are hidden tools sharing space with the Pen Tool (P).
Let’s use each of these tools to alter the appearance of the closed path.
Step 8: Remove or add anchor points from the closed path to alter its
appearance.
• First, deselect all objects on the artboard [Select menu > Deselect |
⌘A].
• Use the Direct Selection Tool (A) to click once on the closed path to
make visible all of its anchor points.
• Select the Delete Anchor Point Tool (−) and click once on one of the
anchor points.
• is action eliminates the selected anchor point, which affects the
overall shape of the path.
• Note: If the Delete Anchor Point Tool (−) is clicked anywhere else on
the artboard, the following Illustrator alert is presented, Please use the
delete anchor point tool on an anchor point of a path. Click OK or
press the ESC key on the keyboard to close this window and try again.
• Select the Add Anchor Point Tool (+) and click on the path to add an
anchor point.
• Note: If the Add Anchor Point Tool (+) is clicked anywhere else on the
artboard, the following Illustrator alert appears, Please use the add
anchor point tool on a segment of a path. Click OK or press the ESC
key on the keyboard to close this window and try again.
• Use the Direct Selection Tool (A) to adjust the position of the new anchor
point and/or its direction lines (and direction points).
Step 9: Save the le.
• Select Save from the File menu [File menu > Save | ⌘S].
Corner Points and Smooth Points
Paths use two kinds of anchor points, corner points and smooth points, to
connect line segments, as shown in Figure 11.16. A corner point indicates
that a path changes direction abruptly. A smooth point joins path segments
that are connected as a continuous curve. A smooth point includes one or
two direction lines, which can be repositioned to impact the curvature of the
path segment. A path can be created using a combination of corner and
smooth points or one type exclusively. Note: A corner point can be
converted into a smooth point, and vice versa.
 Figure 11.16
Points: (A) corner point and (B) smooth point.

Introducing the Pen Tool

e Pen Tool (P) is one of the most popular tools in Illustrator for drawing
paths. Depending on how it is used, the Pen Tool (P) can create either corner
points or smooth points.
 • Corner Point: Click and release the mouse button to create a corner
point.
• Smooth Point: Click and hold down the mouse button and move the
mouse away from the anchor point to create a direction line (and
direction point), then release the mouse button. is action creates a
smooth point. Tip: If you forget to hold down the mouse button while
moving the mouse, use the Undo menu command to step backward and
try again [Edit menu > Undo | ⌘Z].
Let’s use the Pen Tool (P) to create a series of paths that utilize the different
point types. Before starting each path, read through the provided steps in
their entirety and review the corresponding gure, which provides a sort of
blueprint or guide for the steps involved.

Step 10: Turn on the Document Grid [View menu > Show Grid | ⌘’].

• e Document Grid is a useful resource when creating evenly spaced or

aligned path segments. is will be helpful in the upcoming tasks.

Step 11: Use the Pen Tool (P) to re-create the path in Figure 11.18; this path
is made of corner points exclusively.
 Figure 11.18
Path created using corner points. View 1: finished path; View 2: guide for
creating the path; Endpoints: green and red dots; Anchor points: blue
dots; Path segment: dashed line.

In preparation for creating this path, select the Pen Tool (P) and then set
the Fill Color to None † and the Stroke Color to Black. When the cursor is
positioned over the artboard, notice its appearance; the tool state indicates
that it is prepared to begin a path (see Figure 11.17A).
e path will be created working from le to right, beginning at the
endpoint represented by the green dot in Figure 11.18.
• Endpoint 1: Click once and release the mouse button to create the rst
anchor point (Endpoint 1).
 Pen Tool States
e appearance of the cursor changes depending on how the Pen Tool
(P) is being used; each state represents an action in progress or an
action that is about to be performed. A guide to these Pen Tool states is
presented in Figure 11.17 as a reference. Two views of each tool state
are provided: the rst view features the Pen Tool (P) as it appears
naturally; the second instance presents the crosshair option, which is
visible when the Caps Lock key on the keyboard is turned on while
using the Pen Tool (P). Tip: Do not get overwhelmed by the different
tool states, they are simply included for reference. e more that you
work with the Pen Tool (P), the more familiar the tool states will
become.
 Figure 11.17
Pen tool states, default appearance (left), crosshair
appearance (right): (A) prepared to begin path; (B) in progress
creating or editing path (with grid coordinates); (C) mouse
button is pressed; (D) ready to add an anchor point to path; (E)
ready to remove an anchor point from path; (F) hovered over
beginning point of path or to close path; (G) hovered over
endpoint of existing path to continue path; and (H) ready to
convert path or anchor point.

• Move the cursor to the right, into position for Anchor Point 2.
• While the cursor is moving across the artboard, its appearance
includes a tool tip displaying grid coordinates (see Figure 11.17B).
• Anchor Point 2: Click once and release the mouse button to create the
second anchor point.
• Move the cursor down, into position for Anchor Point 3.
• Tip: Holding down the Shi key on the keyboard while moving the
cursor constrains the angle of the path to 45°, 90°, 135° or 180°.
 Release the Shi key aer the anchor point has been created to
preserve the angle.
• Anchor Point 3: Click once and release the mouse button to create the
third anchor point.
• Continue working from le to right following the guide provided in
Figure 11.18. Create an anchor point at each of the blue dots.
• As the cursor moves from position to position, a preview of the path
accompanies the cursor along with a tool tip containing grid
coordinates.
• Endpoint 8: Click once and release the mouse button to create the nal
anchor point at the red dot (Endpoint 8).
• Press the Return/Enter key on the keyboard to end the path.
• Move the cursor and notice that the cursor has returned to its original
appearance, con rming that the path has ended (see Figure 11.17A).
Step 12: Save the le.
• From the File menu, select Save [File menu > Save | ⌘S].

Step 13: Use the Pen Tool (P) to re-create the path in Figure 11.19; this path
is made up of only smooth points.
 Figure 11.19
Path created using smooth points. View 1: finished path; View 2: guide
for creating the path; Endpoints: green and red dots; Anchor points:
blue dots; Direction lines: orange lines; Direction points: orange dots;
Path segment: dashed line.

In preparation for creating this path, select the Pen Tool (P) and then set
the Fill Color to None and the Stroke Color to Black. When the cursor is
positioned over the artboard, notice its appearance, the tool state indicates
that it is prepared to begin a path (see Figure 11.17A).
e path will be created working from le to right, beginning at the
endpoint represented by the green dot in Figure 11.19. Do not click on the
orange dots; these represent direction points (not anchor points), which are
created naturally when a direction line (orange line) is generated.

• Endpoint 1: Click and hold down the mouse button to create the rst
anchor point (Endpoint 1) and move the cursor to Direction Point A,
then release the mouse button.
 • Onscreen, you should see the anchor point and a direction line (and
direction point) above and below the anchor point (Endpoint 1).
• Note: e direction lines (and points) do not contain content and will
not be seen in the nal illustration. ese elements are used to
control the appearance of the path.
• Move the cursor to the right, into position for Anchor Point 2.
• Anchor Point 2: Click and hold down the mouse button to create the
second anchor point (Anchor Point 2) and move the cursor to Direction
Point B, then release the mouse button.
• Move the cursor to the right, into position for Anchor Point 3.
• Anchor Point 3: Click and hold down the mouse button to create the
third anchor point (Anchor Point 3) and move the cursor to Direction
Point C, then release the mouse button.
• Continue working from le to right following the guide provided in
Figure 11.19. Create an anchor point at the next blue dot along with a
corresponding direction line (and direction point).
• Anchor Point/Endpoint 5: Click and hold down the mouse button to
create the nal anchor point (Endpoint 5) and move the cursor to
Direction Point E, then release the mouse button.
• Press the Return/Enter key on the keyboard to end the path.
• Move the cursor and notice that the cursor has returned to its original
appearance, con rming that the path has ended (see Figure 11.17A).

Step 14: Save the le.

• From the File menu, select Save [File menu > Save | ⌘S].

It is good to practice creating corner and smooth points. Most illustrations

created with the Pen Tool (P) use a combination of corner points and
smooth points, so let’s review the steps involved with that process next.

Step 15: Use the Pen Tool (P) to reproduce a path created using a
combination of corner and smooth points (Figure 11.20). ere are multiple
ways to create this path; two options are presented.
 Figure 11.20
Path created using corner points and smooth points. View 1: finished
path; View 2: guide for creating the path; Endpoints: green and red
dots; Anchor points: blue dots; Direction lines: orange lines; Direction
points: orange dots; Path segment: dashed line.

• Option 1: Use both corner and smooth points while the path is being
created. is process involves converting anchor points as they are
created to accommodate the transitions between the straight- and
curved-line segments.
Working from le to right, follow the guide provided in Figure 11.20 to
create the path.
• Endpoint 1: Create a corner point by clicking once and releasing the
mouse button (Endpoint 1).
• Move the cursor to the right, into position for Anchor Point 2.
• Anchor Point 2: Create a corner point by clicking once and releasing
the mouse button (Anchor Point 2).
 • Convert Anchor Point 2: Now, convert the corner point into a smooth
point.
−Why? e smooth point (and its direction line and direction
point) will produce the rst half of the curved path between
Anchor Points 2 and 3.
−With the cursor positioned over Anchor Point 2, click and hold
down the mouse button and move the cursor to Direction Point
A, then release the mouse button.
−e only visible difference onscreen will be the addition of a
direction line (and a direction point) attached to Anchor Point
2.
−is action converts the corner point into a smooth point.
• Move the cursor to the right, into position for Anchor Point 3.
• Anchor Point 3: Create a smooth point by clicking and holding down
the mouse button (Anchor Point 3) and moving the cursor to
Direction Point B, then release the mouse button.
−is smooth point controls the second half of the curved path
between Anchor Points 2 and 3.
• Convert Anchor Point 3: Now, convert the smooth point into a corner
point.
−Why? If the smooth point was le as is, and then Anchor Point 4
was created, the line segment between Anchor Points 3 and 4
would be curved and not straight.
−Position the cursor over Anchor Point 3, then click and release
the mouse button.
−is action converts the smooth point into a corner point.
• Move the cursor to the right, into position for Anchor Point 4.
• Endpoint 4: Click once and release the mouse button to create the
nal anchor point at the red dot (Endpoint 4).
• Press the Return/Enter key on the keyboard to end the path.
• Option 2: Create all of the anchor points as corner points, then use the
Anchor Point Tool (Shi + C) to convert Anchor Points 2 and 3 into
smooth points. en, use the Direct Selection Tool (A) to alter direction
lines in order to atten the appropriate line segments.
Working from le to right, follow the guide provided in Figure 11.20 to
create this path.
• Create a corner point at each of the four anchor points, represented
by the green, blue and red dots in Figure 11.20.
−Click once and release the mouse button to create a corner point.
−Move the cursor into position for the next anchor point.
−Repeat these steps.
−Aer the nal anchor point is created (Endpoint 4), press the
Return/Enter key on the keyboard to end the path.
• Select the Anchor Point Tool (Shi + C) from the Tools panel.
−is tool will be used to convert the second and third corner
points into smooth points.
−Note: e Anchor Point Tool (Shi + C) is a hidden tool sharing
space with the Pen Tool (P).
• Convert Anchor Point 2 from a corner point into a smooth point.
−Position the cursor over Anchor Point 2, then click and hold
down the mouse button. While still holding down the mouse
button, move the cursor to Direction Point A, then release the
mouse button.
−During this conversion process, the rst line segment will
become curved as direction lines are created (Figure 11.21); that
is okay.
 Figure 11.21
Path created using corner points and smooth points.

• Flatten the rst line segment, located between Anchor Points 1 and 2, by
returning Direction Point C to Anchor Point 2.
−Choose the Direction Selection Tool (A) in the Tools panel.
−Position the cursor over the Direction Point C. Press and hold
down the mouse button and move the direction point toward
Anchor Point 2.
−As the direction line is shortened, the rst line segment attens.
−When the rst line segment is at, release the mouse button.
• Convert Anchor Point 3 from a corner point into a smooth point.
−Select the Anchor Point Tool (Shi + C) from the Tools panel.
−Position the cursor over Anchor Point 3, then click and hold
down the mouse button and move the cursor to Direction Point
B, then release the mouse button.
• Flatten the last line segment by returning Direction Line B to Anchor
Point 3.
−Choose the Direction Selection Tool (A) in the Tools panel.
 −Positionthe cursor over the Direction Point B. Press and hold
down the mouse button and move the direction point toward
Anchor Point 3.
−When the last line segment is at, release the mouse button.
• e path should now resemble Figure 11.20.

Nice work re-creating the paths represented in Figures 11.18 through

11.20.

Step 16: Save the le.

• Select Save from the File menu [File menu > Save | ⌘S].
Well done, you have completed your rst Illustrator exercise. Hopefully,
you are becoming familiar with the Illustrator workspace. Before continuing,
let’s discuss some Need to Know Fundamentals, important nuggets of
information that will facilitate your work in Illustrator.

Need to Know Fundamentals

Undoing Your Work
When performing a task, it is helpful to know how to undo that task.
Under the Edit menu, the Undo… menu command allows the most recent
operation to be undone [Edit menu > Undo | ⌘Z]. Illustrator supports
multiple levels of Undo. In case too many tasks are undone, Illustrator also
provides a Redo menu command [Edit menu > Redo | ⌘Z].
To undo all of the changes made to a le since it was last saved, select the
Revert menu command available from the File menu [File menu > Revert].
is menu command returns an image le to its last saved state.
Shape Tools
By default, the shape tools create rectangles, rounded rectangles and ellipses.
ese tools can also create squares, rounded squares and circles,
respectively. To do so, hold down the Shi key on the keyboard while
drawing the shape. Tip: Release the mouse button before the Shi key to
preserve the shape.
Objects created using the shape tools can be created from the center point
of the shape outward. Tip: Turn on the Document Grid before attempting
this technique [View menu > Show Grid | ⌘’]. Use an intersection of
guidelines as the center point for a shape, growing the shape out from that
point. Place the cursor at one of these intersection points, then hold down
the Option key while drawing the shape outward from the center point. Tip:
Release the mouse button before the Option key to preserve the shape.
To create a circle using this method, hold down both the Shi and Option
keys before or while using the Elliptical Marquee Tool (M) to draw the circle.
Release the mouse button rst, then the Shi and Option keys to preserve
the shape.
Closing an Open Path
ere will be times when the designer needs to close an open path, such as
the letter “C.” One way to close this shape is by using the Pen Tool (P).
Start by rst deselecting all objects on the artboard [Select menu >
Deselect | ⌘A]. en, choose the Pen Tool (P) in the Tools panel and
position the cursor over one of the endpoints of the open path. When
positioned over an endpoint, the cursor appearance changes (see Figure
11.17E). Click once on the endpoint; this action continues the path where it
previously ended.
Now use the Pen Tool (P) to continue the path to the other endpoint.
When the cursor is close to the endpoint, its appearance changes (see Figure
11.17F). Click on the endpoint to close the path. e cursor should return to
its original state (see Figure 11.17A).

Creating and Applying a Gradient A gradient is a

graduated blend between two or more colors or
between shades of the same color. Gradient is one of
the Fill and Stroke Color options for an object in both
Illustrator and InDesign. Gradients can be linear, radial or
freeform, as shown in Figure 11.22. A Linear gradient
presents shades from the starting color stop to the ending
color stop in a straight line. A Radial gradient presents
shades from the starting color stop to the ending color
stop in a circular pattern. A Freeform gradient‡ presents a
combination of colors within a shape in such a way
that the blending appears natural.
 Figure 11.22
Gradient examples: (A) linear, (B) radial, (C) freeform, (D) linear
reversed, and (E) radial reversed.

In the Adobe Creative Cloud applications, gradients are de ned by a series

of color stops in a gradient bar. A stop is the point where a gradient changes
from one color to another. In the Gradient panel (Figure 11.23), each stop is
identi ed by a circle located beneath the gradient slider [Window menu >
Gradient]. By default, the midpoint of a gradient is 50% between the colors.
e position of the midpoint, represented by a diamond icon above the
gradient slider, can be adjusted to affect the distribution of colors.
 Figure 11.23
Gradient dialog box, Window menu > Gradient: (A) Gradient (Gradient
Swatches available from dropdown menu); (B) Reverse; (C) Midpoint
(diamond icon); (D) Starting color stop; (E) Gradient panel menu; (F)
Type (Linear, Radial, Freeform); (G) Stroke (Apply gradient within stroke,
Apply gradient along stroke, Apply gradient across stroke); (H) Angle; (I)
Aspect Ratio; (J) Gradient slider; (K) Ending color stop; (L) Opacity; and
(M) Location.

ere are multiple ways to apply a gradient to an object; here is one

method.

• First, select an object using the Selection Tool (V).

• Next, choose the Gradient Tool (G) from the Tools panel.
• Using the Gradient Tool (G), click once on the object.
 • is action lls the object with the Gradient value shown in the Tools
panel (below the Fill and Stroke Colors) (Figure 11.24, View 1).

Figure 11.24
Gradient Annotator, View 1: Gradient, View 2: Gradient annotator: (A)
starting color stop, (B) ending color stop, and (C) midpoint.

• e action also launches the gradient annotator within the object (see
Figure 11.24, View 2). e gradient annotator provides basic gradient
editing capabilities directly from the object, including where the
gradient begins and ends, the starting and ending color stops and the
position of the midpoint.
e angle of the gradient can be changed using the Gradient Tool (G).
• Select the Gradient Tool (G) in the Tools panel.
• Draw a line across the object corresponding to the desired gradient
angle.
• Where the line begins marks the position of the starting color stop.
Compare the examples provided in Figure 11.25.
 Figure 11.25
Gradient angle examples: (A) starting and ending colors outside of
object; (B) starting color within object, ending color outside object; and
(C) starting and ending colors within object.

• Note: e gradient can begin outside of the object limiting the colors
presented within the shape.
e gradient annotator can also be used to change a color in the gradient.
• To initiate a change, double-click on the color stop to be changed.
• is action launches either the Color or Swatches panel providing
multiple ways to adjust the color [Window menu > Color | Swatches].
• e gradient re ects any change in color immediately.

e colors in a gradient can also be adjusted via the Gradient panel

[Window menu > Gradient]. Here additional colors can be added to a
gradient creating a multicolor gradient, as shown in Figure 11.26. In the
following example, colors from the Swatches panel will be added to the
gradient slider [Window menu > Swatches].
 Figure 11.26
Multicolor gradient and corresponding Gradient panel with dropdown
arrow highlighted, Window menu > Gradient.

• Position the cursor over a color in the Swatches panel.

• en, click and hold down the mouse button while dragging the color
from the Swatches panel to the Gradient panel. Position the cursor over
the gradient slider where the new color will be added and then release
the mouse button.
• e gradient should re ect the additional color.
• Continue adding colors as desired.
• As colors are added, additional midpoints are created between the
color stops, allowing for further gradient adjustments.
Colors can also be removed from a gradient.

• In the Gradient panel, position the cursor over the color stop that will
be removed.
• en, click and hold down the mouse button while dragging the color
stop down, away from the gradient slider.
• Once the color box has been removed, release the mouse button; the
change will be seen immediately.
If a gradient will be used repeatedly, it can be saved as a Gradient Swatch
for future use. In the Gradient panel, look for the circled dropdown arrow
located to the right of the thumbnail of the gradient in Figure 11.26.
 • Click once on this arrow to open the associated options.
• In the lower-le corner, click on the Add to Swatches icon.
• e new gradient (Default: New Gradient Swatch 1) is now available
in the Swatches panel (Figure 11.27).

Figure 11.27
Swatches panel including new multicolor gradient, Window menu >
Swatches.

• e new gradient can be renamed by double-clicking on the associated

thumbnail in the Swatches panel and entering a name in the Swatch
Options dialog box.

Creating Complex Shapes

The Shape Builder Tool
An easy way to combine individual shapes is using the Shape Builder Tool
(Shi + M). e following description is drawn from the Illustrator Online
Help (Tools Gallery).

• e Shape Builder Tool (Shi + M) merges simple shapes to create

custom, complex shapes.
In Figure 11.28, View 1, a series of shapes drawn with the Pen Tool (P)
create a simple house. Drawn as separate closed paths, each of the ve
shapes is on its own sublayer in the Layers panel. e Shape Builder Tool
(Shi + M) can be used to combine the house, roof and chimney shapes
into a single shape. en the door and window will be subtracted from the
new shape creating negative space within the shape.

Figure 11.28
Shape Builder example: View 1: individual paths, View 2: paths selected,
View 3: paths combined, and View 4: finished path.

In Figure 11.28, View 2, all of the shapes have been selected using the
Selection Tool (V) in preparation for the Shape Builder Tool (Shi + M).
Select the Shape Builder Tool (Shi + M) and position the cursor over the
house. Click and hold down the mouse button while drawing a line from the
house to the roof and the chimney; avoid intersecting the line with the door
and window. As the line is drawn, the soon to be combined shapes are lled
with a pattern of small dots. When the pattern is present in the desired
areas, release the mouse button. is action triggers the merging of the
shapes into a single shape, as shown in Figure 11.28, View 3.
 e Shape Builder Tool (Shi + M) will now be used to remove the door
and window from the shape, creating negative spaces in the shape. Hold
down the Option key on the keyboard and notice the subtle change to the
appearance of the cursor, a negative sign (−) is now present indicating that
content will be subtracted from the shape. Continue to hold down the
Option key while clicking once on the door and once on the window. To
con rm that these areas were removed from the house shape, ll the house
with a new ll color. e door and window are in fact negative areas, holes
in the larger shape.
Compound Shapes and Compound Paths
Another way to combine shapes is via the Path nder panel [Window menu
> Path nder]. Figure 11.29 features the available Shape Modes effects.
Notice how each affects a pair of overlapping circles and the color of the
resulting compound shape. A compound shape is editable art composed of
two or more objects, each assigned a shape mode. When a compound shape
is created, the resulting shape assumes the appearance of the topmost object,
as seen in Figure 11.29B and E. e Direction Selection Tool (A) can be used
to edit components of the compound shape.

Figure 11.29
Shape Modes effect examples: (A) Original objects, (B) Unite, (C) Minus
Front, (D) Intersect, and (E) Exclude.

e Path nder effects provide additional ways to create new shapes out of
overlapping objects. Apply Path nder effects via the Path nder panel or
from the Effects menu [Effects menu > Path nder]. ese effects are
illustrated in Figure 11.30. When the resulting shape is composed of
multiple shapes, these shapes have been spaced out to highlight their shapes
and appearances (e.g., Examples B, C, D). Notice the mix of attributes
among the examples: most possess ll colors, and some possess stroke
colors.
 Figure 11.30
Pathfinder effect examples: (A) Original objects, (B) Divide, (C) Trim, (D)
Merge, (E) Crop, (F) Outline, and (G) Minus Back.

A compound shape can be returned to its original separate objects by

releasing the compound shape. Expanding a compound shape maintains the
shape of the compound object, but the individual components can no longer
be selected.
Any object that has a hole in it, such as the compound shape shown in
Figure 11.29E or the completed house with the door and window in Figure
11.28, View 4, is referred to as a compound path. A compound path contains
two or more paths that are painted so that holes appear where paths overlap.
When created, all objects in the compound path take on the paint and style
attributes of the backmost object in the stacking order.
Compound paths act as grouped objects and appear as <Compound
Path> items in the Layers panel. e Direct Selection Tool (A) can be used to
select part of a compound path.
e shapes created using these effects are oen unexpected and can
provide creative solutions to design challenges. Given the number of effect
options available, it is worth spending getting familiar with each and its
effect on the overlapping shapes.
Looking Ahead
Many new concepts and approaches to creating content have been presented
in this chapter. Spend time experimenting with the tools and repeating the
processes until you feel comfortable navigating the workspace, creating and
saving a le. e more time spent experimenting with paths, vectors and
compound shapes, the more familiar they will become. Chapter 12:
Illustrator Continued builds on the Illustrator basics, expanding your use of
the application. e fundamentals of type and tracing a photograph are
presented.

Discussion
Discussion 11.1: The Scalability Factor A major incentive
behind creating a logo as a vector image is the
scalability of the image, the ability to increase or
decrease the size of the logo without degrading its
quality. This is a useful property for branding purposes.
What logo(s) have you seen used in different sizes?
How and where were the logos used?

Activities
Activity 11.1: Brush Options Create a new illustration file
and write out your name using the Paintbrush Tool (B).
Then, use the Direct Selection Tool (A) to adjust the anchor
points that create the paths in your name. Similarly,
add or delete anchor points to the paths until you are
satisfied with the lettering. Now, adjust the appearance
of the lettering (the selected paths) via the Brushes panel
[Window menu > Brushes]. From the Brushes panel menu,
select the Open Brush Library command to access
additional options. Try some of the artistic brushes,
such as Artistic > Artistic_Calligraphic |
Artistic_ChalkCharcoalPencil | Artistic_Paintbrush. How
do these brushes affect the presentation of your name?
Remember the stated goals of selecting a typeface:
Readability, Functionality and Engagement; the same
goals apply here (Figure 11.31).

Figure 11.31
Brushes panel: (A) Brushes panel menu, (B) Brush Libraries Menu, (C)
Libraries Panel, (D) Remove Brush Stroke, (E) Options of Selected Object,
(F) New Brush, (G) Delete Brush, (H) Load Previous Brush Library, and (I)
Load Next Brush Library.

Activity 11.2: Share a Little Love Create a valentine

(Figure 11.32). However, to make this activity more
challenging, draw only half of the heart using the Pen
Tool (P) or the Paintbrush Tool (B). Then, generate a
reflected second half of the heart using the Re ect
command [Object menu > Transform > Reflect…].
Reposition the halves and join them using the Join
command [Object menu > Path > Join | ⌘J]. Finally, use
the Line Segment Tool (\) to create paths that appear to
pierce the heart, the addition of Stroke Arrowheads finishes
the illustration. When finished, export a copy of the
valentine and email it to a friend or family member.
Share your work, and in the process brighten
someone’s day.

Figure 11.32
Activity 2, Reflect dialog box [Object menu > Transform > Reflect…].
Reflect and Copy
ere are several ways that the drawn half of the heart could be replicated
and re ected in order to create the second half of the heart. Using the Re ect
command is a straightforward way to achieve the desired results [Object
menu > Transform > Re ect…]. In the Re ect dialog box, Illustrator
provides the means to copy the path that is being re ected. To duplicate the
path, press the Copy button instead of the OK button to complete the
transformation.
Joining Paths
To join the paths, Zoom In on one pair of endpoints [View menu > Zoom In
| ⌘+]. Using the Direct Selection Tool (A), select the two endpoints; try
drawing a box around the ends of the two paths to select the endpoints.
Once the endpoints are selected, access the Object menu and select the Path
menu command and then Join [Object menu > Path > Join | ⌘J]. is
action joins one end of the heart. Repeat the process to join the other end
and produce a closed path. Once the path is closed, ll it with color or a
gradient.
Exporting the File
When the illustration is complete, go to the File menu and select the Export
menu command and then Export As… [File menu > Export > Export
As…]. From the Format dropdown menu, select JPEG (jpg), a universally
accessible le format. Give the le a name, and know where it will be
exported when the Export button is pressed. e JPEG le should easily
attach to an email message.

Exercise File(s) Available on the Companion Website,

URL
Ch11-Illustrator-CC-2019-Tools-Overview.pdf | Illustrator CC 2019 Tools
Panel Overview URL: http://www.crcpress.com/9780367075347

External Links Mentioned in the Chapter Illustrator

Online Help | https://helpx.adobe.com/illustrator

 
* To disable the Home Screen, go to the Illustrator CC menu and access Preferences > General… and
deselect Show e Home Screen When No Documents Are Open.
** A document bleed is the small area around the edge of a document that extends beyond the
nished content on the page. When the document is printed, the bleed can be trimmed off in order
to create a nished design that extends to the edge of the page.
† Raster effects are effects that produce pixels instead of vectors data.
‡ Tip: For designers using the macOS, pressing the down arrow located to the right of the Where eld
provides additional options for navigating to a speci c location on the computer.
¶ e Learn panel provides a list of tutorials, project ideas and application updates; this panel can also
be accessed via the Window menu [Window menu > Learn].
† † Workspace layouts include the following options: Automation, Essentials (default), Essentials
Classic, Layout, Painting, Printing and Proo ng, Tracing, Typography and Web. ese options can
also be accessed via the Window menu [Window menu > Workspace].
‡‡ Tool tips are labels or short descriptions displayed when the cursor hovers over a tool or property.
is feature is available across all Adobe applications and can be controlled via the application’s
preferences [Illustrator CC menu > Preferences > General > Show Tool Tips].
* e term stroke was rst introduced in Chapter 1: Breaking Down Design, as a line used to outline a
shape or an object.
† A gradient is a graduated blend of colors.
¶ All endpoints are anchor points; however, not all anchor points are endpoints.
† A Fill Color other than None can prevent the designer from seeing parts of the path as it is being
created. Tip: Apply a Fill Color aer the path has been created.
‡ e Freeform gradient was added to Illustrator in the Illustrator CC 2019 release; it can only be
applied on the ll of an object. In contrast, Linear and Radial gradients can be applied to both the
ll and the stroke of an object.
 12
Illustrator Continued

Building on the Illustrator fundamentals presented in the previous chapter,

this chapter introduces Illustrator’s unique approach to layers and sublayers.
en, additional tools are presented expanding the designer’s toolkit.
Exercise 12.1 features a variety of ways to eliminate content and divide
shapes. Attention then shis to creating type in Illustrator and some of the
techniques and properties available for creative text use in design. Exercise
12.2 provides an outlet to practice these tools and processes. Finally, in
Exercise 12.3 an illustration is created based on a photograph; the vector-
based trace image highlights the designer’s ability to easily cra a stylized
image.

Understanding Layers in Illustrator

Layers are a key component to a designer’s ability to create and edit an image
in Illustrator, just as they were in Photoshop. ey allow for a sense of depth
to be created in a two-dimensional image. Layers can also be used to
incorporate text into an image. Every illustration le contains at least one
layer. However, unlike Photoshop, Illustrator utilizes sublayers. A single layer
can contain multiple sublayers, as seen in Figure 12.1. Clicking on the
disclosure triangle located to the le of the document layer name expands the
layer, revealing sublayers and their stacking order. A new layer can be
created within an illustration le, but it must be a deliberate action,
otherwise, new paths, objects and type are added to the le on sublayers.
e number of layers and sublayers in a le is only limited by the computer’s
memory.
Figure 12.1
Layers panel, Window menu > Layers: (A) Locked layer toggle (lock
icon), (B) Unlocked sublayer (no lock icon), (C) Visibility toggle (eye
icon), (D) Hidden layer (no eye icon), (E) Layers panel menu, (F)
Selected object indicator (filled square), (G) Number of layers in the file,
(H) Layer color identifier, (I) Disclosure triangle, (J) Locate Object, (K)
Make/Release Clipping Mask, (L) Create New Sublayer, (M) Create New
Layer, and (N) Delete Selection.
The Layers Panel
e Layers panel, featured in Figure 12.1, is accessible from the Window
menu [Window menu > Layers]. In this panel, all of the layers and sublayers
in an illustration are listed. e Layers panel provides the designer with the
ability to control the visibility of layers (and sublayers), lock layers (and
sublayers), create new layers, and delete selected layers (and sublayers).
Additional commands and options can be accessed via the Layers panel
menu, available in the upper-right corner of the panel. e currently
selected sublayer is identi ed by the lled square located to the right of the
sublayer name. A related indicator is also present next to the corresponding
layer name.
Application Tip: In order to edit an object in Illustrator, the object’s layer or
sublayer must be selected in the Layers panel. Each layer has a unique color
associated with it and its sublayers, this is the layer color identi er. In Figure
12.2,* the red bounding box corresponds to the red color label of Layer 2
and its sublayers, shown in Figure 12.1.
 Figure 12.2
Layer color identifier. Typefaces: Impact/News Gothic MT.

Managing, Renaming and Deleting Layers

Layers and sublayers can be reordered and deleted in the Layers panel. To
change the stacking order of a sublayer, click on a sublayer name and hold
down the mouse button while dragging the sublayer up or down within the
Layers panel. A highlight line will appear where the sublayer will be placed
when the mouse button is released. e same technique can be used to
reorder layers. When the stacking order of a sublayer is changed within the
Layers panel, the visibility of that sublayer’s content within the artboard may
be impacted. If content is “missing” on the artboard, it is likely hidden
behind another layer’s content. e topmost layer in the Layers panel is
closest to the viewer. Within a layer, the topmost sublayer is closest to the
viewer among the other sublayers. e stacking order of sublayers can also
be adjusted under the Object menu using the Arrange menu command (i.e.,
Bring to Front ⇧⌘] | Bring Forward ⌘] | Send Backward ⌘[ | Send to Back
⇧⌘[) [Object menu > Arrange].
 Layers and sublayers can be renamed by double-clicking on the default
name (e.g., Layer 1, <Line>) and typing in a new name.
Deleting a layer or sublayer is a straightforward process; select the layer or
sublayer to be deleted, then click on the Trashcan icon located along the
bottom edge of the Layers panel. is task can also be performed via the
Layers panel menu. Deleting a sublayer removes its content from the
illustration. Deleting a layer eliminates all of its sublayers and their contents
from the illustration.

Layer-Friendly File Types Certain file types support layers,

meaning these file types preserve layer information and
make the layers available across work sessions. The
Adobe Illustrator (AI) is one such file type. An Adobe
Illustrator file does not flatten an illustration’s layers and
sublayers; the saving process does not discard layer
information.
Another le type that supports layers is the Tagged-Image File Format
(TIFF; TIF). Illustrator les can be exported to a TIFF le (or to a Photoshop
Document [PSD]). However, if a le containing layers is opened in another
application, such as Preview, the illustration will be presented as a attened
image without layers.
When the time comes to save an illustration le, if the le contains layers,
be sure to select a le type that supports layers in case the image needs to be
edited later. is sounds obvious, but when this is forgotten it creates
unnecessary work for the designer. Without editable layers, making changes
to an illustration can be time consuming and can sometimes mean re-
creating the image.
Once an illustration le has been saved with its layers preserved, it is
typical to save or export another instance of the image to share with others
who do not have access to Illustrator. is second le differs from the Adobe
Illustrator le because it is at, meaning it does not contain layer
information. Exercise 12.3 includes a step to save a copy of the illustration as
a PDF le, which can be shared with and opened by others.
 Let’s rst add to our collection of Illustrator tools, expanding our ability to
create an engaging and effective illustration.

The Eraser Tool and Tools for Dividing Content

Once a path is created, it is important to know how to alter that path.
Chapter 11: Getting Started with Illustrator, introduced the Delete Anchor
Point Tool (−) and its ability to reshape a path by deleting single or multiple
anchor points. Figure 12.3 features three other tools that can be used to
eliminate content or to divide a shape: Eraser Tool (Shi + E), Scissors Tool
(C) and Knife Tool. ough their results are similar, each tool behaves
slightly differently. e following descriptions are drawn from the Illustrator
Online Help:

Figure 12.3
Tools: (A) Eraser Tool (Shift + E), (B) Scissors Tool (C), and (C) Knife Tool.

A. e Eraser Tool (Shi + E) erases any area of the object over which
you drag [the tool].
B. e Scissors Tool (C) cuts paths at speci ed points.
C. e Knife Tool cuts objects and paths.
 e Eraser Tool (Shi + E) is an efficient way to eliminate content from an
illustration. When working with vector images, the Eraser Tool (Shi + E)
erases content and closes the remaining paths.
e Scissors Tool (C) cuts a path allowing part of an object to be deleted or
separated from the rest of the object. is tool does not close the remaining
paths. Note: In order to function as expected, the Scissors Tool (C) must be
used on a path or an anchor point. If the Scissors Tool (C) is clicked
anywhere else on the artboard, the following Illustrator alert appears, Please
use the scissors tool on a segment or an anchor point (but not an endpoint) of
a path. If this message appears, click OK or press the ESC key on the
keyboard to close the window and try again.
e Knife Tool cuts an object and closes the paths along the cutline. is
tool does not eliminate content, it simply divides an object or path.
Let’s try using these tools in order to compare and contrast their behaviors
rsthand. Exercise 12.1 is designed to put these tools to use and also to
practice creating polygons, shapes with at least three straight sides and
angles.

Exercise 12.1: Using the Eraser, Scissors and Knife Tools

Exercise brief: Create a new illustration le and populate it with polygons.
en, experiment with the following tools: Eraser Tool (Shi + E), Scissors
Tool (C) and Knife Tool. Pay particular attention to the state of the
remaining shapes aer each tool is used.
Step 1: Create and save a new illustration le in Illustrator (Ch12-Ex01.ai).
• Begin at the File menu and select the New… menu command [File menu
> New… | ⌘N].
• In the New Document dialog box, look for the Print set, and from the
Blank Document Presets select Letter (612 × 792 pt.).
• Click Create to generate the illustration le.
• Return to the File menu and select the Save As… menu command [File
menu > Save As… | ⇧⌘S].
 • In the Save As dialog box, enter the le name, Ch12-Ex01, verify the
Format (Adobe Illustrator [ai]) and navigate to an appropriate location.
• Click Save, which launches the Illustrator Options dialog box.
• In the Illustrator Options dialog box, accept the default values, and click
OK to save the illustration le.

Step 2: Create three polygons using a different number of sides for each
shape. Each shape should possess a Fill Color and Stroke Color.
• Select the Polygon Tool in the Tools panel, then position the cursor over
the artboard.
• Note: e Polygon Tool is a hidden tool sharing space with the
Rectangle Tool (M).
• Click the mouse button once on the artboard where the center of the
shape will be placed, and the Polygon dialog box appears (Figure 12.4).

Figure 12.4
Polygon dialog box.

• Here values for Radius (distance from the center of the shape to the
edge) and Sides (the number of sides for the shape, e.g., three sides for
a triangle) can be entered.
• Accept the default values or enter custom values and click OK to create
the shape.
• Repeat this process entering unique values in the Polygon dialog box to
create two more polygons.
• Con rm that each shape possesses a visible Fill Color and a Stroke Color.
 • If needed, select the shapes using the Selection Tool (V) and apply the
necessary color via the Tools panel or the Control panel.

Step 3: Use the Eraser Tool (Shi + E) to eliminate part of a polygon.

• Choose the Eraser Tool (Shi + E) in the Tools panel and move the
cursor toward one of the polygons.
• Click and hold down the mouse button and then paint over part of the
polygon. When the mouse button is released, the area that was painted
over is eliminated.
• Notice that the remaining shape has a stroke around its entirety,
including along the recently erased area(s). Similarly, if additional
shapes were created during the process, they also possess a stroke.

Step 4: Use the Scissors Tool (C) to remove or cut out part of a polygon.
• Select the Scissors Tool (C) in the Tools panel and move the cursor over
the second polygon. Tip: For this tool to work, it has to begin on the
path of the shape.
• Click and release the mouse button as though creating a corner point.
• Move the cursor to another path in the shape, click and release the
mouse button.
• Continue this process as desired, to “cut out” part of the polygon.
• Now, choose the Selection Tool (V) and click on one of the newly created
shapes. Move the new shape away from its original position to highlight
the new shape.
• Notice that the edges created during this process do not possess
strokes.

Step 5: Use the Knife Tool to cut a polygon into multiple pieces.
• Choose the Knife Tool in the Tools panel and move the cursor toward
the third polygon.
• Beginning outside of the polygon, click and hold down the mouse
button, then draw a line that enters and exits the polygon. Release the
mouse button.
 • e path of the Knife appears within the shape. Closed paths were
created, each possessing strokes along the cutline.
• Deselect all objects on the artboard [Select menu > Deselect | ⇧⌘A].
• Use the Selection Tool (V) to select and move one of the pieces of the
polygon away from its original position to highlight the new shape.

Step 6: Save the le.

• Select Save from the File menu [File menu > Save | ⌘S].
Nice work, you have just sliced and diced a series of shapes. Familiarity
and comfort using these tools comes with practice. If you need some
additional shapes to dissect, try using the Star Tool, another hidden tool that
shares space with the Rectangle Tool (M).
e process for using the Star Tool is similar to the Polygon Tool. Position
the cursor over the artboard where the center of the star is to be positioned.
en, click once to open the Star dialog box (Figure 12.5). Here values for
Radius 1 (distance from the center to the innermost points), Radius 2
(distance from the center to the outermost points) and Sides (the number of
sides for the star) can be entered. Accept the default values or enter custom
values and click OK to create the star.

Figure 12.5
Star dialog box and resulting star.

Before proceeding to the Type Tool (T), let’s review some Need to Know
Fundamentals that pertain to Exercise 12.1.
Need to Know Fundamentals
Transforming Paths
e appearance of a path can also be altered through the use of transform
commands. A collection of these commands can be found within the Effect
menu, speci cally under the Illustrator Effects header and the Distort &
Transform menu command. Figure 12.6 illustrates the available options: Free
Distort; Pucker & Bloat; Roughen; Transform (i.e., Scale, Move, Rotate,
Re ect); Tweak; Twist; and Zig Zag. When selected, each of these options
launches a corresponding dialog box presenting related properties that can
be adjusted to affect the selected object.

Figure 12.6
Transforming Paths examples, Effect menu > Distort & Transform: (A)
Original path, (B) Free Distort, (C) Pucker, (D) Bloat, (E) Roughen, (F)
Transform, (G) Tweak, (H) Twist, and (I) Zig Zag.

Tip: Be sure the Preview checkbox in the dialog box is checked in order to
view the adjustments as they are made.

Selecting Paths and Objects Multiple tools can be used

to select objects in Illustrator. While the Selection Tool (V)
and the Direction Selection Tool (A) are go-to tools for many
designers, here are a few alternatives. The following
descriptions are drawn from the Illustrator Online Help:
• The Magic Wand Tool (Y) selects objects with similar
attributes.
• e Lasso Tool (Q) selects points or path segments within objects.
ese tools could be used to select any of the shapes created in Exercise
12.1.
Using the Type Tools
Now, on to the Type Tool (T) and a sample of the many ways that text can be
created in Illustrator. When type is created, a new sublayer is added to the
Layers panel. Once created, type can be edited for content and appearance.
Illustrator provides multiple ways to add text to an illustration, similar to
Photoshop. ese methods are represented in Figure 12.7.

Figure 12.7
Examples of the three methods used for creating type in Photoshop: (A)
point type, (B) area type, and (C) type on a path. Typeface: Myriad Pro.

A. Point type is a horizontal or vertical line of text that begins where the
cursor is positioned when the mouse button is clicked in the
illustration. Entering text at a point is a useful way to add a few words
to an illustration. When point type is created, each line of type is
independent, the length of the line expands or collapses as the content
is edited, but it does not automatically wrap to the next line.
 B. Area type (a.k.a. Paragraph type) uses boundaries to control the ow of
characters, either horizontally or vertically. Entering text this way is
useful when you want to create multiple lines or paragraphs.
C. Type on a path ows along the edge of an open or a closed path.

Converting between Point Type and Area Type

Type can be converted from point type to area type in order to adjust
the ow of characters within a bounding box. Similarly, area type can
be converted to point type to make each text line ow independently
from the others. To convert the type, rst select the type on the
artboard using the Selection Tool (V). en, from the Type menu, select
the appropriate menu command, Convert To Area Type or Convert To
Point Type [Type menu > Convert To Area Type | Convert To Point
Type].
When area type is converted to point type, a carriage return is added
at the end of each line of type (except the last line). Be aware that when
area type is converted to point type, all characters that over ow the
bounding box are deleted. To avoid losing text, adjust the bounding
box so that all type is visible before the conversion.

When a text element is selected on the artboard, the Control panel displays
the properties available for adjustment (Figure 12.8). ese options include
the following labeled properties (from le to right):

Figure 12.8
Control panel, Type Tool options: (A) Fill; (B) Stroke; (C) Shortcut to
Stroke panel; (D) Stroke Weight; (E) Variable Width Profile; (F) Shortcut to
Transparency panel; (G) Opacity; (H) Recolor Artwork; (I) Shortcut to
Character panel | Shortcut to Paragraph panel; (J) Align (Left, Center,
Right); (K) Make Envelope; (L) Align to Selection; and (M) Shortcut to
Transform panel.
 A. Fill B. Stroke C. Shortcut to Stroke panel D. Stroke Weight
E. Variable Width Pro le F. Shortcut to Transparency panel
G. Opacity H. Recolor Artwork I. Shortcut to Character panel |
Shortcut to Paragraph panel J. Align (Le, Center, Right) K. Make
Envelope L. Align to Selection M. Shortcut to Transform panel e
Character and Paragraph panels (Figure 12.9) provide additional
properties and greater options for formatting and adjusting type. e
Character panel provides options for formatting characters. Use the
Paragraph panel to change the formatting of columns and paragraphs.
Many of the typography elements presented in Chapter 10: Typography
in Design can be found in these panels, both of which are accessible via
shortcuts in the Control panel or from the Window menu [Window
menu > Type > Character | Paragraph].

Figure 12.9
Character panel, Window menu > Type > Character; Paragraph panel,
Window menu > Type > Paragraph.

Let’s take time to explore the Type Tools, beginning with the Area Type
Tool and the Type on a Path Tool. Note: Both of these tools are hidden tools
sharing space with the Type Tool (T). Next, the process of creating outlines,
converting editable type into unique paths for each letterform, is presented.
Exercise 12.2 encompasses multiple ways to work with and alter text. Aer
each new technique, you will be prompted to save the illustration le, a step
that is included as a reminder to save your work as you go.

Exercise 12.2: Working with the Type Tools

Exercise brief: Create an illustration le and experiment with type, including
type in and on a path.

Step 1: Create and save an illustration le in Illustrator (Ch12-Ex02.ai).

• Go to the File menu and select the New… menu command [File menu >
New… | ⌘N].
• In the New Document dialog box, look for the Print set and from the
Blank Document Presets select Letter (612 × 792 pt.).
• Click Create to generate the illustration le.
• Return to the File menu and select Save As… [File menu > Save As… |
⌘ S].
• In the Save As dialog box, enter the le name, Ch12-Ex02, verify the
Format (Adobe Illustrator [ai]) and navigate to an appropriate location.
• Click Save, which launches the Illustrator Options dialog box.
• In the Illustrator Options dialog box, accept the default values and click
OK to save the illustration le.
Step 2: Create two circles on the artboard, each possessing a Fill Color and
Stroke Color.
• Select the Ellipse Tool (L) from the Tools panel.
• Draw two circles on the artboard.
• Tip: Remember that holding down the Shi key on the keyboard
constrains the shape to a circle. Release the mouse button before the
Shi key to preserve the shape.
• Con rm that each shape possesses a ll and stroke color.
• If needed, select the shapes with the Selection Tool (V) and apply the
necessary color(s) via the Control panel or Tools panel.
Step 3: Fill the rst circle with placeholder text using the Area Type Tool.
 • Select the Area Type Tool from the Tools panel.
• Position the cursor over the edge of the circle.
• When the cursor overlaps the path of the circle, a path label appears.
• When the path label is visible, click the mouse button once. e shape
lls with placeholder text.
• Note: If the Area Type Tool is clicked anywhere else on the artboard, the
following Illustrator alert appears: You must click on a non-compound,
non-masking path to create text inside a path. Click OK or press the ESC
key on the keyboard to close this window and try again.
• Notice that the ll and stroke of the circle have been replaced by the
text. e previously lled shape is now being used for its shape as a type
area.

Step 4: Justify the placeholder text within the circle, and turn off
hyphenation.
• When the text is created, the text is automatically selected.
• Use this opportunity to justify the text.
• Select the Justify with last line aligned le option in the Paragraph panel
[Window menu > Type > Paragraph].
• Note: Justifying the text emphasizes the shape of the type area.
• Still in the Paragraph panel, deselect the Hyphenate checkbox, which
turns off hyphenation in the selected text.
 Placeholder Text
Illustrator provides placeholder or dummy text when the Type Tool (T)
is used. is dummy text, referred to as Lorem Ipsum, has been a
standard in the printing industry since the 1500s. Lorem Ipsum is
popular with designers because it uses a regular distribution of words,
punctuation and variable sentence length (Figure 12.10). e Latin
dummy text is also less distracting than the results of using random
keystrokes to ll a text eld. For more information about Lorem Ipsum,
refer to the references at the end of this chapter (see External Links
Mentioned in the Chapter).

Figure 12.10
Example of Lorem Ipsum placeholder text. Typeface: Myriad Pro.

ere will be times when a duplicate path is needed either as part of a

design or to compare paths (Figure 12.11). ere are several ways to
replicate a path, including using the Copy and Paste menu commands [Edit
menu > Copy (⌘C) | Paste (⌘V)]; here is an alternative that can be
performed from the artboard. First, select the path with the Selection Tool
(V), then hold down the Option/Alt key on the keyboard while dragging the
selected path to a new location. e original path remains in its location
while a copy is made and moved to the new location. Tip: When preparing
to drag the selected path to a new location, do not position the cursor over
the path’s center point. Otherwise, the center point will be relocated and a
copy of the path will not be created.

Figure 12.11
Exercise 12.2, Creating Area Type. Typeface: Myriad Pro.

Step 5: Make a copy of the path from Step 4 (circle containing justi ed text)
before proceeding. Use this copy for Step 6.
Step 6: Apply Fill and Stroke Colors to the copy of the path created in Step 5.
• First, deselect all objects on the artboard [Select menu > Deselect |
⇧⌘A].

• Choose the Direct Selection Tool (A) from the Tools panel.
 • Using the Direct Selection Tool (A), position the cursor on the path of the
circle and click once.
• Look to the Tools panel and speci cally the Fill and Stroke color chips,
which currently re ect None as their content.
• Apply both a Fill and a Stroke Color to the shape (see Figure 12.11).
Notice how the text spans the width of the circle and is very close to the
edge of the stroke. If the weight (a.k.a. thickness) of the stroke was
increased, the stroke would overlap the text interfering with the readability
of the text. e solution to this formatting challenge is found under the Type
menu in the Area Type Options dialog box (Figure 12.12) [Type menu >
Area Type Options…]. Tip: Select the circle before navigating to the Type
menu. Look for the Offset header and speci cally, the Inset Spacing eld.
Increase this value and watch as a margin is created between the edge of the
circle and the text. Tip: Be sure the Preview feature is turned on in order to
view the change. As the inset spacing increases, the available space for the
text decreases. A square outlined in red containing a red plus sign is now
present at the end of the visible text. is is the symbol for overset or
overmatter text, which appears when there is too much text for the text area
and some of the text is currently not visible.
 Figure 12.12
Area Type Options dialog box, Type menu > Area Type Options…, View
1: type with inset spacing (10 pt.); and View 2: deselected path.

To view the overset text, select the path with the Selection Tool (V), then
double-click on the overset symbol. Tip: It can be challenging to click on the
correct location, so consider rst zooming in on the path to increase
visibility of the work area [View menu > Zoom In | ⌘+ ]. Illustrator creates
a duplicate circle with the remaining text shown (Figure 12.13). e blue
line connecting the two shapes, and more speci cally the connected text
elds, indicates that the text is threaded. readed text is a topic covered in
Chapter 14: Getting Started with InDesign. For now, we can use the Type Tool
(T) to either select all of the text and resize it to t in one circle, or highlight
and delete the overset text in the second circle, then delete the empty path
that held the overset text.
 Figure 12.13
Area Type with overset text shown.

Step 7: Adjust the inset spacing of the path to increase readability of the text.
• Use the properties available in the Area Type Options dialog box to
increase the inset spacing [Type menu > Area Type Options…].
• Tip: Be sure the Preview feature is turned on in order to view the
change.
Step 8: Save the le.
• Select Save from the File menu [File menu > Save | ⌘S].
Step 9: Create placeholder text along the stroke of the remaining circle
(created in Step 2) using the Type on a Path Tool (Figure 12.14).
 Figure 12.14
Exercise 12.2, Creating Type on a Path. Typeface: Myriad Pro.

• Select the Type on a Path Tool from the Tools panel.

• Position the cursor on the edge of the circle. e position of the cursor is
where the text will begin.
• When the cursor overlaps the path of the circle, a path label appears.
• When the path label is visible, click the mouse button once.
• Note: If the Type on a Path Tool is clicked anywhere else on the
artboard, the following Illustrator alert appears, You must click on a
non-compound, non-masking path to create text along a path. Click
OK or press the ESC key on the keyboard to close this window and
try again.
• Placeholder text lls the circumference of the circle.
• Notice that the ll and stroke of the circle have been replaced by the text
on a path.
e size of the placeholder text is based on the current font size, which is
listed in the Character panel [Window menu > Type > Character]. If the
font size is too small or too large, try the following. Undo the previous action
[Edit menu > Undo | ⌘Z], then change the font size in the Character panel,
and repeat the Type on a Path action.
When the type on a path is selected using the Selection Tool (V), brackets
are visible at the beginning and end of the type and at the midpoint (Figure
12.15). e beginning bracket controls where the text begins along the path.
e ending bracket controls where the text ends along the path. e midpoint
bracket can be used to rotate the text along the path, changing the overall
position of the text. e midpoint bracket can also be used to ip the text to
the other side of the path. For the Type on a Path example shown in Figure
12.14, ipping the text would move the text into the circle.

Figure 12.15
Type on a Path: (A) beginning bracket at the start of the text, (B)
midpoint bracket located between the beginning and ending brackets,
and (C) ending bracket at the end of type.

In Figure 12.16, the midpoint bracket has been rotated counterclockwise,

which rotated the text in the same direction along the path.
 Figure 12.16
Type on a Path: midpoint bracket (circled) rotated.

e beginning and ending brackets limit where text appears along a path
(Figure 12.17). In Figure 12.17, View 1, the beginning bracket has been
repositioned clockwise, which decreases the amount of visible text. Notice
that the ending bracket now includes the overset symbol, a square outlined in
red containing a red plus sign, which indicates that there is too much text
for the text eld. In Figure 12.17, View 2, the ending bracket has been
repositioned counterclockwise to further limit the amount of text visible
along the path. e resulting limited presentation area is displayed in Figure
12.17, View 3, including the overset symbol.

Figure 12.17
Type on a Path: View 1: beginning bracket repositioned, View 2: ending
bracket repositioned, and View 3: limited text along a path.
Step 10: Adjust the placeholder text along the stroke so all of the text is
visible. ere is more than one way to accomplish this task, including
resizing or editing the text.

Step 11: Save the le.

• From the File menu select Save [File menu > Save | ⌘S].

Step 12: Add an artboard to the illustration le to have some more room to
work.
• Open the Artboards panel from the Window menu [Window menu >
Artboards].
• In the Artboards panel, click on the New Artboard symbol (Figure
12.18).

Figure 12.18
Artboards panel, Window menu > Artboards: (A) Move Up, (B) Move
Down, (C) New Artboard, and (D) Delete Artboard.

Step 13: On the new artboard, create an open path using the tool of your
choice (e.g., Pen Tool [P], Paintbrush Tool [B]) and ll the path with
placeholder text using the Type on a Path Tool. Tip: Remember from
Chapter 11: Getting Started with Illustrator, an open path has two distinct
endpoints (e.g., the letters “C” or “S”).
 • Select the Paintbrush Tool (B) from the Tools panel and create an open
path.
• Once the path is created, select the Type on a Path Tool and click once
on the path where the text should begin.
• Placeholder text lls the path along the stroke of the path.
• Notice that the Fill and Stroke Colors of the path have been changed to
None.
• Optional: Use the midpoint bracket to ip the text to the other side of the
path. Notice that this changes the direction of the text (Figure 12.19).

Figure 12.19
Type on a Path, open path: View 1: default type presentation; and View
2: flipped type presentation.

Step 14: Save the le.

• Select Save from the File menu [File menu > Save | ⌘S].

Just as there are properties that affect Area Type, properties exist for Type
on a Path; these are available via the Type menu [Type menu > Type on a
Path > Type on a Path Options…]. In the Type on a Path dialog box, options
include Effect (Rainbow, Skew, 3D Ribbon, Stair Step, Gravity); Flip; Align to
Path (Ascender, Descender, Center, Baseline) and Spacing (Figure 12.20).
For information about how to use these options, access the Illustrator Online
Help.

Figure 12.20
Type on a Path dialog box, Type menu > Type on a Path > Type on a
Path Options….

Let’s try one more type technique. In preparation for this, rst add one
more artboard to the illustration le (see Step 12).
Step 15: On the new artboard, use point type to create a word or line of text.
e font size of this text should be at least 60 pt.
• Select the Type Tool (T) from the Tools panel.
• Click once and type in a word or line of text.
• Resize the text as needed via the Character panel so the font size is at
least 60 pt. [Window menu > Type > Character].

Step 16: Convert the text into a series of anchor points.

• Using the Selection Tool (V) click on the text.
• From the Type menu, select the Create Outlines menu command [Type
menu > Create Outlines | ⇧⌘O].
 • Note: Until the text is selected with the Direct Selection Tool (A), the
change will not be apparent.
e appearance of each letter or word can be altered selecting speci c
anchor points with the Direct Selection Tool (A) and moving these anchor
points (Figure 12.21).

Figure 12.21
Type examples: View 1: type selected with Selection Tool; View 2: Type
menu > Create Outlines, selected with Direction Selection Tool; and
View 3: customized text. Typeface: Myriad Pro.

Step 17: Customize the appearance of the text using the Direct Selection
Tool (A).
• Choose the Direct Selection Tool (A) from the Tools panel.
• Use the Direct Selection Tool (A) to select the text.
• To select a single letter, click once on the letter.
• To select multiple letters or an entire word, press and hold down the
mouse button, then draw a box around the letters. When the box
surrounds the desired letters, release the mouse button.
• Notice the anchor points that form the path of each letterform.
• ese anchor points can be modi ed individually or in groups.
• First, deselect all of the anchor points [Select menu > Deselect | ⇧⌘A].
• Position the cursor over an anchor point, then click on the anchor point
to select it.
 • When the cursor hovers over an anchor point, an anchor label
appears.
• With an anchor point selected, click and hold down the mouse button,
and move the cursor. When satis ed with the altered shape, release the
mouse button.
• Tip: Multiple anchor points can be selected by drawing a box around
the anchor point to select them.
• Repeat this step to continue customizing the text.

Step 18: Save the le.

• Select Save from the File menu [File menu > Save | ⌘S].

Good job, you have created and edited text using several of the available
tools. Let’s wrap up this exercise with some related Need to Know
Fundamentals.

Need to Know Fundamentals

Stylize Effects
Photoshop provides Layer Styles as an easy way to apply effects (e.g., drop
shadow) to type and content. In Illustrator, many of these same effects are
available under the Effect menu, speci cally under the Illustrator Effects
header and the Stylize menu command (Figure 12.22). When selected, each
option opens a related dialog box. Tip: Be sure to select the object using the
Selection Tool (V) before the effect is applied.

Figure 12.22
Effect menu > (Illustrator Effects) Stylize.

Examples of the Stylize effects are presented in Figure 12.23; each line of
text re ects the applied effect.
 Figure 12.23
Examples of Stylize effects: Effect menu > (Illustrator Effects) Stylize, Drop
Shadow, Feather, Inner Glow, Outer Glow, Round Corners and Scribble.
Typeface: Myriad Pro.

Once an effect has been applied to an object, it can be edited via the
Appearance panel [Window menu > Appearance]. Figure 12.24 features the
“Drop Shadow” example from the previous gure selected on the artboard.
Clicking on the underlined Drop Shadow shortcut in the Appearance panel
launches the associated Drop Shadow dialog box where the current effect can
be adjusted.
 Figure 12.24
Appearance panel, Window menu > Appearance: (A) Add New Stroke,
(B) Add New Fill, (C) Add New Effect, (D) Clear Appearance, (E)
Duplicate Selected Item, and (F) Delete Selected Item.

Vertical Type Illustrator provides vertical alternatives to

the type tools: Vertical Type Tool, Vertical Area Type Tool and
Vertical Type on a Path Tool. These options afford a designer
flexibility, as illustrated in Figure 12.25. The formatting
properties in the Character and Paragraph panels as
well as in the Control panel adjust accordingly to
support the change in text direction.
 Figure 12.25
Vertical type examples: (A) Vertical Type Tool, (B) Vertical Area Type Tool,
and (C) Vertical Type on a Path Tool.

Image Tracing a Photograph

Illustrator provides the designer with the ability to trace a photograph. is
process converts a resolution-dependent, bitmap image into a resolution-
independent, vector image. is effect is frequently used for posters and
stylized designs. ere are multiple options to choose from when it comes to
how the photograph is translated based on the desired amount of colors and
level of detail. Figure 12.26 illustrates ve color options applied to the same
segment of a photograph of the Old Faithful Geyser in Yellowstone National
Park. Compare the amount of colors used in each example along with the
clarity and detail of the subject matter. Looking from le to right, the
examples contain increasingly more paths and thus greater detail.
 Figure 12.26
Image Trace, Tracing Presets: (A) 3 Colors, (B) 6 Colors, (C) 16 Colors,
(D) Low Fidelity Photo, and (E) High Fidelity Photo.

Let’s use this process to create a poster promoting Yellowstone National

Park in Exercise 12.3. Review the exercise brief, and then get started.

Exercise 12.3: Creating a Poster

Exercise brief: Create a vector-based poster that incorporates a photograph
and creative use of text in the illustration.
Exercise le: Ch12-Ex03-photo.jpg (Figure 12.27)
 Figure 12.27
Exercise 12.3 file. Old Faithful Geyser, Yellowstone National Park,
Wyoming.

Step 1: Create and save an illustration le in Illustrator (Ch12-Ex03.ai).

• Go to the File menu and select New… [File menu > New… | ⌘N].
• In the New Document dialog box, look for the Art & Illustration set and
from the Blank Document Presets select Poster (1296 × 1728 pt.) [18 ×
24 in.].
• Customize the le by making the following changes to the default
properties.
• Change the Color Mode to CMYK.
• Click on the More Settings button and under the Advanced header, set
the Raster Effects to High (300 ppi). Click the Create Document button
to return to the New Document dialog box.
• Click Create to generate the illustration le.
 • Return to the File menu and select Save As… [File menu > Save As… |
⌘S].
• In the Save As dialog box, enter the le name, Ch12-Ex03, verify the
Format (Adobe Illustrator [ai]) and navigate to an appropriate location.
• Click Save, which launches the Illustrator Options dialog box.
• In the Illustrator Options dialog box, accept the default values and click
OK to save the illustration le.

Step 2: Place the provided photograph on the artboard. Tip: Resist the urge
to drag and drop the le onto the artboard. Instead, use the following
method: • Go to the File menu and select the Place… menu command [File
menu > Place… | ⌘P].
• Navigate to the provided photograph le (available on the book’s
companion website). en click Place. is action creates a “loaded
cursor” that has the photograph le associated with it.
• Position the cursor in the upper-le corner of the illustration le and
click once to place the photograph. Note: Do not be alarmed when the
photo spans well beyond the artboard.

Once placed, the photograph should be selected on the artboard. Look to

the Control panel (Figure 12.28) and review the available options.

Figure 12.28
Control panel while photograph is selected: (A) Status of photograph
(Embedded/Unembedded) including Color Mode and Resolution, (B)
Edit Original image, (C) Converts Image into Tracing Image, (D) Mask,
(E) Crop Image, (F) Shortcut to Transparency panel, (G) Opacity, (H)
Align to Selection, (I) Shortcut to Transform Panel, and (J) Isolate
Selected Object.

Step 3: Resize the photograph as needed to t the artboard.

• Zoom out to see the photograph in its entirety [View menu > Zoom Out
| ⌘-] (Figure 12.29).
 Figure 12.29
Photograph placed [File menu > Place…]: (A) initial placement of
photograph (too large), (B) resized photograph (too small), (C) resized
and repositioned photograph (too large), and (D) cropped image
(Crop Image button pressed).

• Choose the Selection Tool (V) from the Tools panel, and position the
cursor over the handle in the lower-right corner of the photograph (see
Figure 12.29A).
• Hold down the Shi key on the keyboard to preserve the proportions of
the image frame, then hold down the mouse button and drag the handle
to the lower-right corner of the artboard.
• Note: When the photograph is resized to t the entire image on the
artboard, the photograph does not ll the artboard, there is a white
gap to the right of the photograph (see Figure 12.29B).
• Using the same combination of the Shi key and dragging the cursor,
resize the photograph (larger) so it covers the entire artboard.
• Reposition the photo so there is a balance between the sky and the
ground included on the artboard (see Figure 12.29C).
 • To remove the excess areas of the photograph, click the Crop button in
the Control panel. Use the handles on each side and in the corners of the
photograph to trim the excess areas of the photo (see Figure 12.29D).
When the handles are positioned at the edge of the artboard, press the
Return/Enter key on the keyboard.
• e following Illustrator alert may appear: Cropping a linked le
embeds a copy of the original. e original le at the linked location is
not affected. If this message appears, click OK or press the ESC key on
the keyboard to close the window and try again.
• Deselect the photograph [Select menu > Deselect | ⇧⌘A].
Now that the photograph has been successfully placed on the artboard,
save the le and continue working.

Step 4: Save the le.

• From the File menu select Save [File menu > Save | ⌘S].

Step 5: Use Image Trace to create paths based on the photograph.

• In the Control panel click on the dropdown arrow positioned to the right
of the Image Trace button. is dropdown list of Tracing Presets offers
multiple options (i.e., High Fidelity Photo, Low Fidelity Photo, 3 Colors,
6 Colors, 16 Colors, Shades of Gray, Black and White Logo, Sketched
Art, Silhouettes, Line Art, Technical Drawing).
• Let’s begin with the Low Fidelity Photo option.
• Why select Low Fidelity Photo? Low Fidelity Photo will emphasize
the color shape nature of the vector image. It will contain more colors
than the self-described 3, 6 or 16 Colors options, but fewer than High
Fidelity Photo. Fewer paths will be created than if High Fidelity Photo
was selected, which will make selecting and editing speci c paths
easier.
• Select the Low Fidelity Photo option.
• When this option is selected, the following Illustrator alert may
appear, Tracing may proceed slowly with this large image. Would you
like to continue? Note: To reduce the image size, rasterize to a lower
 resolution using Object menu > Rasterize. If this message appears,
click OK or press the ESC key on the keyboard to close the window.

e photo is traced; content previously presented as pixels is now a

collection of color shapes corresponding to the original photograph. Once
the Image Trace is complete, zoom in on the image [View menu > Zoom In
| ⌘+]. e color shapes will not become pixelated no matter the degree of
magni cation. Tip: To return the image to a workable view, use the Fit
Artboard in Window option from the View menu [View menu > Fit
Artboard in Window | ⌘0].

Step 6: Save the le.

• From the File menu select Save [File menu > Save | ⌘S].

To edit the traced image, the color groups rst need to be separated and
then ungrouped. Begin by selecting the traced image with the Selection Tool
(V), then clicking on the Expand button in the Control panel. is action
allows the designer to view the shapes that comprise the image, a series of
blue outlines (Figure 12.30). ese paths are currently grouped. When
objects or paths are grouped, multiple objects are treated as a single unit.
Grouped objects can be moved or transformed without affecting their
attributes and relative positions.
 Figure 12.30
Image Trace, Expand.

In order to select and modify a single path, the paths must be ungrouped.
To ungroup the paths, rst make sure that they are selected using the
Selection Tool (V) and then from the Object menu, select the Ungroup menu
command [Object menu > Ungroup | ⇧⌘G]. Once this action is complete,
individual paths can be selected and edited.

Step 7: Separate the color groups to allow for individual paths to be edited.
 • With the traced image selected, click the Expand button in the Control
panel.
• When this action is complete, the image should appear as a series of
blue outlines.
• From the Object menu, select the Ungroup menu command [Object
menu > Ungroup].
• Once this action is complete, the color shapes can be selected as
individual paths.
• Deselect all [Select menu > Deselect | ⇧⌘A].
• Using the Direct Selection Tool (A), move the cursor over the sky of the
image and look for the outline of a color shape to appear. When one of
these areas is visible, click the mouse button once to select the speci c
path. If too much of the image is selected, simply deselect all and try
again.

Just like with any other path, color shapes can be altered, changing their
colors ( ll and stroke), adjusting the anchor points, affecting their shape and
deleting the path.
Illustrator provides an Isolation Mode, which can be used to edit a path,
sublayer, compound shape or symbol, without affecting other content.
Content not associated with the selected item appears grayed out and cannot
be edited. e Isolation Mode can be entered by double-clicking on an
object on the artboard using the Selection Tool (V). When in the Isolation
Mode, a gray bar appears above the workspace containing an arrow icon that
can be used to exit the current level. Next to the arrow icon, the current
Containing Layer and the Current Isolation Object are listed (Figure 12.31).
Note: It is possible to go several layers deep within the Isolation Mode, so it
may be necessary to click the arrow icon multiple times to exit Isolation
Mode and return to the artboard.
 Figure 12.31
Isolation Mode: (A) Back one level/Exit Isolation Mode, (B) Containing
Layer, and (C) Current Isolated Object.

Try using the Isolation Mode to edit a speci c path, for example, the
topmost layer of blue sky. Consider eliminating the hook shown in Figure
12.32.
 Figure 12.32
Exercise 12.3,
Step 8: (A) shape identification, (B) projections identified,
(C) Lasso Tool selection, (D) endpoints, and (E) anchor points added
and adjusted.

Step 8 (Optional): Simplify the sky in the upper-le corner of the image.
• Zoom in on the area of interest [View menu > Zoom In | ⌘+].
• In order to simplify the sky, eliminate the two color shapes identi ed as
“1” and “2” in Figure 12.32A.
• Use the Selection Tool (V) to select each of the color shapes.
• Once selected, press the Delete key on the keyboard to eliminate each
shape.
 • When Shape 2 is deleted, a hole in the blue sky is created. is empty
area will be lled when Shape 4 is edited.
• Tip: Select Shape 1, then hold down the Shi key on the keyboard and
click on Shape 2. Used in this capacity, the Shi key adds to a current
selection.
• Double-click on Shape 3 (the second band of blue in the image) using
the Selection Tool (V) to enter the Isolation Mode.
• e goal is to eliminate the two projections identi ed in Figure
12.32B. ere are several ways to accomplish this goal; here is one
method.
• First, deselect all anchor points [Select menu > Deselect | ⇧⌘A].
• Select the Lasso Tool (Q) and draw a selection area around one of the
projections.
• is action selects the anchor points used to create the projection (see
Figure 12.32C).
• Now press the Delete key on the keyboard to eliminate these anchor
points.
• Repeat the same process with the second projection.
• When completed, Shape 3 appears to have a straight line between the
remaining sections of the path (see Figure 12.32D). is straight line is
actually Illustrator closing the gap between the two newly created
endpoints.
• Use the Pen Tool (P) to join these two endpoints.
• Tip: To close an open path, with the Pen Tool (P) selected, position
the cursor over one of the two endpoints, then click once. Now, move
the cursor over the second endpoint, and click once. is simple
process creates a path between the anchor points, which can now be
modi ed.
• To camou age the straight path, use the Add Anchor Point Tool (+) to
add several anchor points, then use the Anchor Point Tool (Shi + C) to
convert the corner points to smooth points, which blend more naturally
with the contours of the path (see Figure 12.32E).
 • Tip: Remember that adjusting the direction handle affects the created
curve.
• When satis ed with the changes made, press the arrow icon to exit the
Isolation Mode.
• It is time patch the hole in the image using Shape 4. Double-click on
Shape 4, the top band of blue, to enter the Isolation Mode.
• Use the tools and techniques available to cover the white hole. Consider
simplifying the path along the top of the white area, then repositioning
the remaining anchor points to cover the negative space. Note: Text will
be added to the image in this area, which will cover the patch job, so do
not get too carried away trying to replicate the uneven edge of Shape 4
that was created during the tracing process (Figure 12.33).

Figure 12.33
Exercise 12.3, Step 8 completed.

Step 9: Save the le.

• From the File menu select Save [File menu > Save | ⌘S].

e bands of color in the sky re ect the gradation of colors in the original
photograph. e subtle shades of blue were converted into bands of related
colors during the image tracing process. For the designer who prefers a solid
color for the sky, this is a simple edit to complete. Select the sky paths and
change the ll color, which limits the sky color from three shades of blue to
one (Figure 12.34). Note: Simplifying the sky to a single color may highlight
some stray color shapes along the previous path edges. ese stray paths can
be le as is, selected and deleted or changed so their color matches the sky.

Figure 12.34
Exercise 12.3, Sky simplified.

Let’s add some text to the design. First, add a headline and subhead that
use a stylized typeface to stand out from the image. en, for something
unexpected, we create a path in the shape of the blowing mist from the
geyser’s spray, and this path will be lled with text. However, before we
begin creating text, let’s rst lock the traced sublayers in the Layers panel to
avoid unintentionally selecting and adjusting the image. When we want to
make changes to any of these layers, we need to unlock the layers. A new
layer will be created to hold the text and text-related elements.

Step 10: In the Layers panel, lock the Layer 1. Note: By locking Layer 1 all of
its sublayers are automatically locked.
• If the Layers panel is not open, open it from the Window menu [Window
menu > Layers].
• In the Layers panel, click once in the empty column positioned to the
le of the layer name (Layer 1). A lock icon should appear indicating
that the layer and its sublayers are now locked.

Step 11: In the Layers panel, create a new layer, which will contain the text
elements.
• In the Layers panel, create a new layer using either the Create New Layer
icon along the bottom of the panel, or select New Layer… from the
Layers panel menu (Figure 12.35).

Figure 12.35
Layers panel, Layer 2 created, Layer 1 locked.

Step 12: Use the Type Tool (T) to create a headline for the poster celebrating
Yellowstone National Park’s status as the “World’s First National Park.”
• Con rm that Layer 2 is currently selected in the Layers panel.
 • Select the Type Tool (T) from the Tools panel.
• Create a text headline for the poster.
If your text includes multiple lines or a headline and a subhead, consider
using contrasting typefaces and sizes to establish a sense of hierarchy within
the text. With the headline in position, let’s create a mist-shaped path for the
text.

Step 13: Create a closed path that follows the natural shape of the geyser’s
mist. en use the Area Type Tool to place text within the path.
• Use the Pen Tool (P) or the Paintbrush Tool (B) to draw a path around
the mist located to the right of the geyser’s plume of water (Figure
12.36).
 Figure 12.36
Area path.

• Be sure the path begins and ends at the same anchor point.
• Use the Direct Selection Tool (A) as needed to adjust the path.
• Tip: For ease of use, set the Fill Color to None and the Stroke Color to
a color that contrasts with the traced image in the background.
• Once the path is created, select the Area Type Tool and position the
cursor along the edge of the path. Click once to ll the area with
placeholder text.
• Replace the placeholder text with copy that describes the attributes or
landmarks of Yellowstone National Park.
 • e link to the Yellowstone National Park website is included at the
end of this chapter for reference and inspiration.
• However, be mindful of copyright infringement as you look to outside
sources; be sure to provide the appropriate attributes for the source(s)
of any outside text included in the design.
• Adjust the font size and the shape of the area path as needed to
accommodate the text.
• Turn off hyphenation to increase the readability of the text.
• Add a subtle drop shadow to the text to help it stand out from the
background image [Effect menu > (Illustrator Effects) Stylize >
Drop Shadow…].

Step 14: Save the le and take a moment to appreciate your work (Figure
12.37).
 Figure 12.37
Exercise 12.3 completed.

• Select Save from the File menu [File menu > Save | ⌘S].

Nice work, you have demonstrated your ability to create in Illustrator

using a selection of its tools and processes. ere is one nal step to perform
before closing the illustration le and the application. e step is to save a
copy of the poster as a PDF le, a le format that can be easily accessed by
others.
Step 15: Save a PDF version of the illustration.
• From the File menu, select Save As… [File menu > Save As… | ⌘S].
 • In the Save As dialog box, choose Adobe PDF (pdf) from the Format
dropdown menu.
• Click Save, an action that launches the Save Adobe PDF dialog box
(Figure 12.38).

Figure 12.38
Save As PDF dialog box.

• Review the available options, then accept the default values and click the
Save PDF button.
• Locate and open the PDF le to verify its content and to view your
work.
Now, you have nished Exercise 12.3, well done.

Looking Ahead This chapter presented a lot of

information about Illustrator. Spend time revisiting the
exercises and experimenting with the tools and features
until you feel comfortable working with the concepts
presented. Then, when you are ready to proceed, the
next chapter focuses on page layout and the elements
that go into the overall page design of a document.

Discussion
Discussion 12.1: Creative Text Presentation Type on a Path
allows for the creative presentation of text in an
illustration. How do you envision using this feature?
What shaped path would you create for the type?
What benefits are provided with the use of Type on a
Path? Now, think about the audience’s experience,
what readability challenges accompany the use of Type
on a Path and Area Type? How can you proactively plan to
avoid these challenges?

Activity
Activity 12.1: Create a Personal Logo Use Illustrator to
create a logo for yourself that includes your name.
Design the logo for personal branding, specifically for
use on a business card, letterhead, jacket or ball cap.
Use the brainstorming techniques presented in Chapter 4: De ning the
Project to get started. When capturing your initial ideas, consider the
following: • Your Name: Identify which name you will incorporate, your full
name, a single name ( rst, middle or last name), a nickname or your initials.
• Inspiration: Focus on what you do (skills, hobbies) and how these ideas
could be visually represented.
• Sense of Self: List ve words that you use to describe yourself. If
appropriate, ask others to do the same. Review the terms for ideas and
 concepts that could be incorporated into the logo.
• Colors: ink about the role of color in the logo, consider color
signi cance and symbolism (refer to Chapter 3: Color in Design).
Once production has begun, pay attention to the following concepts:
• Keep It Simple: Focus on one or two ideas. Do not try to incorporate all of
your brainstorming ideas into a single design.
• Use Negative Space: ink about ways to include visible breaks for the
eye into the logo. Use the principles of design to achieve balance
between the gure and the ground, refer to Chapter 2: e Elements and
Principles of Design.
• Typography Matters: Incorporate your name into the design from the
start; it should not be an aerthought. Select a type category that
supports the ideas that you wish to communicate in the logo (refer to
Chapter 10: Typography in Design).

Exercise File(s) Available on the Companion Website,

URL
Ch12-Ex03-photo.jpg | Exercise 12.3 le. Old Faithful Geyser, Yellowstone
National Park, Wyoming.
Ch12-Ex03.pdf | Exercise 12.3 le, Poster.
URL: http://www.crcpress.com/9780367075347

External Links Mentioned in the Chapter Illustrator

Online Help | https://helpx.adobe.com/illustrator
Lorem Ipsum | https://www.lipsum.com
Yellowstone National Park | https://www.nps.gov/yell/

 
* Figure 12.2 displays a series of symbols available in Illustrator [Window menu > Symbols, Symbol
Library: Maps]. In this context, a symbol is an art object that can be reused in a le.
 13
Page Layout

When discussing page layout, we are referring to a design that brings

together images and text into a single document. e size of the document
may vary in terms of dimensions or volume (e.g., single page vs. multipage),
but the underlying goal is the same, to create an arrangement of content that
presents a clear and cohesive message, in other words, visual hierarchy. As
described in Chapter 2: e Elements and Principles of Design, visual
hierarchy refers to a sense of order within a design that aids in identifying
what is most important. e principles of design can be used to achieve
visual hierarchy; they include Balance, Alignment, Repetition, Contrast,
Proximity and Space. For a refresher of these design principles, refer to
Chapter 2: e Elements and Principles of Design. Successful page layout
supports visual hierarchy and does not distract from the content.

The Grid System

One of the most popular techniques used to achieve these results is the grid
system. At its core, the grid system is a method used to divide a page or
screen into de ned areas, which are used to present content. e grid system
can be traced back to early handwritten manuscripts, yet it remains a widely
used layout technique in contemporary design. One explanation for this
longevity is that grids work across platforms from print layouts to Web-
based designs that support multiple devices and various screen sizes.
A grid is a structure that divides a page into columns or modules. ese
de ned areas provide an underlying structure on which the designer can
arrange page content. is system affords exibility in where content is
placed. At the same time, the structure encourages consistency and the
ability to reproduce the layout across a project. e consistency that is
created bene ts both the designer as well as the viewer who understands
where content will be presented.
Each grid is made up of a combination of the following parts (Figure 13.1):
 Figure 13.1
Grid components: (A) format, (B) margins, (C) gutters, (D) columns, (E)
rows, and (F) modules.

• Format: e format is the area where the design is placed. In print

design, the format is the page; in Web design, the format is the browser
 window.
• Margins: Margins are the negative spaces between the edge of the format
and the content.
• Columns, rows and gutters: Columns are vertically de ned areas within a
grid. e horizontal equivalent to a column is the row. e space
between columns or rows is known as the gutter or alley.
• Modules: Modules are individual areas of space created from the
intersections of columns and rows. Vertical groups of modules together
create columns; horizontal groups create rows.
Types of Grids
e designer has multiple types of grids from which to choose in order to
accommodate the content and needs of a project. When deciding on which
grid to use, it is helpful to rst sketch the general layout and see which of the
following grids is best suited to the arrangement.

• Manuscript grid or single-column grid: e manuscript grid is the

simplest grid structure. It is essentially a rectangular area that occupies
most of the space inside the format (Figure 13.2). e manuscript grid
works well for continuous blocks of text or the presentation of images.

Figure 13.2
Manuscript grid.

• Multicolumn grid: As its name suggests, the multicolumn grid is

composed of multiple columns (Figure 13.3). e number of columns
depends on the content and the dimensions of the output. e columns
can be used to create zones for different kinds of content.
 Figure 13.3
Multicolumn grid.

• Modular grid: e modular grid divides a page into modules (Figure

13.4). e intersections of columns, rows and gutters create a matrix of
modules or cells. A modular grid provides more control than a
multicolumn grid, which can be bene cial for complex layouts. Each
module in the grid can contain a small chunk of information, or
adjacent modules can be combined to form blocks.
 Figure 13.4
Modular grid.

• Baseline grid: e baseline grid is an underlying structure that guides

the vertical spacing in a design. Using this type of grid is like writing on
a lined piece of paper (Figure 13.5). e grid ensures that the bottom of
each line of text (a.k.a. its baseline) aligns with the vertical spacing. It is
primarily used for horizontal alignment and for hierarchy.
 Figure 13.5
Baseline grid.

Keep in mind that when it comes to page layout, there is generally more
than one viable solution for a project. In fact, it is a good practice to develop
more than one solution and assess the strengths of each before nalizing the
arrangement of content.
As a designer, you may be tasked with creating page layouts for a variety of
outputs. However, whether designing a business card, brochure or magazine
page, the grid system provides a structure on which to develop visual
hierarchy. e degree of complexity may vary among projects, but the
underlying goal is the same, to create a design that utilizes the design
principles to effectively communicate its message.

Designing a Business Card

Now let’s apply these ideas to a series of tasks. We begin with a business
card, a document that is limited in its nished size, but impactful when
making a rst impression with potential clients. Among the goals of a
business card is to create a personal connection between you and a potential
client. When you distribute a business card, you are inviting the recipient to
connect with you.
A business card should include the following components: • Logo and
tagline: e company logo and tagline (or slogan) are used to convey the
company’s identity visually through use of color, fonts and text.
• Name and functional job title: Use these elements as an opportunity to
introduce yourself and what you do.
• Contact information: Provide relevant contact details while keeping
personal information private. If most of your business and
communications are done online, do not include your physical street
address on the business card. If location is relevant to your business
(e.g., wedding photography), consider listing your city or town on the
business card but leave off your street address. You can always provide
the physical street address on future communications or invoices once a
relationship has been established. ink about your safety.
• Website: If you have an online platform to share examples of your
work, include that link on the business card. Online portfolios are
discussed in detail in Chapter 16: Bringing It All Together.
• Social media pro les: If you are professionally active on social media,
provide channels that are relevant to your eld. Be strategic about
where potential clients can view a sample of your work. However, do
not overwhelm your audience with a lengthy list of social media
channels. Save that for your website.
• White space a.k.a. negative space: Use negative space to provide balance
to the content presented on the business card. Again, avoid
overwhelming your audience.
e dimensions of a nished business card in the United States and
Canada are 3.5 in. × 2 in. (89 mm × 51 mm). In much of Europe, the
standard business card is 3.346 in. × 2.165 in. (85 mm × 55 mm). ese
varying sizes are mentioned as a reminder that it is important to understand
your client, the client’s needs and the context of the project before you begin
laying out a document.
For the purposes of this discussion, we use the U.S. standard size (3.5 in.
× 2 in.). When setting up the document, an additional one-quarter inch
(0.25 in.) is added to the dimensions to accommodate the bleed area (3.75
in. × 2.25 in.). e bleed area is an additional one-eighth inch (0.125 in.) of
space on each side of the business card for design elements that extend
beyond the nished size of the card (Figure 13.6). e bleed area will be
trimmed off of the document, so its contents will not be seen in the nished
business card.

Figure 13.6
Standard business card including bleed.

In addition to designing the front of a business card, the layout of the

document provides an opportunity for content on the back of the business
card as well. e back of the card can be used to present a company logo or
tagline or to present a translated version of the front of the card if business is
regularly done in a second language. e back of the card can also be le
blank, as space to write a message.
 In addition to deciding whether a business card will be single or double
sided, the choice of orientation (horizontal vs. vertical) must be made.
Although horizontal business cards are the norm for most U.S. companies,
vertical business cards are also used. A vertical orientation may be used to
stand out from other cards and companies. A vertical orientation may also
be used by companies and individuals who do business in foreign markets,
where characters are read from top to bottom.
As shown in Figure 13.7, there are multiple ways to present the standard
information included on a business card using either orientation.
 Figure 13.7
Sample business card layouts.

For those designers seeking an unexpected layout, alternate shapes can be

used for business cards (e.g., squares and mini-cards). Just be aware of
potential costs when utilizing nontraditional options. Tip: Contact a printing
service to price out the costs associated with different layout options (e.g.,
dimensions, single vs. double sided and full color) before committing to a
speci c design.
 Let’s see how much space is available for content on a standard business
card and which orientation you prefer. Exercise 13.1 initiates the design
process using sketches on paper to capture your initial ideas and
preferences.

Exercise 13.1: Draft a Business Card

Exercise brief: Create a business card for yourself or your business (current
or hypothetical). Design the business card to include the contact
information that you would expect to nd on such a card.
Exercise le: Ch13-Ex01.pdf Business card templates (horizontal and
vertical) Download and print a copy of the Business Card Template, which is
available as a PDF le on the book’s companion website. Or, create your own
template in Illustrator based on the provided dimensions of a standard
business card. Use the template to capture your ideas on paper. Create at
least three variations of your business card. Repeating the task encourages
you to consider different options when it comes to the arrangement of card
elements. With your sketches in hand, answer the following questions:
• What information is most important on the business card?
• How do the principles of design contribute to the visual hierarchy of
information on the business card?
• How are the individual design principles being used?
• Balance: How has the visual weight of the elements (e.g., company
logo and contact information) been balanced?
• Alignment: How has alignment been used to create order and
organization within the design? Do visual connections exist among
the elements on the business card?
• Repetition: How is repetition being used in the elements of the
business card (e.g., font, color and line)? How does the repetition
create rhythm or a feeling of organized movement across the business
card?
• Contrast: How is contrast being used to emphasize speci c elements
within the design? What elements represent opposing elements (e.g.,
fonts, colors and lines)?
 • Proximity: What is the main focal point on the business card? What
kinds of visual connections exist among the content?
• Space: How is space being used to avoid clutter and confusion? How
are the positive and negative spaces being used to effectively present
information in the layout of the business card?
• How could a grid help organize the arrangement of elements on the
business card?

Based on your responses to these questions, revise the sketches or begin

again. Remember that the design process is cyclical: design, review, revise
and repeat. e goal in these revisions is to strengthen the business card
design before you begin creating the document in an Adobe Creative Cloud
application. Tip: It is oen easier to print another copy of the Business Card
Template and start the sketching fresh, rather than revising an existing
design.

Designing a Brochure
Our next task is to create a brochure to promote a company or an event. As
shown in Figure 13.8, there are multiple options to choose from when
designing a folded brochure. For our purposes, we will focus on the tri-fold
brochure using a landscape orientation for the paper.
 Figure 13.8
Brochure layouts: (A) half-fold, (B) tri-fold, (C) Z-fold, (D) three-panel
gate fold, (E) vertical half fold and (F) French fold (quarter fold).

In a tri-fold brochure, three equal sections are created by folding the side
panels over the middle. Most tri-folds bend the right side rst and then the
le side. Based on this order, when opened, the brochure reads from le to
right. When laying out any brochure, it is important to ask, “What will the
viewer see rst?” Keep in mind the order in which content is presented and
consumed. For the tri-fold brochure (Figure 13.9), the numbered panels
correspond to the order in which content is generally presented and ideally
consumed.
 Figure 13.9
Tri-fold brochure layout, sections labeled.

Each one of the six sections of a tri-fold brochure serves a purpose in the
overall presentation of information. Locate each section in Figure 13.9 aer
reading its description.

• Section 1 (Front Cover): As the front cover of the folded brochure, this
panel generally contains an image and the name of the company or
event. is information should be eye-catching and placed in the top
third of the design in order to be visible in a brochure rack. e cover
design should entice the viewer to pick up and open the brochure and
continue reading.
• Section 2 (Inside Front Cover): e brochure is unfolded to show the
inside front cover, Section 2. is panel oen contains both questions
and answers that introduce the company or the event.
• Sections 3 (Inside Back Cover) and 4 (Inside Panel): When the inside
panel (Section 5) is opened, Sections 3 and 4 are visible. e middle and
right panels generally contain additional information about the subject.
 Consider using headers and bulleted lists to organize the content, to
avoid overwhelming the viewer with too much text.
• Section 5 (Inside Panel): is inside panel is visible when the brochure is
rst opened. e space sometimes contains extra information or it may
be used as an order form or survey.
• Section 6 (Back Cover): e back cover is generally reserved for contact
information or a map. If the brochure will be mailed to audiences, the
back panel serves as a place for the mailing address and postage. Note: If
Section 5 contains a form that will be completed and returned to event
organizers, this back panel should be reserved for the mailing address
and a designated postage area.
Beyond the arrangement of content, there are several design challenges
associated with creating a brochure. First, how will the brochure stand out
visually among other brochures in a crowded brochure rack? e goal of the
cover panel is to generate enough interest for someone to pick up the
brochure in order to learn more about the company or event. In addition to
attracting attention, the overall design of the brochure should also re ect
continuity across design. is includes consistency in fonts (e.g., typeface,
size and style), the presentation of images and overall alignment of content.
Employing a grid system can help you achieve an organized arrangement of
content.
Let’s review the basic layout of a tri-fold brochure using a paper mock-up.
Exercise 13.2 is designed to review the presentation of information in the
folded brochure.

Exercise 13.2: Draft a Tri-Fold Brochure

Exercise brief: Mock up a tri-fold brochure on paper. Use the provided
template and fold it to become familiar with the available areas for content
and the order in which each section is seen.
Exercise les: Ch13-Ex02.pdf Tri-fold brochure template Download and
print a copy of the Tri-Fold Brochure Template,* which is available as a PDF
le on the book’s companion website. Fold the template along the dashed
lines. First, fold the right panel into the center, then the le panel. With the
folded template in hand, review how the brochure opens and the order of
the sections seen.
Now select a subject, either an organization that you support or an event
that you attend, and sketch content related to that subject on each panel of
the folded template.
Note: Included at the end of Chapter 15: InDesign Continued is an activity
that reviews the process for setting up a document to create a tri-fold
brochure.
With your sketch in hand, answer the following questions: • What
information is most important on the brochure? Where is this information
located?
• How do the principles of design contribute to the visual hierarchy of
information presented on the brochure?
• How are the design principles being used?
• Balance: How has the visual weight of the elements been balanced?
• Alignment: How has alignment been used to create order and
organization within the brochure? Do visual connections exist among
the elements on different panels?
• Repetition: How is repetition being used in the elements of the
brochure (e.g., font, color and line)? How does the repetition create
rhythm or a feeling of organized movement across the brochure?
• Contrast: How is contrast being used to emphasize speci c elements
within the design? What elements represent opposing elements (e.g.,
fonts, colors and lines)?
• Proximity: What is the main focal point on the brochure? What kinds
of visual connections exist among the content on the inside and
outside of the brochure?
• Space: How is space being used to avoid clutter and confusion? How
are the positive and negative spaces being used to effectively present
information in the layout of the brochure?
• How could a grid help organize the arrangement of elements on the
brochure?
Designing a Magazine Page
e next subject of page layout that we address is a magazine page. ere is
quite a bit of terminology involved in this section. An understanding of
these terms will further discussions of layout techniques that promote
readability and the impact of the overall design. Note: Many of the page
elements presented here in the context of a magazine can be applied to other
documents as well.
Let’s begin with a few familiar terms, margins and columns. ese
universal properties are applicable across various document types. Set
during the document creation process, values for margins and columns can
later be adjusted as needed. During production, these areas are represented
by document guides (Figure 13.10). e guides will not be visible in the nal
document output.

Figure 13.10
Document guides: (A) margin guide, (B) column guide, (C) document
edge, and (D) bleed guide.

Margins are the areas along the outer edges of a printed page. ese areas
are oen le empty due to a printer’s inability to print to the edge of a page.
For many consumer printers, this margin is at least one-quarter inch (0.25
in.) on all sides of a document. While the width of a document’s margins is
generally consistent on each of the four sides of a page, the values can vary
depending on the needs of the project. For bound projects, such as a
magazine or book, the inside margins may be larger than the others to
accommodate the binding process (Figure 13.11).

Figure 13.11
Bound document, larger margins along inside edges to accommodate
binding.

Columns are another page element used to present and contain content. As
discussed during the introduction of the grid systems, the use of columns
can encourage a sense of consistency across a document. Columns can also
be used to increase the ease of readability for large blocks of text. A column
limits the length of a line of text making it easier for a reader to scan a line
and move on to the next. On pages that include both text and images,
columns provide exibility for the presentation of text next to and around
the image. Note: All pages use at least one column in their document setup;
one column spans the width of the page from le margin to right margin.
e following questions are generally raised once columns are introduced
into page layout: • How many is too many columns? e answer to this
question depends in part on the dimensions of the document page,
speci cally the width. When a column can only t two to three words per
line, consider reducing the number of columns on the page.
• Should text in columns be justi ed? Not necessarily. Text presented in
columns can be justi ed to highlight the evenness of the columns.
Similarly, justi cation is oen used when wrapping text around an
object, a technique presented in Chapter 15: InDesign Continued. In this
scenario, justi ed text emphasizes the shape of the object and any offset
space or margin between the text and the object. However, remember
the challenges of justi ed text discussed in Chapter 10: Typography in
Design, including but not limited to widows, orphans and rivers.
e space between columns, the gutter, is what separates columns of
content. As such, the gutter is generally treated aesthetically as negative
space, a visual break for the eye. e width of the gutter can be set when a
document is created and then adjusted as needed.
Additional page elements de ned during the document creation process
include bleed and slug. ese areas fall outside of the document page, and
while not seen by the reader, they serve as useful references for the designer.
Both the bleed and slug areas are speci ed when the document is created
and then discarded when the printed document is trimmed to its nal page
size.
An image that bleeds off the page begins within the margins of the page,
continues through the margins and extends beyond the edge of the
document. Since most consumer printers cannot print to the edge of a page,
the bleed effect can be achieved by printing a document on a larger size page
(media) than needed, then trimming the page down to the desired size. A
standard setting for bleed is one-eighth inch (0.125 in. or 0p9).
e slug falls outside of the page and beyond the bleed area. is area can
contain printer instructions, document details (e.g., le name and creation
and modi cation dates) or client information.
Following this overview of the page elements set during the document
setup, let’s focus on the components of a magazine page, as featured in
Figure 13.12. Note: Figure 13.12 is available as a downloadable PDF le on
the book’s companion website. Use this reference to take a closer look at the
page and its attributes.
Figure 13.12
Magazine page layout.

• Headline: Generally positioned at the top of the page, where the reader
is accustomed to looking for it, the headline is one of the most
important elements on the page. If the headline is not appealing or
interesting, the reader may skip the article all together. Headlines can
vary in size. e importance of the article generally determines the size
of the headline. e headline should be presented in a font size larger
than the rest of the font on the page.
• Intro (Kicker or Deck): Positioned above the body copy, the intro serves
as a transition between the headline and the body copy, setting the tone
of the article. e intro should summarize the article and attract the
reader’s attention. From a design perspective, the intro should be set in a
font size smaller than the headline but larger than the body copy. A
contrasting style can be used to distinguish the intro text, such as italic
or a sans serif typeface if the body copy uses a serif typeface.
• Body copy (Body text): e body copy is generally the largest part of the
article. Use of margins, columns and font size affect the readability of
body copy. e font size of this text element should be consistent
throughout the article (and the magazine). While headline and intro
sizes may vary article to article, body copy should remain consistent
across the magazine.
• Pull quote: Pull quotes are a design technique used to highlight the most
interesting parts of an article. ey can also be used to break up large
blocks of body copy. A pull quote may be set apart from the rest of the
text by use of a block of color placed behind the pull quote or by
positioning the pull quote to span multiple columns. Pull quotes should
be set in a font size that is large enough to attract the reader’s attention
but not too large to distract from the headline.
• Subhead: Subheads are text headings strategically used to break up body
copy. ey can also provide guidance to the reader as to what the reader
can expect in upcoming paragraphs. Subheads are most effective when
they are separate from other elements on the page (e.g., images and pull
 quotes). ese text elements should vary in appearance from the body
copy, whether through a subtle change in font size or the use of a unique
font style (e.g., italic or bold).
• Image (Art): A photo, graphic or illustration can provide visual interest
to an article. An image can be used to break up lengthy blocks of body
copy. If you decide to use stock images in a document, be sure to review
the available licensing options (refer to Chapter 9: Photo Editing in
Photoshop).
• Image caption: Images and their accompanying text-based image
captions should work in unison. e image caption can be placed on or
below the image; however, avoid placing the text element above the
image. Depending on the dimensions of the image, the image caption
can be presented in one or two long rows, or divided across several
short rows. Be sure to turn off hyphenation for the image caption to
increase its readability. e font size should be the same or slightly
smaller than the body copy. Consider using a different style or a
contrasting type to distinguish the image caption.
• Bylines and credits: Attributes should be provided to acknowledge those
who worked on the article and any accompanying images. e name of
the author is generally presented under the headline or intro depending
on the page layout, and this is the byline. Bylines can be set in the same
size as body copy or can be slightly larger. All art should be credited
somewhere within the article. Sometimes credits are placed at the
bottom of the page, and other times they are placed next to images.
Credits oen use a smaller font size than the body copy.
• Running head (section head): A running head is a navigation guide for
the reader. It is positioned along the top or outer edge of the page. Not
all pages need running heads; they are typically placed at the beginnings
of sections. Oen set against a brightly colored box that bleeds off the
page, this navigation marker is oen visible even when the magazine is
closed. Running heads should re ect the style and tone of the rest of the
magazine.
• Folio: e folio is a standard element positioned along the bottom edge
of most pages in a magazine. It generally includes the page number
 along with the name of the magazine and the issue date. Other elements,
such as the publication’s logo, section title or Web page may also be
included. However, be careful not to overwhelm the reader with too
much content in the folio.
• Box copy (panel): Important facts related to the topic of the article may
be presented in a box within the article layout. is de ned area could
include statistics, dates or other factual information that is brief in
length. e box copy can have its own headline and intro.
ere are a lot of components that can go into the layout of a single
magazine article. Multiply this by the average number of articles and
advertisements in an issue of the magazine for a sense of the volume of work
involved with laying out a monthly publication. Fortunately, publishers use
templates when laying out most of the content in a magazine issue.
Designers do not need to reinvent the page layout with each article.
Similarly, style guides exist outlining the speci c formatting of headlines,
subheads and other text elements on a page. A style guide is a set of
standards for the writing and design of documents. e implementation of a
style guide provides consistency in formatting and page layout within an
article and across a magazine.
Locate a magazine article or use the sample page shown in Figure 13.12,
and based on the layout of this page, answer the following questions:
• What is the most important information in the article? How can you tell?
Where is this information located? Describe its size in relation to the rest of
the article content.
• How do the principles of design contribute to the visual hierarchy of
information presented in the article?
• How are the design principles being used?
• Balance: How has the visual weight of the elements been balanced?
• Alignment: How has alignment been used to create order and
organization within the article? Do visual connections exist among
the elements on the page(s)?
• Repetition: How is repetition being used in the elements on the page
(e.g., font, color and line)? How does the repetition create rhythm or
 a feeling of organized movement across the article?
• Contrast: How is contrast being used to emphasize speci c elements
within the design? What elements represent opposing elements (e.g.,
fonts, colors or lines)?
• Proximity: What is the main focal point in the article? What kinds of
visual connections exist among the content in the article?
• Space: How is space being used to avoid clutter and confusion? Which
spaces are most effective at providing a visual break for the reader?
• Has a grid system been used to lay out the content? If so, which type?

Looking Ahead Based on the document layouts

presented in this chapter, you should be developing an
awareness of the page elements available to you as a
designer. Next up is an introduction to Adobe InDesign,
its workspace and tools. The page layout elements will
be referenced and utilized in InDesign.

Discussion
Discussion 13.1: The Role of Negative Space When
laying out a document, what role does negative space
play in the arrangement of content? Which of the
design principles is strengthened or enhanced by the
use of negative space (refer to Chapter 2: e Elements and
Principles of Design)? Using the grid system, how can
negative space be introduced into a page?

Activity
Activity 13.1: Create a Business Card Activity le: Ch13-
Ex01.ai Business card templates (horizontal and vertical)
Use Illustrator to create a business card based on the
sketches that you created in Exercise 13.1. Download a
copy of the Business Card Template (.ai file), which is
available on the book’s companion website, or create
your own template in Illustrator. If appropriate,
incorporate the logo created in Chapter 2: Illustrator
Continued, Activity 12.1 into the business card layout.

Exercise File(s) Available on the Companion Website,

URL
Ch13-Ex01.pdf | Exercise 13.1 le, Business card templates (horizontal and
vertical) Ch13-Ex01.ai | Activity 13.1 le, Business card templates
(horizontal and vertical), Adobe Illustrator le Ch13-Ex02.pdf | Exercise
13.2 le, Tri-fold brochure template Ch13-Magazine-Layout.pdf |
Magazine layout URL: http://www.crcpress.com/9780367075347

 
* If you have the ability to print double-sided, do so for the Tri-Fold Brochure Template. If not, print
both pages and then place the backs of these pages together to create a homemade version of the
double-sided template.
 14
Getting Started with InDesign

Adobe InDesign is the industry standard for page layout; it is used whether
creating a single-page document or a multipage project (e.g., booklet,
magazine or newspaper). InDesign is oen used to bring together images
created in other applications, such as Photoshop and Illustrator, into a
nished product that supports either print or digital outputs. InDesign
utilizes a series of frames to organize and arrange content. is process
allows a document layout to be completed before content is available, which
is useful when working on a project as part of a team.

InDesign Overview
is chapter begins with a high-level overview of InDesign, introducing its
workspace and tools. Some of these elements will be familiar from
Photoshop and Illustrator, and others will be new.
InDesign provides an extensive collection of tools. is chapter features a
subset of these, tools selected to get you quickly creating in InDesign. When
you are ready to expand your personal toolset, access the InDesign Online
Help, a valuable resource available via the Help menu [Help menu >
InDesign Help…].
 Notes to the Reader
is chapter is most effective when the InDesign application is open in
front of you while reading. is will allow you to learn and then do,
navigating the interface and utilizing the tools. If you do not have
access to the application, the included screen captures will serve as
visual references for much of the content.

Creating a New Document

When InDesign opens, a Start workspace* appears welcoming the designer
to the application (Figure 14.1). In this dialog box, select either the Create
New… or the Open… button located along the le side of the window to get
started. Let’s choose the Create New… button, which launches the New
Document dialog box.

Figure 14.1
Start workspace dialog box.
 In the New Document dialog box, InDesign provides a series of preset
values based on the project type and expected output (Figure 14.2); these
sets include Print, Web and Mobile. To proceed, select a set; let’s choose the
Print set and from the Blank Document Presets select Letter (51p0 × 66p0).
Take a moment to review the Preset Details, the le properties associated
with this selection. Once a blank document preset has been selected, the
following preset properties can be reviewed and modi ed as needed to
accommodate a project.

Figure 14.2
New Document dialog box, Print set > Letter preset selected.

Preset Details (descriptions drawn from InDesign Online Help) • Name:

Specify the name for the document (Default: Untitled-1).
• Width and Height: Specify the size of the document.
• Units: Specify the measurement unit for the document (Default: Picas).
• Orientation: Specify a page orientation for the document: Portrait
(vertical) or Landscape (horizontal).
• Pages: Specify the number of pages to create in the document.
 • Facing Pages: Select this option to make le and right pages face each
other in a double-page spread.
• Start #: Specify which [page] number the document starts on. If you
specify an even number (such as 2) with Facing Pages selected, the rst
spread in the document begins with a two-page spread.
• Primary Text Frame: Select this option to add a primary text frame on
the master page.
• Columns: Specify the number of columns to add in the document.
• Column Gutter: Specify the amount of whitespace between columns.
• Margins: Specify the margins for each side of the document. To use
different values for different sides, delink the dimensions by clicking the
chain icon.
• Bleed and Slug: Specify the position of the bleed and slug along each side
of the document. To use different values for different sides, delink the
dimensions by clicking the chain icon.
• Preview: Select this option to preview the orientation and size of a
document before creating a new le.

Click Create button and the resulting document le appears in the

InDesign workspace.

Saving or Exporting a Document

It is a good practice to save a new le before creating or placing content.
Given the prospect of placing images in the document and in doing so
creating links between the les, it is important to save the InDesign le
before starting this process. is practice will also help the designer avoid
losing work should the application or computer freeze and need to be
restarted while they are working.
To save a new le, access the File menu and select Save As… from the
available menu commands [File menu > Save As… | ⌘S]. is action
launches the Save As dialog box (Figure 14.3); here the le can be named, if
this was not done when creating the le (in the New Document dialog box).
Tip: When naming the le, remember to avoid using special characters and
spaces in the le name. Also, be careful to not overwrite the provided le
extension, which is included in the Save As eld.

Figure 14.3
Save As dialog box, File menu > Save As….

Most InDesign projects are saved as an InDesign CC 2019 document, †

which uses the InDesign document (INDD) le extension. e provided le
extension matches the current le format shown in the Format dropdown
menu. e Format dropdown menu provides a limited list of options in
addition to the INDD le, including a template and a le format (InDesign
Markup Language [IDML]) that accommodates earlier versions of the
application.
Finally, before saving the le, know where the le will be saved. Select an
appropriate location,‡ then click the Save button to save the le.
When the designer is ready to generate an alternative le format, options
are available under the File menu via the Export… menu command [File
menu > Export… | ⌘E]. Multiple format options are provided to support
print, Web and mobile outputs.

InDesign Workspace Introduction

e InDesign workspace is presented in Figure 14.4; the workspace is
composed of the following labeled elements (descriptions drawn from
InDesign Online Help):

Figure 14.4
InDesign workspace: (A) InDesign menu bar, (B) Control panel, (C) Tools panel, (D)
Document window, (E) Pasteboard, (F) Status bar, and (G) Panels.

A. e InDesign menu bar, also referred to as the application bar, provides

access to the application’s menus and menu commands.
B. e Control panel displays options for the currently selected object.
C. e Tools panel contains tools for creating and editing images, artwork
and page elements. Related tools are grouped.
D. e document window displays the le. If more than one le is open at
a time, document windows can be tabbed and, in certain cases,
grouped and docked.
E. e pasteboard is the area outside of the document where objects can
be placed before they are positioned on the page.
F. e Status bar is part of the document window; this area shows
information about the status of a le and provides navigation between
pages.
 G. Panels help you monitor and modify your work. Panels can be
grouped, stacked or docked. Additional panels can be accessed via the
Window menu.
Adobe provides the ability to reset the InDesign workspace to the default
workspace when opening the application. Resetting the workspace returns
the tools and panels to their default settings. is option is useful while
getting to know the workspace as you experiment with tools and their
settings. To reset the workspace, hold down the following keyboard keys
when starting InDesign: Shi + Control + Option + Command (macOS¶)
or Shi + Alt + Control (Windows).
The InDesign Menu Bar Located at the top of the
application’s window, the InDesign menu bar consists of a
series of menus, including InDesign CC, File, Edit,
Layout, Type, Object, Table, View, Window and Help.
Clicking on a menu name presents a list of related
menu commands.
The Control Panel Below the InDesign menu bar in its
default location, is the Control panel, which is context-
sensitive; it changes based on the object that is selected
in the document (similar to Illustrator). Note: In
Photoshop, this area is referred to as the Options bar and
it is content-sensitive based on the tool that is selected
in the Tools panel.
e top row of the Control panel includes the following shortcuts and
options (a.k.a. Background Tasks): Go to Bridge (Br), † Search Adobe Stock
(St), Zoom Level, View Options, Screen Mode, Arrange Documents and
GPU Performance** is Enabled (rocket icon). e right side of this row
provides a shortcut to Publish Online; a dropdown menu of workspace
layouts (i.e., Advanced, Book, Digital Publishing, Essentials [default],
Essentials Classic, Interactive for PDF, Printing and Proo ng, Typography)
and a Search eld (Adobe Stock, Adobe Help).
 Figure 14.5 presents two instances of the Control panel, illustrating its
appearance when different objects (i.e., graphic frame and text frame) are
selected in the document. Some properties available in the Control panel are
common across objects, while others are speci c to a particular object.

Figure 14.5
Instances of the Control panel when different objects are selected in the
document: (A) graphic frame selected, and (B) text frame selected.

When text is selected in a document, the Control panel provides access to

Character Formatting Options (A) or Paragraph Formatting Options (¶). As
to which formatting options are currently visible, this depends on which
symbol is currently selected along the le edge of the Control panel, A =
Character or ¶ = Paragraph.
Tip: If the Control panel is not visible in the workspace, access: Window
menu > Control.
The Tools Panel
e Tools panel is generally located on the le side of the application’s
workspace. e Tools panel provides designers with an extensive collection
of tools with which to create documents. e InDesign CC 2019 Tools Panel
Overview presented in Figure 14.6 lists all of the InDesign tools organized by
broad function-based categories: Selection, Drawing & Type,
Transformation, Modify & Navigation and Content Collector. is guide is
also available as a printable PDF le on the book’s companion website. Tip:
is is a useful reference to have available when learning the tools, names
and locations. A brief description of each tool’s functionality is available via
the InDesign Online Help.
 Figure 14.6
InDesign CC 2019 Tools Panel Overview.

Tip: If the Tools panel is not visible in the workspace, access: Window
menu > Tools.
 When interacting with the Tools panel, if the cursor hovers over a tool
icon, the name of that tool appears as a tool tip † † adjacent to the cursor
pointer (Figure 14.7). A keyboard shortcut is listed to the right of the tool
name, when available. e designer can use keyboard shortcuts to select
tools in the Tools panel and avoid shiing their attention between the
document and the Tools panel while working.

Figure 14.7
Tools panels: (A) Rectangle Frame Tool’s tool tip and associated keyboard shortcut,
and (B) Rectangle Frame Tool selected, hidden tools visible.

Looking at the Tools panel in Figure 14.6, only a portion of the available
tools is currently visible. Tool icons that display a small triangle in their
lower-right corner share space with other hidden tools. Refer to Figure 14.7
to see the Rectangle Frame Tool’s hidden tools (i.e., Ellipse Frame Tool and
Polygon Frame Tool). To access a hidden tool, position the cursor over the
visible tool icon, then hold down the mouse button and select the desired
tool from the provided list of tools. Keyboard shortcuts can be used to select
some, but not all, hidden tools.
The Document Window
By default, a document window is presented as a tab within the workspace.
As shown in Figure 14.8, the tab contains the le name, the zoom level (e.g.,
50%, the current degree of magni cation) and the preview mode (GPU
Preview). When more than one le is open, the document windows are
presented in a group of tabs docked below the Control panel. To select a
speci c le, simply click on its tab and the corresponding document window
will appear in front of the other tabs with its document visible. Tabs can be
rearranged by dragging a window tab to a new location in the group. To
undock or oat a document window from a group of windows, drag the
window tab out of the group. Tip: If an open le is ever “misplaced” or not
visible, click on the Window menu and scroll to the bottom of this menu for
a list of open les. Select the name of the desired le, and it will be brought
to the forefront of all open les.

Figure 14.8
Document window tabs.

The Pasteboard The pasteboard is the area surrounding

the document. This area serves as a useful area to store
content before it is positioned in the document. The
space can also be used to accommodate objects that
bleed or extend beyond the edge of the page.

The Status Bar The status bar is available for each file,
located in the lower-left corner of the document
window. The status bar provides navigation between
pages (i.e., First Page, Previous Page, Current Page and
dropdown navigation to other pages, Next Page and
Last Page) and a Preflight Profile, as seen in Figure 14.4.
Pre ight is the process of performing a quality check on
a document before it is printed or forwarded to others.
The status bar presents a color-coded preflight icon for
the document, a green circle indicates that no errors are
detected, while a red circle indicates that errors exist
within the document (e.g., missing image or overset
text).
Panels
In addition to being accessed from the Control panel, object properties can
be accessed from individual panels. Panels help the designer monitor and
modify elements within a document. e list of available panels is accessible
from the Window menu. When a panel name is selected in the list, the
associated panel is displayed in the workspace. A checkmark located to the
le of the panel name indicates that the respective panel is open in the
workspace.

The Properties Panel The Properties panel provides the

designer with a view of settings and controls in context
of the current task or selection. Frequently used controls
are displayed in the panel organized beneath headers.
For certain selections, additional options can be
accessed by clicking on ellipses (…) located in the right-
corner of a property area or on underlined properties, when
they are available. Related actions can be accessed
via buttons located below the Quick Actions header.
When no objects are selected and the Selection Tool (V, ESC) is chosen,
the Properties panel presents controls related to the page and document
layout (see Figure 14.4).
Tip: If the Properties panel is not visible in the workspace, access: Window
menu > Properties.

Creating a Multipage Document

InDesign supports the creation of multipage documents. Depending on the
project output, these pages can be presented as separate pages or in spreads.
A spread is a set of pages viewed together, such as for a magazine or book
layout.
Figure 14.9 illustrates possible multipage arrangements for a three-page
document. ese arrangements are screen captures of the Pages panel for
each of the documents [Window menu > Pages]. Note: e page(s)
currently visible in the workspace of each document is lled with blue. e
arrangement of a multipage document is set by the properties available in
the New Document dialog box, including Facing Pages and Start # (see Figure
14.2).

Figure 14.9
Multipage document options: View 1: Pages: 3, Start #: 1, Facing Pages:
No (checkbox unchecked); View 2: Pages: 3, Start #: 1, Facing Pages:
Yes (checkbox checked); and View 3: Pages: 3, Start #: 2, Facing Pages:
No (checkbox unchecked).

When the Facing Pages option is selected, document pages are arranged in
spreads. Each spread has its own pasteboard. If the designer prefers for each
page of a document to be nonfacing or stacked, as shown in Figure 14.9,
View 1, deselect the Facing Pages option before the new document is being
created.
e Start # option identi es on which page the document begins. You may
be wondering, “Don’t all documents start on Page 1?” Good question; the
short answer is “No.” By default, InDesign assumes that a multipage, facing-
pages document includes a stand-alone starting page that will be used as a
cover, title page or rst page of content for a magazine or book. is
arrangement is represented in Figure 14.9, View 2. However, when the
designer prefers to work with two pages arranged side by side, the Start # is
set to “2.” In this scenario, the document does not contain a Page 1; the rst
page of the document is Page 2, as shown in Figure 14.9, View 3.
 InDesign offers a Preview feature when creating a new document. So, if
you are unclear as to the impact that the available options in the New
Document dialog box will have on a document arrangement, activate the
Preview feature to review the arrangement before the document is created.
Once the document has been created, the arrangement of document pages
can be altered if needed. To perform this edit, access the File menu and
select the Document Setup… menu command [File menu > Document
Setup…]. In the Document Setup dialog box, the following document
properties can be changed: Intent (i.e., Print, Web, Mobile); Number,
Orientation and Size of pages; use of Facing Pages; the de ned Start Page #;
and setup properties (Bleed and Slug) (Figure 14.10).
Figure 14.10
Document Setup dialog box, File menu > Document Setup….

As presented, the designer has options when it comes to selecting a page

arrangement for a multipage document. Document output generally
determines the appropriate arrangement, followed by personal preference.

Document Guides and Grids

Success in page layout relies on an understanding of and an effective use of
guides. When a new document is created in InDesign, its margins are
presented as purple (inside, outside) and magenta (top, bottom) guidelines‡‡
on each side of the document. Adhering to the provided guides helps
reinforce a sense of alignment among page elements.
If a layout uses columns in the presentation of content, purple column
guides are present marking the width of each column. ese guides also
mark the gutter, the space between the columns, which is generally treated
as empty, negative space between the column content. Tip: Treat the gutter
as a visual break for the eye.
Guides can be adjusted once a document has been created via the Margins
and Columns dialog box, shown in Figure 14.11 [Layout menu > Margins
and Columns…]. Note: Each page can possess unique values for margins
and columns to accommodate the page layout.

Figure 14.11
Margins and Columns dialog box, Layout menu > Margins and Columns….
 As needed, additional guides can be brought onto the workspace to help
align elements. ese guides can be dragged out from the Rulers positioned
along the top and le edges of the workspace. If the Rulers are not visible,
they can be turned on via the View menu, select Show Rulers [View menu >
Show | Hide Rulers | ⌘R]. Tip: e unit of measure used for the Rulers can
be changed by right-clicking (Control-click) on the Rulers where they meet
in the upper-le corner of the workspace; this action presents a dropdown
list of options from which to choose.
InDesign also provides a Document Grid, similar to that in Illustrator. is
grid can be useful when aligning elements on a page. InDesign also provides
a Baseline Grid that looks like lined notebook paper. ese grids can be
turned on and off via the View menu and the Grids & Guides menu
command [View menu > Grids & Guides > Show Document Grid (⌘’) |
Show Baseline Grid]. Note: e appearance and behavior of the gridlines in
these grids can be adjusted via the document preferences [InDesign CC
menu > Preferences > Guides & Pasteboard…].

Why Inside and Outside vs. Left and Right?

InDesign’s ability to create multipage documents is re ected in the
labels that the application uses to identify the sides of a page. ink of
the names that you might use to describe the sides of a single-page
document; perhaps Top, Bottom, Le and Right (Figure 14.12A).
Figure 14.12
Document labeling: (A) traditional labels (single page), (B) traditional labels
(spread), (C) InDesign labels (single page), and (D) InDesign labels
(spread).

Now, think of how you would name the sides of a magazine spread,
two pages arranged side by side. Using traditional labels, where the
magazine pages are bound involves both a Right and a Le edge (Figure
14.12B). is has the potential to be confusing.
In an effort to avoid such confusion, the bound edges are referred to
as Inside, and the outer edges for both pages are known as Outside
(Figure 14.12D). In InDesign, these labels are used even when the
document contains a single page. In this scenario, what was previously
described as the Le is now recognized as the Inside and what was the
Right is now the Outside (Figure 14.12C).
A Subset of Tools
e following subset of tools is selected from the Tools panel.
Accompanying the selected tools are each tool’s keyboard shortcut
command, if available, and the tool’s respective description drawn from the
InDesign Online Help. As you read these descriptions, locate the tools in the
Tools panel (refer to the InDesign CC 2019 Tools Panel Overview [see Figure
14.6]). Remember that some of these tools may be hidden.

Selection Tools • The Selection Tool (V, ESC*) selects entire

objects.
• e Direct Selection Tool (A) selects points on a path or contents within
a frame.

Drawing & Type Tools • The Type Tool (T) creates text
frames and selects text.
• e Type on a Path Tool (Shi + T) creates and edits type on paths.
• e Line Tool (\) draws a line segment.
• e Pen Tool (P) draws straight and curved paths.
• e Add Anchor Point Tool (=) adds anchor points to a path.
• e Delete Anchor Point Tool (−) removes anchor points from a path.
• e Convert Direction Point Tool (Shi + C) converts corner points
and smooth points.
• e Pencil Tool (N) draws a freeform path.
• e Rectangle Frame Tool (F) creates a square or rectangle placeholder.
Other frame shapes include Ellipse, Polygon (and Star).
• e Rectangle Tool (M) creates a square or rectangle. Other shapes
include Ellipse (L), Polygon (and Star).
Modify & Navigation Tools • The Hand Tool (H) moves
the page view within the document window.
• e Zoom Tool (Z) increases and decreases the view magni cation in
the document window.
 e lower portion of the Tools panel contains several useful features
shown in Figure 14.13.

Figure 14.13
Tools panel: single-column display (left); two-column display (right). Colors: (A) Fill
Color (X); (B) Default Fill and Stroke Colors (D); (C) Switch Fill and Stroke Colors
(Shift + X); (D) Stroke Color (click to activate) (X); Row 1: Apply to Container
(Formatting affects container, Formatting affects text); Row 2: Color (<), Gradient
(>), None (/); and Row 3: (E) Change Screen Mode (F).
Colors
• e Fill (X) and Stroke (X) Colors set ll color and set stroke color.
• Default Fill and Stroke (D).
• Swap Fill and Stroke (Shi + X).

Apply to Container • Formatting affects container (J)

• Formatting affects text (J) Apply
• Apply Color (,) • Apply Gradient (.) • Apply None (/) Screen Modes
• Normal (W) • Preview (W) • Bleed (W) • Slug (W) • Presentation
(Shi + W) Note: Additional tools are introduced in Chapter 15:
InDesign Continued.
In InDesign (as in Illustrator), color is presented as either a Fill or a Stroke.
InDesign provides three options for the Fill and Stroke of a frame or object:
Color, Gradient ‡ and None. ese options can be used in a variety of
combinations, as shown in Figure 14.14. e color options can be selected
before creating an object or applied aer the object has been created. Panels
available via the Window menu and the Color menu command provide
additional options for color, such as Adobe Color emes, Color, Gradient
and Swatches [Window menu > Color].
Figure 14.14
Color options: (A) Fill: Color, Stroke: Color; (B) Fill: Gradient, Stroke: Color; (C) Fill:
Color, Stroke: None; and (D) Fill: None, Stroke: Gradient.

Once a stroke has been applied, its properties can be adjusted in the
Control panel or via the Stroke panel [Window menu > Stroke]. Stroke
properties are discussed in detail later in this chapter (see Need to Know
Fundamentals > Stroke Properties).

Text, Graphic and Shape Frames

InDesign provides three types of frames for the presentation of content: text
frames, graphic frames and shape frames. e appearance of each frame
when empty varies slightly, allowing for identi cation in a page layout
(Figure 14.15). Notice that when chosen with the Selection Tool (V, ESC),
each type of frame possesses handles along its sides and in the corners of the
frame that can be used to affect the frame and its content (e.g., rotate and
reposition).
Figure 14.15
Frame options: (A) text frame, (B) graphic frame and (C) shape frame.

e following descriptions identify the functions of each type of frame

along with its identifying characteristics.
• Text frame: A text frame holds text, whether a single letter, word, line or
block of text. Look for the enlarged “handles” positioned on the le and
right sides of the text frame. ese are the In Port (le) and the Out Port
(right) of the text frame. ese features are used to indicate whether text
begins and ends within a single text frame or if text is threaded across
multiple text frames.
• Graphic frame: A graphic frame contains an image, which is typically
created in another application. When empty, a graphic frame displays an
“X” as a placeholder for the image. Images added to an InDesign
document are generally placed [File menu > Place]. However, the
designer can also drag and drop an image into the document.
• Shape frame†: A shape frame provides shapes within a document. When
empty, a shape frame is recognized by its lack of distinguishing
properties. e shape frame can be used to present a shape (e.g.,
rectangle, ellipse, polygon or star) that has a ll or stroke applied.
Once created, a frame’s assigned content can be changed via the Object
menu and the Content menu command. e content options include
Graphic, Text and Unassigned (a.k.a. Shape) [Object menu > Content].
 Let’s put this information to use. Exercise 14.1 is designed to help you
explore the InDesign workspace and become familiar with the processes of
creating and saving a multipage document. In this document, you are tasked
with creating an example of each type of frame within the document. If
needed, refer to the earlier explanations of the workspace components,
processes and tool descriptions. Review the exercise brief and get started.

Exercise 14.1: Create, Save and Add Content to a File

Exercise brief: Create and save a multipage document le, then use the
following tools to add content to the document: Line Tool (\), Type Tool
((T), text frame), Ellipse Frame Tool (graphic frame) and Polygon Tool
(shape frame).
Exercise le: Ch14-Ex01-photo.jpg (Figure 14.16)

Figure 14.16
Exercise 14.1 file. Mount Rushmore National Memorial, South Dakota.

Step 1: Create a new document le using the Print set and the Letter size
(51p0 × 66p0). e two-page document should use facing pages, begin on
Page 1 and include two columns that use the default width and gutter values.
• Begin at the File menu and from the New menu command, select
Document…¶ [File menu > New > Document… | ⌘N].
• In the New Document dialog box, click on the Print set and from the
Blank Document Presets select Letter (51p0 × 66p0).
• Under the Preset Details header located on the right side of the dialog
box, enter the following values to customize the new le. Leave the
other properties set to their default values.
• Pages: 2
• Facing Pages: Yes (checkbox checked) • Start #: 1
• Columns: 2
• Click the Create button to generate the le.

Step 2: Save the new document le as an InDesign CC 2019 document. Use

Ch14-Ex01 for the le name, InDesign CC 2019 document for the le format
and select an appropriate location for the le (Ch14-Ex01.indd).

• With the new le open in the workspace, access the File menu and select
the Save As… menu command [File menu > Save As… | ⌘S].
• In the Save As dialog box, enter the le name (Ch14-Ex01), verify the
Format (InDesign CC 2019 document) and navigate to an appropriate
location.
• Click Save to save the document.

Before we begin adding content to the le, let’s review the layout of the
document.

• Use the Zoom Tool (Z) to Zoom Out on the document in order to see
both pages and both spreads in the document window [View menu >
Zoom Out | ⌘−].
• When the Zoom Tool (Z) is selected, look to the cursor and the
magnifying glass icon to see if the tool will Zoom In (+) or Zoom Out
(−). Holding down the Option key on the keyboard while using the
tool toggles the functionality of the tool between these options.
 • A thumbnail version of this layout is available in the Pages panel
[Window menu > Pages].
• According to the values that we entered in the New Document dialog
box, the new document begins on Page 1 (Start #). So, the rst page of
the document is on its own spread in the right-side position. In this
position, it is easy to imagine this page as the title page for our
multipage document.
• Since we selected the Facing Pages option, Page 2 is on its own spread, in
the le-side position. If a new page is added to the end of the document,
it will be added to Spread 2, next to Page 2 in the right-side position.
Following that overview of the document, let’s now return Page 1 to a
workable size and resume Exercise 14.1. From the View menu, select the Fit
Page in Window menu command, then scroll up to con rm that Page 1 is in
the workspace [View menu > Fit Page in Window | ⌘0].

Step 3: Divide the document into four areas using the Line Tool (\); rst
bisect the page vertically, then horizontally (Figure 14.17). e four
quadrants will be used to contain examples of the different types of frames.
Figure 14.17
Exercise 14.1, Step 3.

• Select the Line Tool (\) in the Tools panel and draw a vertical line that
divides the document into two columns.
• Consider using the gutter (the area located between the column
guides) as a position for the vertical line.
• Tip: Holding down the Shi key on the keyboard while drawing the
line constrains the angle of the line to 0°, 45°, 90°, 135° or 180°.
Release the mouse button before the Shi key or the angle will be lost.
• Now use the Line Tool (\) to draw a horizontal line that bisects the
document into two horizontal areas.
Step 4: Use the Type Tool (T) to create headers for each of the four areas in
the document that read: Text Frame, Graphic Frame, Shape Frame and More
Text (Figure 14.18).

Figure 14.18
Exercise 14.1, Step 4.

• Select the Type Tool (T) in the Tools panel.

• Click and drag the cursor to create a text area, then enter the text.
• Notice that unlike Illustrator, the text frame does not automatically
ll with placeholder text.
 • Create a header for each of the four areas using the following labels: Text
Frame, Graphic Frame, Shape Frame and More Text.
• Apply the typeface and font size of your choice to these headers via the
Control panel (Character Formatting Options [A]) or the Character panel
[Window menu > Type & Tables > Character].
• Turn on the Document Grid to help align the labels [View menu >
Grids & Guides > Show Document Grid].
• Use the Selection Tool (V, ESC) to reposition the headers as needed.

Step 5: Save the le.

• From the File menu select the Save menu command [File menu > Save]
or try the following keyboard shortcut command, ⌘S (Command + S).
With the page divided into four labeled areas, let’s continue by adding
content beneath the Text Frame header.

Step 6: Create a text frame lled with placeholder text within the labeled
area of the page (Text Frame) (Figure 14.19).¶¶
Figure 14.19
Exercise 14.1, Step 6.

• Select the Type Tool (T) and create a text frame that spans the width and
height of available space within the page margins in the designated area.
Tip: Avoid overlapping this text frame with the header.
• When the mouse button is released, notice the blinking cursor in the
text frame indicating where text will be positioned.
• While the cursor is blinking in the text frame, ll the text frame with
placeholder text.
• From the Type menu, select the Fill with Placeholder Text menu
command [Type menu > Fill with Placeholder Text].
 • Note: is dummy text is similar to the Lorem Ipsum placeholder text
introduced in Chapter 12: Illustrator Continued.

Next, let’s add an image to the document under the Graphic Frame header.
Step 7: Create a graphic frame under the corresponding header, and then ll
this frame with the photograph of Mount Rushmore (Ch14-Ex01-photo.jpg)
available on the book’s companion website (Figure 14.20).

Figure 14.20
Exercise 14.1, Step 7.
 • Select the Rectangle Frame Tool (F) or one of its hidden tools (i.e., Ellipse
Frame Tool, Polygon Frame Tool) and create a frame.
• Be sure the frame has a Fill or Stroke Color applied for ease of
visibility and selection. ese properties can be applied via the Tools
panel or in the Control panel.
• Place the provided photograph of Mount Rushmore (Ch14-Ex01-
photo.jpg) in the graphic frame.
• With the graphic frame selected, select the Place… menu command
from the File menu [File menu > Place… | ⌘D].
−If the graphic frame is selected when the photograph is opened,
the photograph lls the frame.
−If the graphic frame is not selected when the photograph is
opened, the cursor appears as a “loaded cursor” with the
photograph le associated with the cursor. In this situation,
click the cursor once in the graphic frame to place the
photograph in the frame or press the ESC key on the keyboard
to cancel the place action.
• Selecting the Place menu command launches the Place dialog box. In
this dialog box, navigate to the photograph, then click the Open
button to select the le.
• Once the photograph is placed, do not worry if only part of the
photograph is currently visible in the frame. Options for sizing of the
photograph are presented next.

Adjusting Frame Content Separate from the Frame

Content within a frame can be adjusted independently
of that frame. The Direct Selection Tool (A) allows the
designer to select the frame or the frame content for
adjustment.
e Direct Selection Tool (A) can also be used to preview placed content.
Using the placed photograph from Exercise 14.1, Step 7 as an example, when
the cursor is positioned over the graphic frame, a brown outline around the
photograph appears (Figure 14.21, View 1). Tip: If the placed content is
large, it may be necessary to Zoom Out in order to see the brown outline
around the edges of the content [View menu > Zoom Out | ⌘−].
 Figure 14.21
Frame content selected with the Direct Selection Tool: View 1: outline of
placed content visible, View 2: handles along outline of placed content
visible, and View 3: placed content visible in its entirety.

While the cursor is positioned over the graphic frame, clicking once on
the graphic frame makes visible the handles positioned along the brown
outline around the photograph (Figure 14.21, View 2). ese handles can be
used to adjust the content size. Tip: When resizing an image, remember to
do so proportionally to avoid distorting the image content. With the 2019
release of the application,*** using a corner handle to resize the content
automatically scales the proportionally.
Notice that when the cursor is positioned over the graphic frame, the
appearance of the cursor changes into an open hand. Press and hold down
the mouse button, which provides a preview of the content in its entirety
including the content outside of the graphic frame (Figure 14.21, View 3).
While the mouse button is held down, the content within the frame can be
repositioned by moving the mouse; give this a try. As the position of the
mouse changes, so too does the position of the content within the graphic
frame. When satis ed with the repositioned content, release the mouse
button.
Content selected with the Direct Selection Tool (A) can be deleted using
the Delete key on the keyboard without affecting the graphic frame. Go
ahead and give this a try, then use the Undo menu command to return to the
photo to the frame [Edit menu > Undo | ⌘Z].
Alternative ways to adjust content within a graphic frame can be found
under the Object menu and the Fitting menu command (Figure 14.22)
[Object menu > Fitting]. Tip: When provided with an option to resize
content proportionally, start there. is technique resizes the width and
height of the content at the same rate and prevents the content from
becoming distorted (e.g., unnaturally elongated or compressed).
Figure 14.22
Fitting options, Object menu > Fitting….

Content-Aware Fill
A new feature released in InDesign CC 2019 is Content-Aware Fill.
When activated, InDesign automatically ts an image inside a frame
based on the image content and frame size. To turn on this option, go
to the InDesign CC menu and select the Preferences menu command,
then the General… command [InDesign CC menu > Preferences >
General… | ⌘K]. In the Preferences dialog box, select the checkbox to
Make Content-Aware Fit the default frame tting option.

Step 8: Adjust the photograph (e.g., position, size) to best t the graphic
frame.
• Use at least one of the described processes to update the position and/or
size of the photograph within the graphic frame.
• Decide which element of Mount Rushmore you wish to feature, and
make sure that it is visible within the frame.
Step 9: Save the le.
• Select Save from the File menu [File menu > Save | ⌘S].

Placed Images and the Links Panel When an image file

is placed in a document, a link is created between the
image and the InDesign file. In Exercise 14.1, Step 7, the
photograph (Ch14-Ex01-photo.jpg) was placed in the
INDD file (Ch14-Ex01.indd). This link can be managed
via the Links panel (Figure 14.23) [Window menu > Links
| ⌘D]. When working with placed images, get in the
habit of referring to the Links panel to monitor the status
of the images.

Figure 14.23
Links panel, Window menu > Links: (A) Links panel menu, (B) Page column, (C)
Status column, (D) Show/Hide Information, (E) Relink from CC Libraries…, (F)
Relink…, (G) Go to Link, (H) Update Link, and (I) Edit Original.

e photograph of Mount Rushmore is visible within the document;

however, it is not yet a part of the InDesign (INDD) le. If the location of
either le changes (the photograph le or the INDD le), the linked
photograph would be labeled as missing and would need to be relinked. In
the Links panel, the missing le would be agged in the Status column by a
red octagon containing a question mark (Figure 14.24, View 1).
Figure 14.24
Links panel: View 1: missing content, View 2: embedded content, and View 3:
modified content.

Until a placed image has been embedded, the INDD le is incomplete;

though oen overlooked, embedding a link is an essential step. e option to
Embed Link is available within the Links panel menu; this action
incorporates the photograph into the INDD le. Note: As a result of this
action, the le size of the INDD le increases re ecting the embedded
image. In the Links panel, the embedded le is represented in the Status
column by a square containing shapes (Figure 14.24, View 2).
It is a good practice at the end of each work session to embed any images
that have been placed in a document. is ensures that the INDD le is
intact, having its assets as part of the le vs. merely linked. In future work
sessions, embedded les can be unembedded and edited as needed.
Before an image le is embedded, if the source image le is modi ed, a
yellow triangle containing an exclamation mark is shown in the Status
column of the Links panel (Figure 14.24, View 3). To update the modi ed
image within the INDD document, double-click on the modi ed icon in the
Status column or click on the Update Link icon located along the bottom
edge of the Layers panel. Either action updates the linked content displaying
the modi ed image within the document.
Once an image has been embedded, changes to the source image le will
not be detected by InDesign. In order to update the placed image, the image
needs to be relinked (Relink… icon) or the image le can be unembedded via
the Links panel menu (Unembed Link) and the link refreshed.
Step 10: Embed the placed photograph via the Links panel.

• In the Links panel, click once on the photograph le name (Ch14-Ex01-

photo.jpg) to select the le [Window menu > Links].
• From the Links panel menu, select the Embed Link command.
• Aer this action has been performed, notice the embedded icon that
appears in the Status column of the Links panel.

Step 11: Save the le.

• From the File menu, select Save [File menu > Save | ⌘S].
Now, let’s now add content under the Shape Frame header.

Step 12: Create a shape frame that possesses a ll and stroke within the
labeled area of the page (Shape Frame) (Figure 14.25).
Figure 14.25
Exercise 14.1, Step 12.

• Select one of the shape tools (i.e., Rectangle Tool [M], Ellipse Tool [L],
Polygon Tool) in the Tools panel.
• e associated shape can be created by either drawing the shape in
the document window or clicking once on the document (or the
pasteboard) to launch the associated Shape dialog box. Here, speci c
dimensions can be entered, as shown in Figure 14.26.
Figure 14.26
Polygon dialog box: View 1: Creating a triangle and View 2: Creating a five-pointed
star by entering a Star Inset value.

• Tip: As in other applications, holding down the Shi key on the

keyboard constrains a shape while it is being drawn (e.g., rectangle
constrained to a square, ellipse constrained to a circle). Release the
mouse button before the Shi key to preserve the shape.
• Con rm that the shape frame has a Fill and Stroke Color applied.
 • ese properties can be applied via the Tools panel or in the Control
panel, as needed.

Step 13: Change the appearance of the stroke on the shape frame using the
Stroke panel or the Control panel.
• Use the Selection Tool (V, ESC) to choose the shape frame.
• In the Stroke panel, try adjusting the Weight, Join and Type properties
[Window menu > Stroke].
• Tip: In order to view some of the more complex Type properties (e.g.,
ick – in – ick), the Weight of the stroke might need to be
increased.

Step 14: Save the le.

• From the File menu, select Save [File menu > Save | ⌘S].

Empty Frames It is possible to create an empty frame that

possesses no content and has no fill or stroke applied.
Although this empty frame will not be visible once
deselected, it does exist. The easiest way to locate a
deselected empty frame is by using the Selection Tool (V,
ESC). Draw a large box around the area where the empty
frame was created. This action should select the empty
frame, perhaps along with other objects in the area.
Once selected, a stroke or fill can be applied to the
empty frame to make it visible and easily selectable.
These properties can be applied via the Tools panel or in
the Control panel.

Finally, let’s create an additional text example under the More Text header.
Step 15: Create an example of type on a path within the labeled area of the
page (More Text) (Figure 14.27). Note: ere are multiple tools that can
create a path for the text (e.g., Shape Tools, Pen Tool [P] and Pencil Tool
[N]).

Figure 14.27
Exercise 14.1, Step 15.

• Select the Ellipse Tool (L) in the Tools panel and draw a circle in the
document. Make sure that the circle possesses a Fill or Stroke Color.
• Tip: To create a circle, hold down the Shi key on the keyboard while
drawing the shape. Release the mouse button before the Shi key to
preserve the shape.
• Return to the Tools panel and choose the Type on a Path Tool (Shi +
T).
• Position the cursor over the edge of the circle.
 • When the cursor appearance includes a small plus sign, click once on
the circle’s stroke.
• Note: e text will begin where the cursor is clicked.
• Enter text around the shape.
• Do not worry if the text is currently too large or too small, the font
size can be adjusted.

Step 16 (Optional): Resize the text to ll the path. Avoid creating overset
text, too much text for the path.
• Use the Type on a Path Tool (Shi + T) to select the text along the path.
ere are multiple ways to complete this action; here are a few options
to try.
• Option 1: While the blinking cursor is visible in the text frame,
indicating that the text frame is active, Select All [Edit menu > Select
All | ⌘A]. is action selects any overset text.
• Option 2: Click on the text three times in quick succession to select all
of the text associated with the text frame, including any overset text.
• Option 3: Click and drag the cursor along the path to select the text;
the selected text will be highlighted. Overset text will not be selected
using this method.
• Use the properties available in the Control panel (Character Formatting
Options [A]) or the Character panel to adjust the font size [Window
menu > Type & Tables > Character].
• Or, try using the following keyboard shortcut command to resize the
text. With the text selected, hold down the Command key and the
Shi key on the keyboard [Command + Shi], then press the < or >
keys to decrease or increase the font size by 2 pt. with each press of
the key. is technique is a useful way to resize the text to t the path
without creating overset text.

Step 17: Save the le.

• From the File menu, select Save [File menu > Save | ⌘S].
Step 18 (Optional): Use Page 2 of the document to practice creating and
editing additional frames.

Step 19: Review the completed document in the Preview screen mode
(Figure 14.28).
 Figure 14.28
Exercise 14.1, completed document.

• Change the screen mode from Normal (W) to Preview (W) in the lower
portion of the Tools panel or via the View menu and Screen Mode menu
command [View menu > Screen Mode].
 • e Preview screen mode presents the document without any guides
or grids visible. e guides and grids are still present within the
document, just not currently visible.
• Note: e document can be edited in the Preview screen mode.

Nice work, you have completed your rst InDesign exercise. Hopefully,
you are becoming familiar with the InDesign workspace. Before continuing,
let’s discuss some Need to Know Fundamentals, important nuggets of
information intended to facilitate your work in InDesign.

Need to Know Fundamentals

Undoing Your Work As mentioned in the introductions to Photoshop and
Illustrator, when performing a task, it is helpful to know how to undo that
task. e Undo… menu command available under the Edit menu, allows the
most recent operation to be undone [Edit menu > Undo | ⌘Z]. In case too
many tasks are undone, InDesign also offers a Redo menu command [Edit
menu > Redo | ⌘Z]. Note: Unlike Photoshop, there is no History panel
available in InDesign.
To undo all of the changes made to a le since it was last saved, select the
Revert menu command available from the File menu [File menu > Revert].
is menu command returns an image le to its last saved state.
Transforming a Frame
e Selection Tool (V, ESC) can be used to complete basic appearance
adjustments to a frame, such as resizing and rotating a frame. e following
Transformation Tools are available in the Tools panel: Free Transform (E),
Rotate (R), Scale (S) and Shear (O). Additional options are available via the
Object menu and the Transform menu command (i.e., Move…, Scale…,
Rotate…, Shear…; Rotate [90° CW, 90° CCW, 180°]; Flip [Horizonal,
Vertical]) [Object menu > Transform]. Note: An object must be selected
using the Selection Tool (V, ESC) before the transformation option is selected
for the change to be applied.
Stroke Properties
e Stroke panel (Figure 14.29) provides multiple properties that can alter
the appearance of lines, shapes, text frames and text outlines [Window menu
> Stroke]. Given the prevalence of strokes in design, it is worth exploring
these options in detail. Note: You may already be familiar with stroke
properties based on time spent applying strokes in Illustrator.

Figure 14.29
Stroke panel, Window menu > Stroke: (A) Weight; (B) Cap (Butt Cap, Round Cap,
Projecting Cap); (C) Miter Limit; (D) Join (Miter Join, Round Join, Bevel Join); (E)
Align Stroke (Align Stroke to Center, Align Stroke to Inside, Align Stroke to Outside);
(F) Type (dropdown menu); (G) Start/End (dropdown menu), Scale, Align
(arrowheads); and (H) Gap Color, Gap Tint.

e paths presented in Figure 14.30 illustrate several of the available

properties. e Type dropdown menu provides a list of choices for the stroke
appearance, options include solid, multiline, dashed and dotted (Figure
14.30A). In order to clearly view the multiline types (e.g., ick – in –
ick), the Weight of the stroke may need to be increased.

Figure 14.30
Stroke examples (all based on a 10 pt. black stroke): (A) Type, all based on the
same line: 10 pt. black stroke (Solid, Thick – Thin, Thin – Thick – Thin, Dotted, Right
Slant Hash); (B) Gap Color, Gap Tint; (C) Cap, all based on the same line: 10 pt.
black stroke (Butt Cap, Round Cap, Projecting Cap); (D) Join (Miter Join, Round
Join, Bevel Join); and (E) Arrowheads (Start: SquareSolid, End: Circle; Start: Triangle,
End: Bar; Start: Square, End: SimpleWide).

When a patterned stroke type is used, Gap Color speci es a color to appear
in the space between the dashes, dots and multiple lines (Figure 14.30B).
e related Gap Tint adjusts the Gap Color.
e Cap property controls the appearance of a line at the end of an open
path, the endpoint. Cap options include Butt Cap (squared ends at the
endpoints of a path), Round Cap (rounded ends that extend half the stroke
width beyond the endpoints) and Projecting Cap (squared ends that extend
half the stroke width beyond the endpoints) (Figure 14.30C).
e Join property controls the appearance of the stroke at corner points.
Join options include Miter Join (pointed corners), Round Join (rounded
corners) and Bevel Join (squared corners) (Figure 14.30D).
e Stroke panel provides the ability to add an Arrowhead to the start
and/or end of a line or open path. Symbols other than arrows are available
for use (e.g., bar, square and circle). e Scale property allows the symbols at
the start and end of a line to be resized independently or in unison. e
Align property adjusts the path to align the tip of the symbol either beyond or
to the end of the path.

Columns and Stroke Alignment If a document uses

columns to present content, column guides are available
to define the width of each column, as well as the
gutter, the space between the columns. When applying
a stroke to a frame, it is easy to exceed the column
guides and infringe on the gutter, unintentionally filling
the empty space with content.
InDesign provides the Align Stroke property to control where a stroke falls
relative to the frame to which it is applied. In the Stroke panel, three Align
Stroke options are available: Center, Inside and Outside (Figure 14.31)
[Window menu > Stroke]. To avoid extending the stroke into the gutter,
select the Align to Inside option or resize the frame to accommodate the
Weight of the stroke.
Figure 14.31
Stroke alignment, Window menu > Stroke: (A) Align to Center, (B) Align to Inside,
and (C) Align to Outside.
Display Performance
If a placed image appears blurry in an InDesign document, this may be due
to Display Performance, a feature intended to facilitate the quick redraw of
images on the page. e quality of the image itself has not changed. ere
are multiple ways to increase the clarity of the image in the document; here
are two options to try: • Option 1: Right-click on the image and position the
cursor over Display Performance to view and select a higher quality from
among the available options (Fast Display, Typical Display, High Quality
Display).
• Option 2: Access the Display Performance menu command from the
Object menu [Object menu > Display Performance].
Looking Ahead
Spend time experimenting with the tools and repeating the processes
presented in this chapter until you feel comfortable navigating the InDesign
workspace. e more time spent experimenting with frames and their
content, the more familiar they will become. Chapter 15: InDesign Continued
builds on the InDesign basics, expanding your use of the application.
Following an introduction to layers, the use of text and its formatting
properties are explored.

Discussion
Discussion 14.1: The Challenges of a Multipage
Document What challenges did you experience (or
can you envision) when working in a multipage
document? What proactive steps can be taken to
avoid or mitigate these issues? How might the use of
directories (folders) and file naming conventions help
with the organization of a document’s assets (e.g.,
images, text files)? What other organizational strategies
could you employ to keep track of the assets?

Activity
Activity 14.1: Place Text Activity le: Ch14-Ex02-text.rtf
Formatted text Place text from an RTF (Rich Text File) in
an INDD document using the Place command [File menu
> Place… | ⌘D]. Download a copy of the text le
(Ch14-Ex02-text.rtf), which is available on the book’s
companion website. This file contains text formatting.
Does this formatting appear in the text once it has
been placed? Once placed, use this text to practice
applying the Character and Paragraph formatting.
Exercise File(s) Available on the Companion Website,
URL
Ch14-Ex01-photo.jpg | Exercise 14.1 le, Mount Rushmore National
Memorial, South Dakota.
Ch14-Ex02-text.rtf | Activity 1 le, Formatted text.
Ch14-InDesign-CC-2019-Tools-Overview.pdf | InDesign CC 2019 Tools
Panel Overview URL: http://www.crcpress.com/9780367075347

External Links Mentioned in the Chapter Adobe

InDesign Learn & Support |
https://helpx.adobe.com/indesign/tutorials.html
InDesign Online Help | https://helpx.adobe.com/indesign
InDesign Tool Galleries (InDesign User Guide > Workspace and work ow
> Toolbox Overview) |
https://helpx.adobe.com/indesign/using/toolbox.html

 
* To disable the Start workspace, go to the InDesign CC menu and access Preferences > General…
and deselect Show “Start” Workspace When No Documents Are Open.
† e year included in the InDesign CC (year) document re ects the version of the application being
used to create the document.
‡ For designers working on the macOS, when pressed, the down arrow located to the right of the
Where eld provides additional options for navigating to a speci c location on the computer.
¶ is macOS keyboard combination is different than those used to reset Photoshop and Illustrator.
† Adobe Bridge CC is a digital asset management application.
**GPU performance enhancements allow InDesign to pan, zoom and scroll faster with higher zoom
magni cation. For information on this option, access the InDesign Online Help and search for the
term.
† † Tool tips are labels or short descriptions displayed when you hover the cursor over a tool or
property. is feature is available across all Adobe applications. Tool tips can be turned off in the
application’s preferences [InDesign CC menu > Preferences > Interface… | under the Cursor and
Gesture Options header, Tool Tips dropdown, select None].
‡‡ e appearance of the guides can be adjusted via the application preferences [InDesign CC menu
> Preferences > Guides & Pasteboard…].
* ESC refers to the Escape key on the keyboard.
‡ A gradient is a graduated blend of colors. e process used to generate a gradient in InDesign is
similar to that in Illustrator; refer to Chapter 11: Getting Started with Illustrator for more
information about creating and applying a gradient.
† InDesign uses Unassigned as a label to represent this type of frame, distinguishing it from Text and
Graphic frames.
¶ From the New… menu command, the designer is presented with options to create a new
Document… (INDD le), Book… (INDB le) or Library… (INDL le). For information about
creating a Book or Library, access the InDesign Online Help.
¶¶ When the document magni cation is zoomed out, as it is in Figure 14.19, the content of a text
frame may appear as gray bars instead of speci c letterforms and words. Nothing has happened to
the text; this technique is used by InDesign to allow the screen content to be redrawn quickly.
When the magni cation increases, the text will become visible.
*** For the designer using an earlier version of InDesign, remember to hold down the Shi key on the
keyboard to resize the content proportionally. Release the mouse button before the Shi key to
preserve the proportions.
 15
InDesign Continued

Building on the InDesign fundamentals presented in the previous chapter,

this chapter provides an overview of layers, then moves on to working with
text; speci cally, threading text across multiple text frames and then
wrapping text around an object. ese techniques are put to use in Exercise
15.1.
Next, the concept of master pages is introduced along with its ability to
provide consistency across a multipage document. e process of adding
page numbers, text variables and special characters to a document is
included in this discussion. Exercise 15.2 utilizes these and other techniques
to facilitate navigation through a multipage document. Bulleted and
numbered lists conclude this exercise.
As the third Adobe application introduced in this book, the similarities
and differences across applications should start to become clear. If there is
an action from Photoshop or Illustrator that you want to perform in
InDesign, give it a try. Many actions are available across the Creative Cloud
applications; however, a menu command may be listed in a different
location. When looking for a particular command, try using the Search eld*
available in the right side of the Control panel or access the InDesign Online
Help [Help menu > InDesign Help…].

Understanding Layers in InDesign

As in the other Adobe applications, the use of layers is an important concept
that supports the designer’s ability to create and edit a document in
InDesign. Each document le contains at least one layer. Like Illustrator,
InDesign utilizes sublayers. A single document layer can contain multiple
sublayers, as shown in Figure 15.1. Clicking on the disclosure triangle located
to the le of the document layer name expands the layer, revealing any
sublayers and their stacking order. A new layer can be created within a
document le, but it must be a deliberate action, otherwise, frames and
objects are added to the document on sublayers. e number of layers and
sublayers available in a document is limited only by the computer’s memory.

Figure 15.1
Layers panel: View 1: Layer 1 collapsed, (A) Disclosure triangle; View 2:
Layer 1 expanded.
The Layers Panel
e Layers panel, shown in Figure 15.2, is accessible from the Window menu
[Window menu > Layers]. In this panel, the layers and sublayers of the
active spread are presented. e active spread is identi ed in the lower-le
corner of the Layers panel (e.g., Page: 1, 1 Layer; Pages: 4–5, 2 Layers). When
the designer navigates to another spread, the contents of the Layers panel
change to re ect the contents of the new spread. Note: is behavior is
useful given the potential number of sublayers a multipage (multi-spread)
document could contain.

Figure 15.2
Layers panel, Window menu > Layers panel: (A) Visibility toggle (eye
icon); (B) Lock layer toggle (lock icon); (C) Active spread, current layer;
(D) Layers panel menu; (E) Current drawing layer indicator (pen icon);
(F) Selected item(s) indicator (filled square); (G) Create new layer; and
(H) Delete selected layers.

In the Layers panel, the designer has the ability to control the visibility of
layers (and sublayers), lock layers (and sublayers), create new layers and
delete selected layers (and sublayers). Layers can be renamed by double-
clicking on the default name (e.g., Layer 1) and entering a new name.
Additional commands and options can be accessed via the Layers panel
menu, available in the upper-right corner of the panel. e current drawing
layer (pen icon) indicates where new content will be added in the Layers
panel. e currently selected sublayer is identi ed by the lled square
located to the right of the sublayer name. A related indicator is also present
next to the corresponding layer name.
Stacking Order
Layers and sublayers can be reordered in the Layers panel. To change the
stacking order of a sublayer, click on the sublayer name and hold down the
mouse button while dragging the sublayer up or down within the Layers
panel. A highlight line will appear where the sublayer will be placed when the
mouse button is released. e same technique can be used to reorder layers.
When the stacking order of a sublayer is changed within the Layers panel,
the visibility of that sublayer’s content within the document may be
impacted. If content is “missing” from the document, it is likely hidden
behind another layer’s content. e topmost layer in the Layers panel is
closest to the viewer. Within a layer, the topmost sublayer is closest to the
viewer in relation to the other sublayers. e stacking order of sublayers can
also be adjusted via the Object menu using the Arrange menu command
(Bring to Front ⌘] | Bring Forward ⌘] | Send Backward ⌘[ | Send to
Back ⌘[) [Object menu > Arrange].

Deleting Layers and Sublayers Deleting a layer or sublayer is

a straightforward process, and there are multiple ways
to perform the task. In the Layers panel, select the layer
or sublayer to be deleted, then click on Delete selected
layers (trash can icon) located along the bottom edge
of the panel. Or, once the layer or sublayer is selected
in the Layers panel, press the Delete key on the keyboard
to eliminate the layer. Or, eliminate the selected layer or
sublayer via the Layers panel menu and the Delete Page Item
command.
Deleting a sublayer removes its content from the document. Deleting a
layer eliminates all of its sublayers and their contents from all spreads in the
document. Tip: Instead of deleting a layer and unintentionally eliminating
content from another spread in the document, consider selecting the Delete
Unused Layers command from the Layers Panel menu.
Working with Text
Text in an InDesign document is contained within a text frame. e text
frame can be created using the Type Tool (T) or by placing a text le (TXT or
RTF le), similar to placing an image le in a document [File menu >
Place… | ⌘D]. When text is selected, the Control panel and the Properties
panel display many of the properties available for text adjustment. In either
panel, position the cursor over any symbol to view the associated tool tip
presenting the property name. When a text frame is active (blinking cursor
inside), the Control panel provides access to Character Formatting Controls
and Paragraph Formatting Controls. Look to the le edge of the Control
panel to see which set of formatting options is currently visible,
A=Character or ¶=Paragraph. e designer can click on these buttons to
toggle between the formatting controls.
e Character and Paragraph panels provide additional properties for
formatting and adjusting text. Many of the typography elements presented
in Chapter 10: Typography in Design can be found in these panels. Both
panels are accessible from the Window menu and the Type & Tables menu
command [Window menu > Type & Tables > Character (⌘T) | Paragraph
(⌥ ⌘T)].
Properties available in the Character panel adjust the formatting of
characters and line spacing (Figure 15.3). ese properties presented from
top to bottom and le to right are organized in the following groups:
• Group 1: Typeface, Style (e.g., Regular, Italic and Bold) • Group 2: Font
Size, Leading, Kerning, Tracking • Group 3: Vertical Scale, Horizontal Scale,
Baseline Shi, Skew (false italic) • Group 4: Language e following
descriptions address Character properties not presented in Chapter 10:
Typography in Design. Examples of the properties in use are shown in Figure
15.4.
 Figure 15.3
Character panel, Window menu > Type & Tables > Character: Group 1:
Typeface, Style; Group 2: Font Size, Leading, Kerning, Tracking; Group 3:
Vertical Scale, Horizontal Scale, Baseline Shift, Skew (false italic); and
Group 4: Language.

• Vertical Scale increases the height of text by a percentage. Compare the

original text (le) and the affected text (right) in Figure 15.4A; Vertical
Scale: 175%.
• Horizontal Scale increases the width of text by a percentage. In Figure
15.4B, the original text is presented above the affected text; Horizontal
Scale: 175%.
• Baseline Shi allows the invisible baseline on which all text rests to be
adjusted for a single letter, word or group of words. In the provided
example, the word “Shi” has been lowered from the rest of the text;
Baseline Shi: –15 pt. (Figure 15.4C).
• Skew (a.k.a., False Italic) allows the designer to create the appearance of
italicized text by a measure of degree (angle); Skew: 15° (Figure 15.4D).
 is property is useful when the italic style is not available for a
particular typeface.
e Paragraph panel provides properties to change the formatting of
blocks of text and paragraphs (Figure 15.5). ese properties presented from
top to bottom and le to right are organized in the following groups:
• Group 1: Align (le, center, right); Justify (with last line aligned le, with
last line aligned center, with last line aligned right), Justify all lines; Align
(towards spine, away from spine)

Figure 15.5
Paragraph panel, Window menu > Type & Tables > Paragraph: Group 1:
Align (left, center, right); Justify (with last line aligned left, with last line
aligned center, with last line aligned right), Justify all lines, Align (toward
spine, away from spine); Group 2: Left Indent, Right Indent, First Line Left
Indent, Last Line Right Indent; Group 3: Space Before, Space After, Drop
Cap Number of Lines, Drop Cap One or More Characters; Group 4:
Shading, Shading color; and Group 5: Hyphenate, Baseline Grid (do not
align to, align to).
 Figure 15.4
Character panel property examples: (A) Vertical Scale, (B) Horizontal
Scale, (C) Baseline Shift, and (D) Skew (false italic). Typeface: Arial
Black.

• Group 2: Le Indent; Right Indent; First Line Le Indent; Last Line
Right Indent • Group 3: Space Before; Space Aer; Drop Cap Number
of Lines; Drop Cap One or More Characters • Group 4: Shading;
Shading color • Group 5: Hyphenate; Baseline Grid (do not align to,
align to) e following descriptions of select Paragraph properties
correspond to examples of the properties in use (Figure 15.6).
• Drop Cap is a technique oen used for the opening line of an article or a
book chapter. e selected letter is increased in size and “dropped” or
lowered into the accompanying text; Drop Cap: 3 (Figure 15.6A).
• e Drop Cap value refers to the number of lines that the selected
letter will drop. In order for a drop cap to be noticeable, this value
must be greater than one, which would be the height of an unaffected
letter.
• Note: A drop cap is not the same as increasing the font size of the rst
letter of the rst word. at technique raises the letter above its
neighboring text.
• Shading provides a box of color behind text (Figure 15.6B).
• By default, the shading equals the height of the text and the width of
the text frame (Figure 15.6B, View 1).
 Figure 15.6
Paragraph panel property examples: (A) Drop Cap; (B) Shading, View 1:
shading applied to text; View 2: shading applied to text; and View 3:
shading applied with offset spacing applied and tint set to 40% to text.
Typeface: Arial Black.

• To adjust the shading values, access the Paragraph panel and position
the cursor over Shading Color (grid of squares icon). en, follow the
provided tool tip instructions, Option+click to open Paragraph
Shading dialog [Window menu > Type & Tables > Paragraph |
⌥⌘T]. In the Paragraph Borders and Shading dialog box, the tint of
the shading color can be adjusted and offset values can be adjusted to
increase or decrease the height of the shading color. Tip: To activate
the Shading option, click in the checkbox located near the top of the
panel; this action makes the property options available.
• e offset values create a sort of margin beyond the text that may
exceed the edges of the text frame.
 Alignment and the Spine
InDesign provides options to align content toward or away from the
document spine. e spine refers to the inside edges of a spread, where
pages of a magazine or book are bound together. A bene t of using this
alignment option is that the position of the spine is xed; it will not
change regardless of the addition or removal of pages from the
document. However, a challenge that accompanies this option is the
ragged edge of text that is produced. Remember the readability
challenges that accompany a ragged edge of text, particularly along the
starting edge of a block of text.

Threaded Text
For situations when text copy exceeds a single text frame, InDesign provides
the option to thread text across multiple text frames. e act of threading
text links two or more text frames, allowing text to ow from one text frame
into another. When threaded text is edited, adding or deleting text, text
across the text frames updates automatically, a feature of signi cant bene t
to the designer. Historically, when text was edited, the placement of the
related text had to be updated one text frame at a time. ink of the time
that can be saved by threading text.
readed text frames also prove useful when updating text formatting.
e designer is able to activate one of the threaded text frames by double-
clicking on it. en using the Select All menu command, a designer can select
the text across all of the threaded text frames (including overset text) [Edit
menu > Select All | ⌘A].
With all of the threaded text selected, a formatting change can be easily
applied across text frames. is technique is another potential time-saver for
the designer.
e In Port and Out Port of each text frame indicate the ow of text across
text frames. e possible states of an In Port and an Out Port are illustrated
in Figure 15.7, and their accompanying descriptions follow: • View 1: In
Port: Empty, Out Port: Empty; Meaning: e text begins and ends in this text
frame.
• View 2: In Port: Empty, Out Port: Overset text (red plus sign); Meaning:
e text begins in this text frame and there is overset text, too much text
for the frame using the current formatting (e.g., typeface, font size), and
this is not visible.

Figure 15.7
Text frame In Port and Out Port states, View 1: In Port: Empty, Out Port:
Empty; View 2: In Port: Empty, Out Port: Overset text; View 3: In Port:
Empty, Out Port: Threaded text; and View 4: In Port: Threaded text, Out
Port: Empty.

• View 3: In Port: Empty, Out Port: readed text (blue forward triangle);
Meaning: e text begins in this text frame and continues in another
text frame.
• View 4: In Port: readed text (blue forward triangle), Out Port: Empty;
Meaning: e text begins in another text frame and ends in this text
frame.
e connections between threaded text frames can be shown using visible
text threads (Figure 15.8, View 1). e option to Show Text reads is
available under the View menu and the Extras menu command [View menu
> Extras > Show Text reads | ⌥⌘Y]. Text threads persist across pages
and spreads. A threaded text frame can be moved to another page or spread,
and its link or links to other text frames remain (Figure 15.8, View 2).
How to Thread Text Frames
To thread text frames, locate a text frame that possesses overset text; this
state is identi ed by an Out Port that contains the overset symbol (red plus
sign). Position the cursor over the Out Port, then click the mouse button
once on the Out Port. is action generates a loaded cursor, as the overset
text is now associated with the cursor, which has changed in appearance.
Note: Pressing the ESC key on the keyboard cancels the loaded cursor and
returns the overset text to its previous text frame. Move the loaded cursor
into position over an empty text frame or over an empty area in the
document and click the mouse button once. e overset text lls the empty
text frame. Or, InDesign creates a text frame at the position where the
cursor was clicked and lls this text frame with the overset text. An
application-created text frame adheres to the document margin and/or
column guides. If the overset text does not t in the second text frame, the
process can be repeated as necessary until an empty Out Port is achieved,
the signal that text ends in a text frame.
Let’s put these text features to use, rst formatting and then threading text.
Exercise 15.1 is designed to utilize the Type Tool (T) and present the steps
involved with threading text and creating a text wrap.
 Figure 15.8
Text threads visible, View menu > Extras > Show Text Threads: View 1:
threaded text frames, and View 2: threaded text frame moved to a
different spread, text thread persists.

Exercise 15.1: Using the Type Tool, Threading Text and

Text Wrap
Exercise brief: Create a multipage document le and then populate the
document with placeholder text that spans across several threaded text
frames. Utilize the text formatting properties to customize the presentation
of the text. Include an example of text wrap in the document that features
text owing around an object.

Step 1: Create a new document le using the Print set and the Letter size
(51p0 × 66p0). Enter the following values for the new le altering the
preset, Pages: 4; Facing Pages: Yes (checkbox checked); Start #: 2; Columns: 2.
Leave the other options set to their default values.
• Begin at the File menu and from the New menu command, select
Document… [File menu > New > Document… | ⌘N].
• In the New Document dialog box, click on the Print set and from the
Blank Document Presets select Letter (51p0 × 66p0).
• Under the Preset Details header located on the right side of the dialog
box, enter the following values to customize the new le. Leave the
other properties set to their default values.
• Pages: 4
• Facing Pages: Yes (checkbox checked) • Start #: 2 [Note: e rst
page of the document will be Page 2, the document will not contain a
Page 1.]
• Columns: 2
 • Click the Create button to generate the le.

Step 2: Save the document le as an InDesign CC 2019 document. Use

Ch15-Ex01 for the le name, InDesign CC 2019 document for the le format
and select an appropriate location for the le (Ch15-Ex01.indd).
• With the new le open in the workspace, access the File menu and select
the Save As… menu command [File menu > Save As… | ⌘S].
• In the Save As dialog box, enter the le name (Ch15-Ex01), verify the
Format (InDesign CC 2019 document) and navigate to an appropriate
location.
• Click Save to save the document.

Step 3: Use the Type Tool (T) to create a text frame that spans both columns
on the rst page of the document (Page 2). en ll the text frame with
placeholder text (Figure 15.9).
• Select the Type Tool (T) in the Tools panel.
• Click and drag the mouse button to create a text frame on Page 2 that
spans from the upper-le corner of the document page to the lower-
right corner.
• Use the margin guides for reference.
• While the cursor is blinking in the text frame, access the Type menu and
select the Fill with Placeholder Text menu command [Type menu > Fill
with Placeholder Text].
• Tip: If the cursor is not blinking in the text frame, double-click on the
text frame using either the Type Tool (T) or the Selection Tool (V,
ESC).
 Figure 15.9
Exercise 15.1, Step 3.

Step 4: Resize the width of the text frame to t the le column; this action
produces overset text (Figure 15.10).
• Choose the Selection Tool (V, ESC) in the Tools panel.
• Click once on the text frame to select it and make visible its handles on
the sides and in the corners of the text frame.
• Use the right-side handle to resize the width of the text frame so it ts
the le column.
• When resizing the text frame, adhere to the margin and column
guides; the edges of the text frame should fall on these guides.
 Figure 15.10
Exercise 15.1, Step 4.

• Notice that the Out Port now displays the overset text symbol (red plus
sign).

Step 5: read the overset text into the right column on Page 2. If needed,
continue the text on Page 3 until all of the overset text is visible and the Out
Port of the last text frame is empty.
• With the Selection Tool (V, ESC) still active, position the cursor over the
Out Port that displays the overset text symbol.
• Click once on the Out Port to generate a loaded cursor.
• e overset text is now associated with the cursor as illustrated in the
cursor’s appearance.
• Note: To cancel the loaded cursor, press the ESC key on the keyboard.
is action returns the overset text to the text frame.
• Notice that the Out Port now displays the threaded text symbol (blue
forward triangle) indicating that the text continues elsewhere.
• Position the loaded cursor over the right column on Page 2
approximately halfway down the column and click the mouse button
 once.
• is action creates a text frame that begins where the mouse button
was clicked and ts to the column and margin guides (Figure 15.11).
• e text now ows from the le column into the right column, lling
the application-created text frame.
• Note: e designer could have rst created a text frame to receive the
overset text; however, as this step has shown, InDesign can create the
necessary text frame.
• If needed, repeat this process to thread any overset text from the second
column into a column on Page 3.

Figure 15.11
Exercise 15.1, Step 5.

Step 6 (Optional): Turn on the Show Text reads option to view the
connections between the threaded text frames.
• In the View menu, select the Extras menu command and then Show Text
reads [View menu > Extras > Show Text reads | ⌥⌘Y].
• Using the Selection Tool (V, ESC), move the last text frame to another
spread.
 • Notice that the text thread remains connected to the text frame in its
new location.
• Undo this movement using the Undo menu command in the Edit menu
and decide whether or not to leave on the Show Text reads option
[Edit menu > Undo | ⌘Z].
Step 7: Save the le.
• From the File menu select Save [File menu > Save | ⌘S].
We will return to this le to add an example of text wrap to the document.
First, an overview is presented of the text wrap concept and how it is
achieved.

Text Wrap The practice of placing an object (e.g.,

graphic text, shape frame) in the midst of text and
flowing the text around the object is referred to as text
wrap. Despite its name, text wrap is applied to the object
being wrapped, the wrap object, not the text frame. This
way, if the wrap object is repositioned over another text
frame, the text wrap affects the text in the new location.
There are several options for how text can surround a wrap
object, as shown in Figure 15.12.
e following text wrap descriptions are drawn from InDesign Online
Help: A. Wrap Around Bounding Box: Creates a rectangular wrap whose
width and height are determined by the bounding box of the selected
object, including any offset distances you specify.
B. Wrap Around Object Shape: Also known as contour wrapping, creates
a text wrap boundary that is the same shape as the frame you have
selected (plus or minus any offset distances you specify).
 Figure 15.12
Text wrap options: (A) Wrap Around Bounding Box, (B) Wrap Around Object
Shape, (C) Jump Object, and (D) Jump to Next Column.
C. Jump Object: Keeps text from appearing in any available space to the
right or le of the frame.
D. Jump to Next Column: Forces the surrounding paragraph to the top
of the next column or text frame.

Let’s try adding an example of text wrap to the Exercise 15.1 document.

Step 8: Create a shape frame in Spread 1 that possesses a ll and stroke.

en position the shape so it overlaps the two columns of text on Page 2
(Figure 15.13).
 • Select one of the Shape Tools (Rectangle Tool [M], Ellipse Tool [L],
Polygon Tool) in the Tools panel.
• Create a shape frame that possesses Fill and Stroke Colors on the
pasteboard of Spread 1.
• Tip: Creating a shape on the pasteboard and then moving it into the
document can be easier than creating a shape frame on top of text
frames and then selecting the shape frame to move it.
• Use the Selection Tool (V, ESC) to choose and position the shape frame
so it overlaps the text frames.

Figure 15.13
Exercise 15.1, Step 8.

Step 9: Apply a Wrap around object shape text wrap to the shape frame.
Note: e object, not the text frame, must be selected before the text wrap is
applied.
• Con rm that the shape frame is currently selected.
• If the shape frame is not selected, click on shape frame using the
Selection Tool (V, ESC).
 • From the Window menu, select Text Wrap; this action launches the Text
Wrap panel [Window menu > Text Wrap | ⌥⌘W].
• In the Text Wrap panel, select the Wrap around object shape option.
• Note: is process may result in overset text, which will need to be
addressed. Look to the last Out Port and if the overset symbol is
present, create another threaded text frame (refer to Step 5).
Text wrap can add visual interest to a page of text; however, it can also
interfere with the viewer’s ability to follow the ow of the text. As needed,
reposition the wrap object to avoid single-word lines of text (widows or
orphans) or unnatural gaps in the text (rivers).

Step 10: Justify the text in the threaded text frames to help emphasize the
shape of the text wrap.
• Use the Selection Tool (V, ESC) to choose one of the text frames.
• Note: Since the text frames are threaded, it does not matter which text
frame is selected.
• Still using the Selection Tool (V, ESC), double-click in the text frame to
activate it.
• e text frame is active when a blinking cursor is visible in the text
frame.
• Use the Select All menu command to select the text in the threaded text
frames [Edit menu > Select All | ⌘A].
• Justify the text via the Control panel (Paragraph Formatting Controls [¶])
or the Paragraph panel [Window menu > Type & Tables > Paragraph |
⌥⌘T] or the Properties panel [Window menu > Properties].
• Select the justi cation option of your choice.
 Offset Spacing
Depending on the combination of text and stroke properties applied,
the stroke of the shape frame may interfere with the readability of the
surrounding text, as seen in Figure 15.14, View 1. e space between
the edge of the shape frame and the surrounding text is referred to as
offset spacing. Compare the provided examples of an object without
offset spacing (see Figure 15.14, View 1) and with offset spacing applied
(Figure 15.14, View 2). e amount of offset spacing can be adjusted in
the Text Wrap panel, which is available via the Window menu (see
Figure 15.12) [Window menu > Text Wrap | ⌥⌘W].

Figure 15.14
Text wrap examples: View 1: no offset spacing, and View 2: offset spacing
applied.
e shape of an object affects how offset spacing is applied. For
ellipses, circles and most polygons, one offset value (Top Offset) is
available; this option applies offset spacing evenly around the shape. In
contrast, rectangles and squares can have the same offset spacing
applied to all sides or unique values can be applied to each of the
shapes’ four sides. To accommodate unique values, delink the chain
icon that otherwise links the values for Top Offset, Bottom Offset, Le
Offset and Right Offset.
Step 11: Adjust the offset spacing in the Text Wrap panel to increase the
space between the shape frame and the surrounding text.
• Use the Selection Tool (V, ESC) to select the shape frame.
• In the Text Wrap panel, increase the offset spacing as appropriate for the
shape frame [Window menu > Text Wrap | ⌥⌘W].
Step 12: Save the le.
• From the File menu, select Save [File menu > Save | ⌘S].

Nice work, you have completed Exercise 15.1. Hopefully, you are becoming
familiar with the Type Tool (T) and its many features available in InDesign.
Before continuing, let’s discuss some Need to Know Fundamentals, nuggets
of information intended to facilitate your work in InDesign.

Need to Know Fundamentals

Inset vs. Offset Spacing
e exercises in this and the previous chapter have utilized both inset and
offset spacing. It is important to understand how each of these properties can
be applied and the distinctions between them.
• Inset spacing is the distance of margins between text and the text frame;
the spacing falls within the text frame (Figure 15.15, View 1). is
property can be accessed via the Object menu and the Text Frame
Options menu command [Object menu > Text Frame Options | ⌘B].
• Offset spacing is the distance of margins between a frame and text; the
spacing falls outside of the frame (Figure 15.15, View 2). is property
can be applied in the Text Wrap panel available from the Window menu
[Window menu > Text Wrap | ⌥⌘W].
Note: e puffin photograph (Ch15-Ex01-photo.jpg) is available on the
book’s companion website if you would like to use the photo while
experimenting with offset spacing (see Figure 15.15).
 Figure 15.15
Inset and Offset spacing examples: View 1: inset spacing, and View 2:
offset spacing. (Photograph: Puffin fishing near the Skellig Islands,
County Kerry, Ireland.)

Applying Attributes across Text and Objects When a

document uses distinct text formatting to feature
specific elements of the content (e.g., headers and
keywords), the Eyedropper Tool (I) can be a convenient
and efficient way to apply these attributes. The
following tool description is drawn from the InDesign
Online Help.
• e Eyedropper Tool (I) lets you sample color or type attributes from
objects and apply them to other objects.

Tip: e Eyedropper Tool (I) is a hidden tool sharing space with the Color
eme Tool (Shi + I).
Let’s try using the Eyedropper Tool (I) to demonstrate its formatting
potential.
Practice 15.1: Using the Eyedropper Tool to Apply Formatting
Properties Practice brief: Use the last page of the Exercise 15.1
document file to experiment with the Eyedropper Tool (I).
Step 1: In the Exercise 15.1 le (Ch15-Ex01.indd), navigate to the last page
(Page 5) in the workspace.
• Open the Pages panel from the Window menu and double-click on the
thumbnail of Page 5 [Window menu > Pages].
• is action results in the appropriate spread being opened in the
workspace.
Step 2: Use the Type Tool (T) to create a text frame and then ll the text
frame with placeholder text.
• Select the Type Tool (T) in the Tools panel, then click and drag the
mouse button to create a text frame.
• While the cursor is blinking in the text frame, access the Type menu and
select the Fill with Placeholder Text menu command [Type menu > Fill
with Placeholder Text].
• Tip: If the cursor is not blinking in the text frame, double-click on the
text frame using either the Type Tool (T) or the Selection Tool (V,
ESC).
Step 3: Adjust the formatting of a word or phrase to represent a keyword. In
this example, the attributes of the keyword are changed to Style: Bold Italic †
and Fill Color: Blue.
• Use the Type Tool (T) to select a word or phrase in the placeholder text.
• Change the attributes of this selected word in the Properties panel or the
Control panel (Character Formatting Controls [A]) or Character panel
[Window menu > Type & Tables > Character | ⌘T].
Step 4: Sample the attributes from the keyword and apply them to other
words within the text frame.
• Select the Eyedropper Tool (I) from the Tools panel.
• Position the cursor over the keyword (bold italic, blue text).
• Click the mouse button once on the keyword; this action creates a
loaded cursor, the cursor appearance includes the letter “T” adjacent to
the eyedropper icon.
 • In this state, the cursor can select other keywords in the document to
apply custom attributes.
• Click and drag the loaded cursor over another word or line text, as text
is normally selected, to apply the custom attributes.
• e formatting changes are applied immediately to the selected text.
• Repeat as desired.

Tip: If the formatting is applied to too much text, either undo the last step
[Edit menu > Undo | ⌘Z] or use the Eyedropper Tool (I) to sample
unaffected text and apply this as needed.
e Eyedropper Tool (I) can be used to apply the same ll and stroke
attributes to a series of frames (e.g., shape frame, graphic frame or text
frame).
Text Wrap around Natural Shapes
In addition to geometric shapes, text wrap can be applied to natural shapes.
For example, in Figure 15.16 text ows around the shape of a bison captured
in a photograph taken at Yellowstone National Park. To achieve this effect,
Photoshop was used rst to isolate the bison from its background and then
to place it in a le containing a transparent background. is le was saved
as a Photoshop Document (PSD) to preserve the le transparency and then
placed in InDesign where a text wrap (Wrap around object shape) was
applied.
 Figure 15.16
Text wrap example, natural shape. Bison, Yellowstone National Park,
Wyoming.

In the Text Wrap panel, the Wrap around object shape option was selected,
then the following properties set, Wrap To: Both Right & Le Sides; Contour
Options: Detect Edges. e offset spacing was adjusted to create a margin
around the bison to emphasize its shape. Note: e bison photograph (Ch15-
Ex02-photo.jpg) is available on the book’s companion website if you would
like to re-create Figure 15.16.
Wrapping text around a curvy wrap object may necessitate the viewer
rede ning the starting point for each line of text that runs along the subject.
is challenge is similar to using center or right alignment for a block of
text. When working with text wrap, consider repositioning the subject so the
text ows around a single side of the subject, preferably the le side, as
shown in Figure 15.16. Or, use the Wrap To property to limit where the text
ows in relation to the subject.

Master Pages
InDesign provides master pages as a means to apply universal formatting
across all or selected pages in a document. Master pages can provide a sense
of consistency across a multipage document. Content added to a master
page, such as page numbers, headers or columns, is re ected on all pages to
which the master page has been applied. Content added to a master page
will be positioned behind any other objects placed on the document page. A
document can contain multiple master pages, each containing different
design elements. is is useful for documents that use multiple numbering
systems or unique section headers.
Master pages can be accessed via the Pages panel (Figure 15.17) [Window
menu > Pages]. By default, the rst named master page, A-Master, is applied
to all pages in a document. Content added to A-Master is subsequently
present on all pages in the document. e master page, [None], positioned
above A-Master in the Pages panel contains no formatting elements and can
be applied to pages to clear contents and formatting applied by other master
pages.
 Figure 15.17
Pages panel, Window menu > Pages.

e thumbnails of document pages and spreads in the Pages panel identify

which, if any, master page is applied to a speci c page. Look for a letter (e.g.,
A, B) on each document page thumbnail in Figure 15.17. ese letters
correspond to a master page with the same letter pre x (e.g., A-Master, B-
Master). When no letter is present, such as on Page 3, no master page is
currently applied to that document page. e absence of a letter indicates
that the [None] master page was applied to Page 3, which explains the
absence of the default master page (A; A-Master).
 To add content to a master page, double-click on the master page
thumbnail in the Pages panel; this action opens the master page in the
workspace. Content can now be added and/or the page formatting adjusted.
If the document uses facing pages, be sure to update both master pages in
the spread, the le and right pages. To return to the document page, double-
click on the corresponding document page thumbnail in the Pages panel.
As previously mentioned, by default A-Master is applied to all pages in a
document. To apply a different master page to a document page, position
the cursor over the thumbnail of the desired master page in the Pages panel.
Click on that master page and while holding down the mouse button, drag
the master page over the thumbnail of the document page to which the
master page will be applied. When the cursor is over the desired document
page thumbnail, release the mouse button. e document page thumbnail
now re ects the pre x letter associated with the newly applied master page,
or no letter if the [None] master page was applied. e document page itself
has been updated to re ect the new master page including additions in
content and formatting changes. Double-click on the document page
thumbnail to return to the document page.
ere are multiple ways to create a new master page; here are two options:
• Option 1: Create a new master page via the Pages panel menu.
• From the Pages panel menu, select the New Master… menu command,
which launches the New Master dialog box shown in Figure 15.18.
 Figure 15.18
New Master dialog box, Window menu > Pages | Pages panel menu >
New Master….

• Accept the default values presented or enter custom values in the dialog
box, then press OK to create the new master page.
−Note: If a new master page (B-Master) is based on another master
page (A-Master), any content or formatting on the selected
master page is automatically included on the new master page.
A link is created between the master pages; future changes to A-
Master will be re ected on B-Master and its affected pages.
• Option 2: In the Pages panel, click on the Create new page icon to create
a new master page.
• Click in the top section of the Pages panel to activate the master pages
(and deselect any previously selected document page).
−If this step is skipped, when the Create new page icon is clicked, a
new document page is created, not a master page.
• Click on the Create new page icon located along the bottom edge of the
Pages panel.
−Note: is method does not launch the New Master dialog box.
Adding Page Numbers
One of the most common elements applied to a document using master
pages are page numbers. Page numbers can be added to individual pages or
applied across a multipage document, if added to a master page. In either
scenario, the process for inserting a page number is the same.
First, open a master page by double-clicking on its thumbnail in the Pages
panel. On the master page, create a text frame large enough to contain the
page number and any accompanying text (e.g., Page #). While the cursor is
blinking in the text frame, insert the current page number; from the Type
menu select the Insert Special Character menu command and the Markers
option, then select Current Page Number [Type menu > Insert Special
Character > Markers > Current Page Number | ⌥⌘N]. If the document
uses facing pages, repeat these actions on the other page in the spread; this
creates page numbers on the le and right master pages. e format of the
page number can be adjusted using properties available in the Properties
panel or Control panel (Character Formatting Controls [A]) or the Character
panel [Window menu > Type & Tables > Character | ⌘T].
When placed on a master page, a page number will be represented by the
pre x letter of the master page (e.g., A, B) as shown in Figure 15.19, View 1.
is value will re ect the correct page number when viewed on a document
page as shown in Figure 15.19, View 2.
By default, pages are numbered using Arabic numerals (1, 2, 3…);
however, pages can be numbered using upper- or lowercase Roman (I, II,
III…; i, ii, iii…) or alphanumeric (A, B, C…; a, b, c…) numbering. Each part
of the document that uses a different numbering style is referred to as a
section. To change the page numbering style, double-click the page where
the page numbering or section is to start, then select the Numbering &
Section Options… menu command from the Layout menu [Layout menu >
Numbering & Section Options…]; this action launches the New Section
dialog box (Figure 15.20). Alternate page number styles are available under
the Page Numbering header.
Figure 15.19
Page numbering examples: View 1: A-Master master page and View 2:
Page 2 content based on A-Master master page.

Figure 15.20
Numbering & Section Options… dialog box, Layout menu > Numbering
& Section Options….
Text Variables
In situations where it is appropriate to include the total number of pages in a
document along with the current page number (e.g., Page # of #), the Last
Page Number can be added via the Type menu, the Text Variables menu
command and the Insert Variable option [Type menu > Text Variables >
Insert Variable > Last Page Number]. A text variable is a value that varies
according to context. For example, if a page is added to or deleted from the
document, the value for the Last Page Number would update automatically
to re ect the change in overall page numbers. e list of available text
variables includes Chapter Number, Creation Date, File Name, Image Name,
Last Page Number, Modi cation Date, Output Date and Running Header.
Special Characters and Glyphs In Chapter 10: Typography in
Design, the term glyph was introduced as a synonym for
“character,” the basic typographic element, referring to
any individual letter, number or punctuation mark.
While working in InDesign, the designer might insert a
glyph to add a special character (e.g., copyright symbol
or trademark symbol), fraction, letter with an accent
mark to accommodate a foreign language, Greek
letter or ornament (decorative wingding‡) to a
document. The Glyphs panel seen in Figure 15.21 can be
launched from the Type menu by selecting the Glyphs menu
command [Type menu > Glyphs] or via the Window menu
under the Type & Tables menu command [Window menu >
Type & Tables > Glyphs]. The characters presented in
the Glyphs panel are associated with the currently
selected font and style listed in the lower-left corner of
the panel. Some fonts provide more glyphs than others.
Glyph availability is based on the characters created
when the font was designed.
 Figure 15.21
Glyphs panel, Type menu > Glyphs; Window menu > Type & Tables >
Glyphs.

To insert a glyph into a document, position the cursor in a text frame

where the glyph is to be inserted. en double-click on the desired glyph in
the Glyphs panel. is action inserts the glyph in the text frame at the
speci ed location.
InDesign provides a menu-based option for inserting some frequently
used glyphs into a text frame. Tip: Be sure that the text frame is active before
navigating to the following menu commands. From the Type menu, select
the Insert Special Characters menu command and then select Symbols [Type
menu > Insert Special Characters > Symbols]. In the resulting list, the
following special characters are available: Bullet Character, Copyright
Symbol, Ellipsis, Paragraph Symbol, Registered Trademark Symbol, Section
Symbol and Trademark Symbol. Note: ese special characters are also
available in the Glyphs panel; however, this menu-based method may be a
quicker way to locate and insert a frequently used character.
Let’s put this knowledge to work by creating and applying master pages to
a new multipage document. Exercise 15.2 guides us through the process.

Exercise 15.2: Using Master Pages

Exercise brief: Create a new multipage document le and use master pages to
present the following content and formatting consistently across the
document.
• A-Master: Create a header that includes a title for the document. Create
a footer that includes a copyright for your work and a page number.
• B-Master: Create a new master page based on A-Master, so it includes
the header and footer of A-Master. Update the page formatting on the
new master page to use three columns.
Create threaded text across the pages, adding jump links to facilitate the
reader’s navigation among pages.

Step 1: Create a new le using InDesign’s Document Type presets,

speci cally Print menu > Letter size. Enter the following values to
customize the preset, Pages: 4; Facing Pages: No (checkbox unchecked); Start
#: 1; Columns: 2. Leave the other options set to their default values.
• Note: For step-by-step instructions for Steps 1 and 2, refer to Exercise
15.1, Steps 1 and 2.

Step 2: Save the document le as an InDesign CC 2019 document. Use

Ch15-Ex02 for the le name, InDesign CC 2019 document for the le format
and select an appropriate location for the le (Ch15-Ex02.indd).

More than One Way to Format Text InDesign provides

multiple ways to apply Character and Paragraph
formatting to text in a document.
 • Properties panel [Window menu > Properties]
• Control panel (Character Formatting Controls (A) | Paragraph
Formatting Controls [¶]) [Window menu > Control]
• Character panel | Paragraph panel [Window menu > Type &
Tables > Character (⌘T) | Paragraph (⌥⌘T)]
roughout Exercise 15.2, the Properties panel will be listed when
text needs to be edited; however, feel free to use your preferred method.

Step 3: Update the default master page, A-Master, to include a header and
footer based on the following descriptions.
• Header: Create a text frame that spans the width of the page that reads
“InDesign Practice.” Increase the font size of this headline, so it stands
apart from 12 pt. font and then center the text.
• Footer: In the lower-le corner create a text frame that reads “© Your
name”; in the lower-right corner add a page number. Above these text
frames create a horizontal line that separates the footer information
from the rest of the page.
• Open the Pages panel from the Window menu [Window menu >
Pages].
• Double-click on the A-Master thumbnail to open the master page in the
workspace.
• Staying within the page margin guides, create the necessary text frames
and populate each with the speci ed header and footer content.
• Using the Type Tool (T), create a text frame for the headline that
spans the width of the page, staying within the margin guides.
• Enter the text “InDesign Practice.”
• Adjust the formatting of the headline via the Properties panel.
• Increase the font size of the headline.
• Center the text.
• Create a second text frame in the lower-le corner of the master page
and enter “© Your name.”
 • Insert the copyright symbol as a special character or as a glyph, then
enter your name [Type menu > Insert Special Characters > Symbols
> Copyright Symbol].
• Create a third text frame in the lower-right corner of the master page
and enter a page number.
• Notice that the page number is represented by the letter “A” on the A-
Master master page.
• Use the Type Tool (T) to select the text and then align the text to the
right via the Properties panel.
• In the Pages panel, notice that the thumbnails of the document pages
now contain markings that represent the content applied from A-
Master.
• Select the Line Tool (\) from the Tools panel and draw a horizontal line
across the master page, from the le margin guide to the right margin
guide.
• Tip: Remember to hold down the Shi key on the keyboard while
drawing the line to ensure that it is parallel with the bottom edge of
the document. Release the mouse button before the Shi key to
preserve the angle of the line.

Step 4: Open one of the document pages in the workspace to view the added
content.
• In the Pages panel, double-click on a document page thumbnail to view
that page in the workspace.
• Note: When the cursor is positioned over a document page thumbnail
in the Pages panel, a tool tip appears indicating which master page is
applied to the page (e.g., “A-Master” applied)
 Figure 15.22
Pages panel: View 1: Exercise 15.2, Step 4, Tool tip visible indicating
which master page is applied to the document page; View 2: Exercise
15.2, Step 7; and View 3: Exercise 15.2, Step 8.

Step 5: Save the le.

• From the File menu select Save [File menu > Save | ⌘S].

Step 6: Create a second master page, based on A-Master. Use B-Master for
the name of the new master page. Change the number of columns on this
master page from two to three and ll the right column with color, which
will serve as a background for black text.
• From the Pages panel menu, select New Master…, which launches the
New Master dialog box [Window menu > Pages | Pages panel menu >
New Master…].
• Accept the default values with the exception of the Based on Master
value; for this property, select A-Master from the dropdown list. en
press the OK button to create the new master page (B-Master).
• Note: Since B-Master is based on A-Master, any changes to A-Master
will automatically be re ected on B-Master.
• Once created, the new master page (B-Master) opens in the workspace.
 • Notice that the page number is represented by the letter “B” on this
master page (B-Master).
• To increase the number of columns on B-Master, access the Layout
menu and select the Margins and Columns… menu command [Layout
menu > Margins and Columns…]. is action launches the Margins
and Columns dialog box shown in Figure 15.23. Under the Columns
header, increase the number of columns from two to three, and click the
OK button.
• Column guides for three columns are now visible in B-Master.
• Use the Rectangle Tool (M) to create a column of color that lls the
rightmost column. e shape should begin below the header and above
the footer content.
• Utilize the column guides when creating the frame.

Figure 15.23
Margins and Columns dialog box, Layout menu > Margins and
Columns….

• Fill the shape frame with a color of your choice, adjusting the opacity of
the ll color in the Control panel to facilitate the readability of black text
that will be placed over this column in a future step.
Step 7: Apply B-Master to Pages 1 and 3.
 • In the Pages panel, position the cursor over the B-Master master page
[Window menu > Pages].
• Click on B-Master and while holding down the mouse button, drag the
master page over the Page 1 thumbnail. When the cursor is over the
Page 1 thumbnail, release the mouse button.
• e Page 1 document page thumbnail now re ects the letter “B”
pre x associated with B-Master.
• Repeat this action for Page 3 (Figure 15.22, View 2).

Step 8: Remove the A-Master master page from Page 4.

• Position the cursor over the [None] master page in the Pages panel.
• Click on [None] and while holding down the mouse button, drag the
master page over the Page 4 thumbnail.
• When the cursor is over the Page 4 thumbnail, release the mouse button.
• e Page 4 thumbnail no longer contains a letter pre x since there is
no corresponding master page applied to the document page (Figure
15.22, View 3).

Step 9: Save the le.

In this exercise, the two columns of color were created as backgrounds to
feature an article. e text begins on Page 1 and ows to Page 3 where it
concludes; let’s add that text now.

Step 10: On Page 1, create a text frame that contains overset text.
• Double-click on the Page 1 document page thumbnail to open the page
in the workspace.
• Use the Type Tool (T) to create a text frame on Page 1 that spans the
width of one and a half columns.
• Fill this text frame with placeholder text [Type menu > Fill with
Placeholder Text].
• Use the Selection Tool (V, ESC) to resize the width of the text frame,
limiting it to a single column, speci cally, the rightmost column.
• e right column is currently lled with color from B-Master.
 • Reducing the width of the text frame produces overset text, which
when threaded will ow to the corresponding column on Page 3.

Step 11: read the text from Page 1 to Page 3, speci cally to the
corresponding right-hand column that is lled with color from B-Master.
Note: If the text does not ll the entire text frame on Page 3 column, that is
all right.

Step 12: Justify the threaded text (on both pages) and turn off hyphenation
using the Properties panel.
• In the Paragraph section of the Properties panel, click on the ellipses
(…) to access more formatting options, including Hyphenate.

Step 13: Use the Text Frame Options dialog box to apply inset spacing, a
margin between the text and the edge of the text frame, which due to B-
Master, is also the edge of the color in the shape frame [Object menu > Text
Frame Options… | ⌘B].
Step 14: Insert an ornament glyph at the end of the text copy on Page 3. is
character lets the reader know that the article ends here; it does not continue
on another page.
• Activate the text frame on Page 3 and position the cursor at the end of
the placeholder text.
• In the Glyphs panel, locate an ornament glyph, a character that will not
be confused with text copy [Window menu > Type & Tables > Glyphs].
• Double-click on the glyph to insert the character into the text frame.
Jump Lines
When an article is split across nonsubsequent pages, a jump line can help the
reader locate the next (or previous) part of the article. We will add jump
lines to the Exercise 15.2 document to facilitate the reader’s navigation of the
article that begins on Page 1 and ends on Page 3.
Text frames will be created on Page 1 and Page 3, positioned at the end
and the start of the threaded text frames, respectively reading “Continued
on Page #” and “Continued from Page #.” e secret to success with a jump
line is that it must overlap the threaded text frame. A jump line page number
automatically updates the page number containing an article’s next or
previous threaded text frame.

Step 15: Use inset spacing to create space on Pages 1 and 3 for the jump
lines. On Page 1, create space at the end of the text column. On Page 3,
create space at the start of the text column.

• In the Text Frame Options dialog box, increase the inset spacing on
speci c sides of the text frames to create space for the new text frame
that will contain the jump links [Object menu > Text Frame Options…
| ⌘B].
• Tip: Be sure to delink the chain icon in order to increase inset spacing
on speci c sides of the text frames: Page 1: Bottom; Page 3: Top.

Step 16: Create jump links on Pages 1 and 3 (Figure 15.24). First, create text
frames for each of the jump lines and enter the appropriate text “Continued
on Page [Next Page Number]” and “Continued from Page [Previous Page
Number].” en position each text frame so it overlaps the corresponding
threaded text frame. Once in position, insert the listed special character,
which is available from the Type menu, the Insert Special Character menu
command and the Markers options [Type menu > Insert Special Character
> Markers > Next | Previous Page Number].
• Use the Type Tool (T) to create a text frame on the pasteboard near the
bottom of the column on Page 1.
 • Enter “Continued on Page #” in the text frame.
• Use the Selection Tool (V, ESC) to position the text frame so it overlaps
with the threaded text frame.
• Note: is step is critical to the accuracy of the jump link, so be sure
the text frames overlap.
• Return to the Type Tool (T) and select then delete the “#” character.
• With the text frame still active, insert the Next Page Number special
character from the Type menu [Type menu > Insert Special Character
> Markers > Next Page Number].
• In the Type menu, select the Insert Special Character menu
command, and from the Markers options select Next Page Number.
• Repeat this step to create a text frame at the top of Page 3 that reads
“Continued from Page #.”
• Position the text frame so it overlaps with the threaded text frame.
• Delete the “#” character, replacing it with the Previous Page Number
special character from the Type menu [Type menu > Insert Special
Character > Markers > Previous Page Number].

Figure 15.24
Exercise 15.2, Step 16.

Step 17: Italicize the text in the jump links to distinguish it from the text
copy.
• Use the Type Tool (T) to select the text within a jump link text frame.
 • Apply the Italic style to the text in the Properties panel.
• Note: If Italic is not available for the typeface, apply the Skew (false
italic) property in the Character panel to achieve the effect.
• Repeat for the second jump link.
Step 18: Save the le.
Step 19: Change the screen mode to Preview to view the document without
guides.
• From the lower portion of the Tools panel select the Preview screen
mode. Or, from the View menu, select the Screen Mode menu command
and then the Preview mode [View menu > Screen Mode > Preview].
• e document can be edited in this mode.
• Tip: Before resuming work on the document, return the screen mode to
Normal, in order to view the document guides.
 Bulleted and Numbered Lists
ere are occasions when a bulleted or numbered list is needed to
organize information, so let’s review how to apply this formatting and
then add an example to Exercise 15.2. e Properties panel provides
options to create a bulleted or numbered list. Similar formatting
options (i.e., Apply Bullets and Apply Numbers) are available via the
Type menu and the Bulleted & Numbered Lists menu command [Type
menu > Bulleted & Numbered Lists > Apply Bullets | Numbers].
ese options support a single-level list (Figure 15.25).

Figure 15.25
List examples: (A) bulleted list and (B) numbered list.

Step 20: Create a bulleted list on Page 2 that contains at least ve items.
• Use the Type Tool (T) to create a text frame on Page 2.
• Enter a ve-item list in this text frame. Each item should be on its own
line; press Return/Enter aer each item.
• Select the list using the Type Tool (T).
• In the Properties panel, click on the Bulleted List icon to convert the
itemized list to a bulleted list.

It is possible to change the symbol used for the bullet point and the
character used for numbering. For bullet and numbering options, access the
Bullets and Numbering dialog box (Figure 15.26); the dialog box can be
launched from the Properties panel by clicking on the Options button located
to the right of the Bulleted and Numbered list icons.
Bulleted list: To adjust a bulleted list, rst select the bulleted list, then
access the Bullets and Numbering dialog box and turn on the Preview feature.
Under the Bullet Character header, select one of the provided alternate bullet
characters or click on the Add… button to launch the Add Buttons dialog
box. Note: Similar to working with glyphs, the characters presented are
associated with a particular font family and style. Select a character that
would work well as a bullet point, then click the Add or OK button to close
the dialog box. Either action makes the selected character available for use.
With the bulleted text selected, click on the new bullet character to update
the bulleted list, then click the OK button to close the Bullets and
Numbering dialog box.
Numbered list: Like page numbers, numbered lists use Arabic numerals (1,
2, 3…) by default; however, lists can be numbered using upper- or lowercase
Roman (I, II, III…; i, ii, iii…) or alphanumeric (A, B, C…; a, b, c…)
numbering. With the numbered list selected, access the Bullets and
Numbering dialog box. Under the Numbering Style header, select an alternate
formatting option from the provided list. With this action, the bulleted list is
updated. Click the OK button to close the Bullets and Numbering dialog
box.
For information and instructions on how to create a multilevel list, access
the InDesign Online Help.

Step 21 (Optional): Adjust the appearance of the bulleted list, as desired.

Step 22: Save the le.

• Nice work. You have completed Exercise 15.2. Before continuing, let’s
discuss some Need to Know Fundamentals, important nuggets of
information included to facilitate your work in InDesign.
 Figure 15.26
Bullets and Numbering dialog box, Window menu > Properties panel:
View 1: bulleted list and View 2: numbered list.

Need to Know Fundamentals

Align Panel
e Align panel provides the means to easily align or distribute multiple
objects on a page (Figure 15.27) [Window menu > Object & Layout >
Align]. To apply any of these options, rst select at least two objects, then
click on one of the options in the Align panel. Position the cursor over each
symbol for a tool tip presenting the name of the option. e symbols
accompanying the options provide useful references as to how the objects
will be affected.

Figure 15.27
Align panel, Window menu > Object & Layout > Align.

e Align panel is organized using the following groupings of options:

• Align Objects: Align le edges, Align horizontal centers, Align right edges;
Align top edges, Align vertical centers, Align bottom edges • Distribute
Objects: Distribute top edges, Distribute vertical centers, Distribute bottom
edges; Distribute le edges, Distribute horizontal centers, Distribute right
edges; Use Spacing; Align To (Selection, Key Object, Margin, Page, Spread)
• Distribute Object Spacing: Distribute vertical space, Distribute horizontal
space; Use Spacing When creating the master page footer in Exercise 15.2,
these align options may have been useful to verify the alignment between
the copyright and page number text frames.
Ignore Text Wrap
As stated earlier in this chapter, text wrap is applied to the object and not to
the text frame containing the text that ows around the wrap object.
However, there are occasions when a text frame must ignore the text wrap in
order to properly display text. An example of this is when a text caption is
added beneath a graphic frame using text wrap. As shown in Figure 15.28,
View 1, the text caption is affected by the text wrap that is applied to the
graphic frame containing the photograph of the puffin. e ability to
neutralize the effect of the text wrap is available in the Text Frame Options
dialog box [Object menu > Text Frame Options… | ⌘B]. First, select the
text frame that contains the caption, then open launch the Text Frame
Options dialog box. Select the option to Ignore Text Wrap. If the Preview
feature is active, the change in the text presentation should be immediately
apparent (Figure 15.28, View 2).

Figure 15.28
Ignore Text Wrap examples: View 1: Text wrap affects caption and View
2: Ignore text wrap preserves caption. Puffin fishing near the Skellig
Islands, County Kerry, Ireland.
Check Spelling
Working in any document that contains text allows for the possibilities of
typos and spelling errors being inadvertently introduced into the document.
InDesign allows the designer to check spelling in all open documents, the
current document, the current active text frame or a speci c selection. To
launch the Check Spelling dialog box and begin the spell-check, start at the
Edit menu, select the Spelling menu command and then Check Spelling [Edit
menu > Spelling > Check Spelling… | ⌘I].
InDesign also offers Dynamic Spelling, a feature that when active,
underlines potentially misspelled words based on the dictionary associated
with the language of the text. To activate this feature, visit the Edit menu,
select the Spelling menu command and then the Dynamic Spelling command
[Edit menu > Spelling > Dynamic Spelling]. Options to resolve a agged
word are presented when the designer right-clicks (Control-click) on the
underlined word.
Spell-check is an important yet oen overlooked step in the production
process. A spelling error can distract the viewer and detract from the overall
impact of the design. So, develop a habit of spell-checking your work. Note:
When a document uses placeholder text exclusively, this step can obviously
be skipped.

Export and Publish

InDesign allows the designer to export a nished document in a variety of
formats that support print, Web and mobile outputs. From the File menu,
select the Export… menu command [File menu > Export… | ⌘E]. is
action launches the Export dialog box, where the Format dropdown menu
lists the available format options (Figure 15.29). Select the appropriate
format and then click the Save button.
If the designer has an Adobe Creative Cloud account,¶ InDesign provides
the ability to Publish Online directly to the Creative Cloud. Publish Online
allows the designer to share their work with others online via social
networks, email or as a stand-alone URL. A link to this feature is available in
the top row of the Control panel and it is also available via the File menu,
select the Publish Online… menu command [File menu > Publish
Online…]. For more information about an Adobe Creative Cloud account
and online publishing, refer to the reference provided at the end of this
chapter (see External Links Mentioned in the Chapter).

Figure 15.29
Export dialog box, File menu > Export….

Packaging the File

When a project is to be sent to a commercial printer or shared with a
collaborator, the designer packages the document le. is action ensures
that all of the project components including fonts and linked graphics are
collected into a single project folder, which can then be distributed.
 Figure 15.30
Package dialog box, File menu > Package….

To package a le, go to the File menu and select the Package… menu
command, which launches the Package dialog box, shown in Figure 15.30
[File menu > Package… | ⌥⌘P]. is is a pre- ight dialog box, which
provides a summary of the document alerting the designer to any potential
issues (e.g., missing graphics or incompatible fonts). e dialog box
organizes the information about the le on the following pages: Summary,
Fonts, Links and Images, Colors and Inks, Print Settings and External Plug-
ins. Review each page, speci cally looking for agged problems that need to
be addressed before proceeding. When satis ed with the readiness of the
le, click the Package… button. is leads to the Printing Instructions dialog
box, in which the designer’s contact information can be captured along with
any speci c instructions for the printer or collaborator. en, click the
Continue button, which brings up the Create Package Folder dialog box. Aer
reviewing the available options, click the Package button. A Warning message
is next presented about sharing fonts; click the OK button to proceed. is
action initiates the packaging of the le and its components. A folder is
created containing the encapsulated project les, including the INDD le, a
PDF version of the le, document fonts, linked graphics and instructions
produced from the pre- ight summary and the printing instructions (Figure
15.31).
is multistep process also serves as an effective way to back up a project;
creating a copy of all of the project’s assets that can be saved or archived for
future reference.
Looking Ahead

Figure 15.31
Package folder of project files.

is chapter expanded our use of InDesign, an application that provides the
opportunity to bring together text and images into a single or multipage
document. is process affords opportunities to utilize the design principles
to cra engaging and effective designs. Next up is a discussion focused on
presenting your designs in a portfolio of work.

Discussion
Discussion 15.1: Consistency Why is consistency across
a multipage document important for the viewer? What
elements of designs can be used to help achieve
consistency across a multipage document (refer to
Chapter 2: e Elements and Principles of Design)? How can
consistency contribute to the visual hierarchy of the
document?
Activity
Activity 15.1: Create a Product Ad Activity brief: Create a
product ad that could be run in an existing magazine.
For this activity, you are encouraged to take your own
photographs and to write your own text.
File properties Document size: Letter (51p0 × 66p0);
Orientation: Portrait (vertical) Margins: 1p6 (0.25 in.) Since
most consumer printers cannot bleed to the edge of
the page, keep important information within the 0.25 in.
margins.
File naming: Use yourlastname-ad.indd as the le name, for example,
hughes-ad.indd Part 1: Select a product to feature in the print
advertisement. Photograph the product from all sides and angles; take at
least 15 photos of the product.
Considerations for these photos:
• Focus: Be sure your product is clear and in focus.
• Lighting: Use even lighting and try to avoid glares and hot spots
(unnaturally bright spots re ected on the product).
• Color: ink about potential color schemes for the overall design (refer
to Chapter 3: Color in Design).
• Background: Place the product on a background that does not distract
from the product. As appropriate, use a background that provides
context for the product.
• Orientation: Most magazines use a Portrait (vertical) orientation, so
keep this in mind when photographing the product.
Part 2: Use InDesign to lay out the full-page advertisement. ink about the
overall space and how to incorporate the product photo(s) and the text to
produce a cohesive and authentic looking ad. If appropriate for the product,
consider including the company’s logo or symbol, along with the company
URL or social media connections.
Exercise File(s) Available on the Companion Website,
URL
Ch015-Ex01-photo.jpg | Practice le. Puffin shing near the Skellig Islands,
County Kerry, Ireland.
Ch015-Ex02-photo.jpg | Practice le. Bison, Yellowstone National Park,
Wyoming.
URL: http://www.crcpress.com/9780367075347
External Links Mentioned in the Chapter Adobe
Creative Cloud | https://helpx.adobe.com/creative-
cloud
• Free Membership • InDesign Publish Online InDesign Online Help |
https://helpx.adobe.com/indesign

 
* e search eld in the Control panel toggles between Adobe Stock and Adobe Help. Click on the
down arrow located to the right of the search icon (magnifying glass) and select the appropriate
context for your search.
† If the font that you are using does not offer Bold Italic as a style option, either select another font or
use other type properties to distinguish the keyword from the rest of the text.
‡ Wingdings are fonts that render letters as a variety of symbols.
¶ Adobe offers a free Creative Cloud membership that does not require the designer to be subscribed
to a Creative Cloud plan. e membership provides access to le sharing, free storage space, fonts
and mobile applications.
 16
Bringing It All Together

e Creative Cloud applications can be used as stand-alone tools to create

an image or document. However, when used in conjunction with one
another, the collaborative potential of the applications becomes evident.
Consider the following scenario: you have volunteered to create a newsletter
for a local organization. ink about how you might use the Creative Cloud
applications to complete this task. You might use Illustrator CC to create
symbols to highlight different sections of the newsletter. In Photoshop CC,
you might edit photos taken at a recent organization-sponsored event that
will be included in the publication. Using InDesign, you might lay out the
multipage document, incorporate the newly created and edited images and
format text copy provided by the organization. When the newsletter is
nished, multiple formats of the document might be exported from
InDesign and delivered to the organization for print and electronic
distribution to its members. is kind of multi-application project
highlights your skills in each application and your sense of design
incorporating a variety of elements into a single, cohesive document. e
similarities across application workspaces and among tools and processes
support multi-application production.

Adobe’s Learn & Support Resources

One challenge that faces all designers who use the Adobe Creative Cloud
applications is the need to stay up to date with evolving soware. Adobe
routinely updates its applications, introducing new features and,
occasionally, new tools. For each Creative Cloud application, Adobe
maintains an online Learn & Support resource (online help) (Figure 16.1).
ese sites provide valuable information following an application update;
look to these sites for lists and descriptions of soware changes (What’s
New), related tutorials and additional information. To access the Learn &
Support resource in any Adobe application, go to the Help menu and select
the respective Help… menu command.

Figure 16.1
Adobe Photoshop Learn & Support, Help menu > Photoshop Online
Help….

• Photoshop: Help menu > Photoshop Online Help…

• Illustrator: Help menu > Illustrator Help…
• InDesign: Help menu > InDesign Help…

e Learn & Support resources also present useful information about

using the applications, under the headers, Tutorials and User Guide.
• e Tutorials area provides an assortment of short videos based on skill
level and task. ese videos are categorized by presentation style, which
include but are not limited to the following: • Watch: Videos that step
through the process of performing a speci c task.
• Try it: Videos accompanied by a corresponding sample le that can be
downloaded so the audience can work along with the video
instructions.
 • See how: Text-based instructions outlining how to complete a task.
• Get inspired: Videos highlighting different designers and their use of an
application to create engaging designs.
• e User Guide provides an index of application-speci c topics and a
powerful search eld (Search Adobe Support) that connects to the vast
Adobe user community.
• Aer searching for a term or tool, use the provided lter checkboxes
to narrow the list of provided results. Tip: Start by using the available
options to limit the results to a speci c application.

Use these online resources to further your soware skills. Explore

additional tools and processes in order to expand your personal design
toolset.

Creating a Portfolio
Developing a portfolio of work is an important step for a designer and one
that facilitates the sharing of their graphic design skills and abilities with
others. A portfolio serves as a kind of benchmark, recording what the
designer has accomplished to date and allowing the designer and others to
visualize how their work has evolved or changed over time. A portfolio can
also help the designer plan what they wants to focus on in the future.
A portfolio can be presented as a collection of printed works or electronic
les. e delivery method should suit the designer’s needs and the designer’s
potential audiences. Some designers prefer to have tangible copies of their
design work aer so much time spent creating on a computer. A portfolio
notebook available from an art supply center works well to present printed
images and documents. A limitation of the traditional portfolio is that it
relies on one-to-one communication; there is typically only one copy of the
portfolio that must be passed from person to person in order for the
designer’s work to be seen.
In contrast, an online portfolio can be an efficient and cost-effective way to
share work with an audience; it is an example of one-to-many
communication. However, the designer must keep in mind that once posted
online, their work is accessible to the world. In preparation for sharing their
designs, designers should consider the options for watermarking or
copyrighting their work to deter others from downloading and using the
les as their own (refer to Chapter 9: Photo Editing in Photoshop).
Whether paper based or online, it is important to think about the
organization of works included in a portfolio. Which piece will be presented
rst? What strengths does the designer want to highlight through their
work? When arranging pieces, start strong and end strong. In the portfolio,
whether print or digital, designers should provide full-color examples of
their strongest designs. A title should accompany each piece along with a
brief description of the design’s purpose and a list of the application(s) used
to create the design. Capturing this information while it is fresh is useful,
particularly as the portfolio continues to develop. A portfolio should be an
evolving collection of work. As new designs are completed, incorporate
them into the portfolio. With each new addition, reassess the presentation
order of the included works and recognize that over time, it is important to
replace earlier works with more recent designs.
As works are identi ed for inclusion in the portfolio, place a copy of the
les in a designated “portfolio” folder on the computer. By gathering the les
in a single location, an archive of work is being created. If possible, the
designer should save a copy of this portfolio folder and its contents onto
portable media (e.g., USB drive or external hard drive) or the cloud as an
archive of their work.

Portfolio Q&A
What follows are questions oen raised during the portfolio creation process
and the author’s responses.
How many pieces should be included in my portfolio? is number will vary
based on your collection of work and your variety of skills. A good rule of
thumb is to be selective. A portfolio may only include 6 to 10 strong pieces.
e portfolio should serve as a sample of your skills and your design
abilities. Tip: Do not include all of the images that you have created, as this
could overwhelm your audience and dilute the impact of a particularly
engaging image.
 Is it all right if I update an image before including it in my portfolio?
Absolutely, do not hesitate to update or redo an image as you see t. As your
skills develop, it is natural to revisit earlier works and update them
accordingly. Just as the design process is cyclical, so is the process of
updating a portfolio of work. Tip: Save a copy of the original le before you
begin making any edits to the image. is allows you to see not only the
evolution of the image, but also of your skills.
How can my portfolio be used in a job interview? Be prepared to discuss the
application(s) and techniques used to create the works in your portfolio.
Explain the processes used and how each design utilizes the design, color
and typography principles. Use your design as an opportunity to highlight
your knowledge and understanding of the underlying design concepts and
the production process. If your portfolio includes a design that was created
for a client, be prepared to provide an overview of your interactions with the
client, including the feedback loop and revision cycles. Allow this narrative
to highlight your interpersonal skills and your ability to work with others.
Be advised that during an interview, the interviewer may ip quickly
through the portfolio simply glancing at your work. Do not be offended, this
is typical. e interviewer may be looking for a speci c type of work that
matches the hiring description being used. is is why it is important to
prepare your own narrative outlining your skills and abilities that you can
support with speci c examples from the portfolio. Guide the interviewer
through your work, highlighting your skills and abilities in the process.
Should dras or earlier versions of a design be included in my portfolio? Yes,
if you have sketches or iterative dras of your design, include these in the
portfolio. Either le them behind the nished design, so they are available
for reference, or present them on adjacent pages in the portfolio. Paper-
based sketches can be scanned or photographed to include in electronic
archives and to share online. ese early works can provide an audience
with insights into how you approach a project.
Is it all right to ask others for their input on my portfolio? Of course.
Soliciting feedback from people whom you respect, particularly other
designers, is a great idea. Just bear in mind that everyone has an opinion and
when invited to share this opinion, you may receive more feedback than you
expected or wanted. However, just because someone expresses an opinion,
this does not mean that you must address this feedback in your work. Aer
all, this is your portfolio and your collection of work, so you get the nal say
in what is included.
What should not be included in my portfolio? If any of your work could be
deemed offensive or inappropriate for certain audiences, think twice before
including it in your portfolio. Also, the work in your portfolio should be
your own work; do not plagiarize. If any of your pieces were created as part
of a group project, be sure to acknowledge the other members of the group
and highlight your role in the project.

Getting Started As the designer begins to gather pieces

for a portfolio, it can be useful to revisit the central
design concepts presented in this book. These ideas
can serve as a focal point around which to highlight
particular skills and design abilities.
Design Concepts • Lines, Symbols & Signatures • Elements of
Design & Principles of Design • Visual Hierarchy • Color: Color
Wheel, Color Pyramid, Color Symbolism, Color Palette • Image
Composition • Typography • Page Layout Looking Ahead
Graphic design surrounds us. This statement began Chapter 1:
Breaking Down Design and is a fitting statement to repeat as this
book draws to a close. Opportunities exist to put the
knowledge that you have gained to use in your community.
Volunteer your services or seek out positions that involve
graphic design. Look for outlets to share your design abilities
with an audience, adding to the visual landscape. In the
meantime, keep designing. As the title of this book states,
Graphic Design: Learn It, Do It; it is time to do it.

Discussions
Discussion 16.1: Your Portfolio What would you include
in your portfolio? How do these pieces illustrate the
design concepts presented throughout this book?
Which format, paper-based or electronic, would best
suit your needs?
Discussion 16.2: Sharing Your Skills and Talents Who is
the current audience for your design work? How is work
shared with this audience? For what groups or
organizations are you interested in designing? What
steps are involved with making this happen?

External Links Mentioned in the Chapter Illustrator Learn

& Support | https://helpx.adobe.com/illustrator
InDesign Learn & Support | https://helpx.adobe.com/indesign
Photoshop Learn & Support | https://helpx.adobe.com/photoshop
References

Aches National Park. 2018. American Indians. U.S. Department of the Interior. American Indians.
https://www.nps.gov/arch/learn/historyculture/american-indians.htm (accessed October 15,
2018).
Bradshaw Foundation. 2011. Lascaux Cave Paintings—An Introduction.
http://www.bradshawfoundation.com/lascaux/ (accessed October 15, 2018).
Elving, Ron. “e Color of Politics: How Did Red and Blue States Come to Be?” All ings Considered,
November 13, 2014, http://www.npr.org/2014/11/13/363762677/the-color-of-politics-how-did-
red-and-blue-states-come-to-be (accessed October 21, 2018).
Giles, Jeff. “Samuel L. Jackson on the Hilarious Purple Lightsaber in ‘Star Wars’.” ScreenCrush, July 1,
2013, http://screencrush.com/star-wars-samuel-l-jackson-purple-lightsaber/ (accessed October 21,
2018).
Hornor, Tara. “Designing for Disabilities: Section 508 and International Accessibility Compliance for
Beginners.” Sitepoint. October 16, 2013. https://www.sitepoint.com/designing-disabilities-section-
508-international-accessibility-compliance-beginners/ (accessed July 21, 2017).
Information about categories of typefaces/subgroups |
https://www.fonts.com/content/learning/fontology/level-1/type-anatomy/type-classi cations.
Kattwinkel, L. “Copyright Basics for Graphic Designers” AIGA, the professional association for
design, July 1, 2007, https://www.aiga.org/copyright-basics-for-graphic-designers (accessed
November 3, 2018).
OpenType | https://www.adobe.com/products/type/opentype.html.
Pantone LLC. “Color of the Year: Introducing Greenery.” Pantone, 2017,
https://www.pantone.com/color-of-the-year-2017 (accessed October 21, 2018).
“Poems—Six Honest Serving Men.” Kipling Society, England.
http://www.kiplingsociety.co.uk/poems_serving.htm (accessed July 21, 2017).
van Beveren, Tom. “A Quick Introduction to Colorblindness.” We are Colorblind, January 10, 2012,
http://wearecolorblind.com/article/a-quick-introduction-to-color-blindness/ (accessed October
21, 2018).
“What is AT?” Assistive Technology Industry Association. 2017. https://www.atia.org/at-
resources/what-is-at/ (accessed July 21, 2017).
Index

A
Achromatic color scheme, 29; see also Color
Adjustment layers, 161; see also Photo editing in Photoshop
alternatives to, 172
brightness/contrast, 162–165
multiple, 168–172
Adobe Bridge CC, 310
Adobe Creative Cloud, 198, 205, 234
Adobe fonts and additional sources, 194–195; see also Typography
Adobe Illustrator (AI), 39, 57, 205, 245; see also File formats
activities, 241–243, 282–283
artboards in, 208
bleed, 207
CC 2019 Tools panel, 212–213
closing open path, 233
color options, 217
Color Picker dialog box, 220
colors, 216
complex shapes, 238
compound shapes and compound paths, 239–240
Control panel, 210–211
creating le, 206–208
creating, saving and adding content, 218–221
discussion, 241, 281
document window, 214–215
drawing modes, 216
draw tools, 215–216
Eraser Tool, 248–252
le saving, 208–209
 fundamentals, 233–238, 252, 266
gradient, 234–238
Home Screen dialog box, 206
keyboard shortcut, 211
Knife Tool, 248–252
Layers in, 245–248
learn panel, 211
menu bar, 210
navigate tools, 216
New Document dialog box, 207
panels, 215
Path nder effect, 240
paths and objects selection, 253
pen tool, 225–232
photograph tracing, 268–269
poster creation, 269
raster effects, 207
Scissors Tool, 248–252
screen mode, 217
selection tools, 215
Shape Builder Tool, 238–239
shape tools, 233
status bar, 215
stroke panel, 218
stylize effects, 266–267
Tools panel, 211–214, 216
tool subsets, 215–218
tool tips, 211
transforming paths, 252
type tools, 253
undo, 233
vectors, 221–225
Vertical Type, 268
workspace, 209–215
workspace layouts, 211
Adobe InDesign, 39, 305, 345
activity, 343, 386–387
alignment and spine, 352
Align panel, 380, 382
Apply, 320
applying attributes across text and objects, 363–365
Apply to Container, 320
Character panel, 348–349, 350
Color options, 321
Colors, 320
columns and stroke alignment, 341
Content-Aware Fill, 331
Control panel, 310–311, 348
 creating multipage document, 315–317
creating New Document, 306–308
creating, saving and adding content, 323–329
Direct Selection Tool, 329–332
discussion, 342, 386
display performance, 342
document guides and grids, 317–319
document labeling, 318
Document Setup dialog box, 316
document window, 313–314
Drawing & Type Tools, 319
empty frames, 336
export and publish, 384
frames, 322–323
fundamentals, 339, 363–365, 380
InDesign CC 2019 Tools Panel, 312
inset vs. offset spacing, 363
layers in, 346–348
Margins and Columns dialog box, 317
master pages, 365
menu bar, 310
Modify & Navigation Tools, 320
New Document dialog box, 307
packaging le, 384–386
panels, 314
Paragraph panel, 349–352
pasteboard, 314
placed images and links, 332–339
Polygon dialog box, 335
Preset Details, 307–308
Properties panel, 314–315
Save As dialog box, 308
saving or exporting document, 308–309
Screen Modes, 321
Selection Tools, 319
spell-check, 383
Start workspace dialog box, 306
status bar, 314
Stroke panel, 339–341
subset of tools, 319–321
text wrap, 365, 366, 382–383
threaded text, 352–362
Tools panel, 311–313, 320
Transformation Tools, 339
undo, 339
working with text, 348–352
workspace, 309
Adobe Photoshop, 39, 55, 63–65, 91
activity, 89, 118
artboards, 66
background layer, 94
basic transformation commands, 104
bit depth, 67
canvas size, 86–87
Character panel, 195
clipboard, 98
color mode, 86
colors, 78–79
discussion, 88, 117
Document, 57, 95, 365
document window, 76
drawing & type tools, 78
Eraser Tools, 105–107
exercise, 79–84
le format, 76
fundamentals, 84–85, 104, 113
grid, 116
guides, 115–116
history panel, 84–85
Home Screen dialog box, 65
image le creation, 65–67
image size, 85–86
interface appearance, 70
layer-friendly le types, 95
layers, 91–95
Layers panel, 92
Magic Wand Tool vs. Quick Selection Tool, 104–105
measuring tools, 78
Menu bar, 70
naming les, 68
navigation tools, 78
New Document dialog box, 66
Options bar, 71
painting tools, 78
panels, 77
point type and paragraph type, 108
rasterizing type layers, 109–110
renaming, managing, deleting and grouping layers, 92–94
retouching tools, 78
rulers, 114–115
Save As dialog box, 68
saving image le, 67–68
screen views, 79
selection options, 85
selection tools, 77
Snap, 116
 snapshot command, 85
soware updates and new tools, 88
status bar, 76
symbols and corresponding keyboard keys, 64
Tools panel, 71–75
tool subsets, 77–79
Tooltips, 74
transparency, 101
type tool, 107–113
undo task, 84
warped type creation, 113–114
working with layers, 95–104
workspace, 68–77
Adobe’s Learn & Support Resources, 390–391
Adobe’s type properties, 198; see also Typography
accessing Character and Paragraph panels, 198
alignment options, 200
Character panel, 199
justi cation examples, 201
Paragraph panel, 200
AI, see Adobe Illustrator
Albuquerque International Balloon Fiesta, 95
Align panel, 380, 382; see also Adobe InDesign
American Standards Association (ASA), 122
Analogous color scheme, 28; see also Color
Aperture, 120–121; see also Digital photography
ASA, see American Standards Association
Awareness ribbons, 24; see also Color

B
Background layer, 138–140; see also Photo editing in Photoshop
Bit depth, 67
Bitmap image, 55; see also File properties
Black, 31; see also Color
Bleed, 207; see also Adobe Illustrator
Blue, 31; see also Color
Brainstorming, 41; see also Project
Branding, 7–8, 9; see also Graphic design
Brightness/contrast adjustment layer, 162–165; see also Photo editing in Photoshop
Brochure, 294; see also Page layout
exercise, 296–297
layouts, 294
tri-fold brochure, 294, 295
Business card, 289; see also Page layout
components, 290
 dimensions of, 291
exercise, 293
layouts, 292
standard business card, 291

C
Camera shots, 123–125; see also Digital photography
CC license, see Creative Commons license
Changing orientation, 147–149; see also Photo editing in Photoshop
Character, see Glyph
Clone Stamp Tool, 155–157; see also Photo editing in Photoshop
Cloning areas of photo, 153–155; see also Photo editing in Photoshop
Close-up (CU), 125
Color, 23; see also Adobe Illustrator; Color schemes
activities, 33–34
awareness ribbons, 24
black, 31
blindness, 24
blue, 31
discussions, 33
green, 31
modes, 54–55
options, 217
orange, 30
Picker dialog box, 220
primary colors, 25
project’s color palette selection, 31–32
pyramid, 26
red, 30
schemes, 27–30
secondary colors, 25
60-30-10 Rule, 30
surroundings, 32
symbolism, 30–31
temperature, 26
tertiary colors, 25
violet/purple, 31
warm and cool colors, 27
wheel, 24–26
white, 31
yellow, 30
Color models, 52; see also File properties
Adobe’s color modes, 54
available color modes, 54–55
changing le’s, 53–54
 CMYK, 52–53
color gamut, 53
RGB, 52
Color schemes, 27–30; see also Color
achromatic, 29
analogous, 28
complementary, 27
split-complementary, 28
square, 29
tetradic, 28
triadic, 28
Combination mark, see Signature
Complementary color scheme, 27; see also Color
Complex shapes, 238; see also Adobe Illustrator
Compositional edits, 142; see also Photo editing in Photoshop
Compound paths and shapes, 239–240; see also Adobe Illustrator
Content-aware ll, 151–153, 331; see also Adobe InDesign; Photo editing in Photoshop
Control; see also Adobe Illustrator
bar, 194
panel, 210–211
Copyright, 132–133; see also Digital photography
Creative Cloud applications, 389
Creative Commons license (CC license), 131
Crop and slice tools, 138; see also Photo editing in Photoshop
Crop Tool, 142; see also Photo editing in Photoshop
CU, see Close-up

D
Digital imaging, 63
Digital photography, 119
activities, 134–135
aperture, 120–121
balance, 126
copyright, 132
copyright infringement, 133
copyright vs. trademark, 132–133
discussions, 133–134
exposure control, 120–123
fair use, 133
horizon line, 126
ISO, 122–123
landscape vs. portrait, 131
leading lines, 130
monopod, 122
photographic composition, 125
 photo tips, 129–131
points of view, 128
positioning horizon line, 127–128
rule of thirds, 127
seeing the shot, 123–124
shutter speed, 121, 122
simplicity, 128–129
stock images, 131–132
subject and background, 125–126
tripod, 122
types of camera shots, 124–125
Digital single-lens re ex, see DSLR
Direct Selection Tool, 329–332; see also Adobe InDesign
DIY (Do-it-yourself), 2
Do-it-yourself, see DIY
Dots per inch (DPI), 50
DPI, see Dots per inch
Drawing & Type Tools, 319; see also Adobe InDesign
Drawing modes, 216; see also Adobe Illustrator
DSLR (Digital single-lens re ex), 130; see also Digital photography
Dust spot removal, 150–151; see also Photo editing in Photoshop

E
ECU, see Extreme close-up
ELS, see Extreme long shot
Encapsulated PostScript (EPS), 57; see also File formats
EPS, see Encapsulated PostScript
Eraser Tool, 248–252; see also Adobe Illustrator
EWS, see Extreme wide shot
Exposure Triangle, 120; see also Digital photography
Extreme close-up (ECU), 125
Extreme long shot (ELS), 124
Extreme wide shot (EWS), 124

F
File formats, 55, 95; see also File properties
AI le format, 57
EPS le format, 57
GIF le format, 56
INDD le format, 57
JPEG le format, 56
PDF le format, 58
PNG le format, 57
 PSD le format, 57
raw images, 58
SVG le format, 57
TIFF le format, 57
File properties, 49
activities, 59–62
bitmap image, 55, 56
color models, 52–55
discussions, 58–59
le formats, 55–58
resampling and interpolation, 51
resolution, 49–51
types of images, 55
vector images, 55, 56
Fill Color, 225
Filter Gallery, 174; see also Photo editing in Photoshop
Filters, 173–176; see also Photo editing in Photoshop
508 compliant, 39; see also Project
5W1H method, see Kipling method
Font, 190; see also Typography
Frames, 322–323; see also Adobe InDesign

G
GIF, see Graphic Interchange Format
Glyph, 190; see also Photo editing in Photoshop; Typography
panel, 179
Gradient, 217, 234–238, 321; see also Adobe Illustrator
angle, 236
annotator, 235
dialog box, 235
examples, 234
Gradient Tool, 236
multicolor gradient, 237
stop, 234
swatches panel, 238
Graphic design, 1, 13
activities, 10–11, 22
alignment, 18
balance, 18
brand evolution, 7–8, 9
contrast, 19
direction, 15
discussions, 9–10, 22
elements of, 2, 13–16
emojis, 10
 hidden message, 7
Joey Katzen’s Retail Alphabet Game, 8
line, 2–3, 14
logos, 6
positive and negative spaces, 21
principles of, 16–20
promotional yer, 17
proximity, 19
purpose of communication, 2
repetition, 18
role and importance of, 8
shapes, 3–4, 14
signatures, 6
size, 15
space, 20
symbols, 4–6
temperature, 16
texture, 15
visual hierarchy, 20–21
Graphic Interchange Format (GIF), 56; see also File formats
Green, 31; see also Color
Grid system, 285; see also Page layout
baseline grid, 290
grid components, 287
manuscript grid, 288
modular grid, 289
multicolumn grid, 288
parts of grid, 286
types of grid, 286

H
Hidden message, 7; see also Graphic design
High resolution (hi-res), 50
hi-res, see High resolution
Home Screen dialog box, 206; see also Adobe Illustrator
Horizon line, 126

I
IDML, see InDesign Markup Language
Illustrator, see Adobe Illustrator
Image editing tools, 138; see also Photo editing in Photoshop
INDD, see InDesign Document
InDesign, see Adobe InDesign
InDesign CC 2019 Tools Panel Overview, 312; see also Adobe InDesign
InDesign Document (INDD), 57, 308; see also File formats
InDesign Markup Language (IDML), 309
ISO, 122–123

J
Joey Katzen’s Retail Alphabet Game, 8
Joint Photographic Experts Group (JPEG), 56; see also File formats
JPEG, see Joint Photographic Experts Group

K
Kipling method, 37–40; see also Project
Knife Tool, 248–252; see also Adobe Illustrator

L
Layer mask, 165–168; see also Photo editing in Photoshop
Layers in Illustrator, 245; see also Adobe Illustrator
Layer color identi er, 247
layer-friendly le types, 248
Layers panel, 246
managing, renaming and deleting layers, 247–248
Layers in InDesign, 346; see also Adobe InDesign
deleting layers and sublayers, 348
Layers panel, 346–347
search eld, 346
stacking order, 347–348
Learn panel, 211; see also Adobe Illustrator
Letterform, 190; see also Typography
Line, 2, 14; see also Graphic design
and strokes, 3
Lines per inch (LPI), 50
Logos, 6; see also Graphic design
Long shot (LS), 124
Lossless compression, 56
low-res, see Low resolution
Low resolution (low-res), 50
LPI, see Lines per inch
LS, see Long shot
M
Magazine page, 297; see also Page layout
columns, 298
components of, 299–302
document guides, 297
document’s margins, 298
layout, 300
style guide, 302
Master pages, 365; see also Adobe InDesign
adding page numbers, 369
bulleted or numbered list, 379, 381
Character and Paragraph formatting to text, 373
Glyphs panel, 371
jump lines, 377
using master pages, 372–380
New Master dialog box, 368
numbering & section options, 370
page numbering examples, 370
Pages panel, 367
special characters and Glyphs, 371–372
text variables, 370–371
ways to create new, 368
MCU, see Medium close-up
Medium close-up (MCU), 125
Medium shot (MS), 124
Modify & Navigation Tools, 320; see also Adobe InDesign
Monochromatic color scheme, 29; see also Color
Monopod, 122; see also Digital photography
MS, see Medium shot
Multiple adjustment layers, 168–172; see also Photo editing in Photoshop

N
New Document dialog box, 207; see also Adobe Illustrator

O
Offset spacing, 361–362
Options bar, 194
Orange, 30; see also Color
P
Page layout, 285
activity, 303
brochure, 294–297
business card, 289–293
discussion, 303
grid system, 285–289
magazine page, 297–302
Panorama, 181–186; see also Photo editing in Photoshop
Pantone LLC, 33
Pasteboard, 314; see also Adobe InDesign
Path nder effect, 240; see also Adobe Illustrator
PDF, see Portable Document Format
Pen tool, 225–232; see also Adobe Illustrator
Petroglyph, 4, 5; see also Graphic design
Photo; see also Digital photography; Photo editing in Photoshop
editing work ow, 140–141
tips, 129
Photo editing in Photoshop, 137
activities, 186–187
adding watermark, 177
adjustment layers, 161
alternatives to adjustment layers, 172
applying multiple adjustment layers, 168–172
applying multiple lters, 176–177
applying rule of thirds, 145–147
back up before editing, 138
brightness/contrast adjustment layer, 162–165
changing orientation, 147–149
using Clone Stamp Tool, 155–157
cloning areas of photo, 153–155
color and tonal edits, 160
compositional edits, 142
content-aware ll, 151–153
creating panorama, 181–186
crop and slice tools, 138
Crop Tool, 142
destructive vs. nondestructive changes, 141
discussion, 186
duplicating Background layer, 138–140
Filter Gallery, 174
lters, 173–176
Glyphs panel, 179
goal of, 137
image editing tools, 138
 using layer mask to isolate adjustment layer, 165–168
maintaining original ratio, 147
photo editing work ow, 140–141
red eye removal, 159–160
removing dust spots, 150–151
retouching tools, 138
reverse cloned content, 157
special characters, 179
special processes, 177–181
Spot Healing Brush Tool, 149
straightening horizon line, 143–145
straightening photo, 143
touch-up edits, 149
Photography, 119; see also Digital photography
Photoshop, see Adobe Photoshop
Photoshop CC 2019, 84; see also Adobe Photoshop
Photoshop Character panel, 195; see also Typography
Photoshop Document (PSD), 57, 95, 365; see also Adobe Photoshop; File formats
Photoshop le format, 76
Pixel, 49
Pixels per inch (PPI), 50
Placeholder text, 257; see also Type tools
PNG, see Portable Network Graphic
Polygon dialog box, 335; see also Adobe InDesign
Portable Document Format (PDF), 58; see also File formats
Portable Network Graphic (PNG), 57; see also File formats
Portfolio, 391
design concepts, 393
discussions, 393–394
questions raised during creation process, 392–393
Poster creation, 269; see also Adobe Illustrator
PPI, see Pixels per inch
Primary colors, 25; see also Color
Project, 37
activities, 47
brainstorming, 41
conceiving creative ideas and solutions, 41
delivery, 45
designing for accessibility, 38
discussions, 46–47
feedback loop, 44–45
508 compliant, 39
follow up with client, 46
Kipling method, 37–40
lessons learned session, 45–46
post-production, 45
production, 43
project archive, 46
 reviewing visual solution for content, 45
site map, 42
stages of development, 40–46
storyboard, 42
thumbnail sketch, 41
translating ideas into images, 41–42
variations of an idea, 42–43
wireframe, 43
Project’s color palette selection, 31–32; see also Color
Promotional yer, 17; see also Graphic design
PSD, see Photoshop Document
Purple, see Violet

R
Raster effects, 207; see also Adobe Illustrator
Raster graphic, see Bitmap image
Raw images, 58; see also File formats
Red, 30; see also Color; Photo editing in Photoshop
eye removal, 159–160
Resolution, 49–51; see also File properties
Retouching tools, 138; see also Photo editing in Photoshop
Reverse cloned content, 157; see also Photo editing in Photoshop
Royalty-free license, 131
Rule of thirds, 127; see also Digital photography; Photo editing in Photoshop
using Crop Tool, 145–147

S
Sans Serif typefaces, 193; see also Typography
Scalable Vector Graphics (SVG), 57; see also File formats
Scissors Tool, 248–252; see also Adobe Illustrator
Screen mode, 217; see also Adobe Illustrator
Script typefaces, 193; see also Typography
Secondary colors, 25; see also Color
Selection Tools, 319; see also Adobe InDesign
Serif typefaces, 192; see also Typography
Shape, 3–4, 14; see also Adobe Illustrator; Graphic design
Builder Tool, 238–239
tools, 233
Shutter speed, 121, 122; see also Digital photography
Signature, 6; see also Graphic design
60-30-10 Rule, 30; see also Color
Special characters, 179; see also Photo editing in Photoshop
Spell-check, 383; see also Adobe InDesign
Split-complementary color scheme, 28; see also Color
Spot Healing Brush Tool, 149; see also Photo editing in Photoshop
Square color scheme, 29; see also Color
Stakeholders, 40
Stock images, 131; see also Digital photography
Straightening horizon line, 143–145; see also Photo editing in Photoshop
Straightening photo, 143; see also Photo editing in Photoshop
Stroke, 217; see also Adobe Illustrator; Adobe InDesign
panel, 218, 339–341
Style guide, 40
SVG, see Scalable Vector Graphics
Symbols, 4–6; see also Graphic design

T
Tagged Image File Format (TIF;
TIFF), 57, 95; see also File formats
Tertiary colors, 25; see also Color
Tetradic color scheme, 28; see also Color
Text wrap, 359–360, 382–383; see also Adobe InDesign
readed text, 352; see also Adobe InDesign
exercise, 355–362
offset spacing, 361–362
text frame in port and out port states, 353
text threads visible, 354
text wrap, 359–360
threading text frames, 353
TIF, see Tagged Image File Format
TIFF, see Tagged Image File Format
Tools; see also Adobe InDesign; Adobe Illustrator
panel, 211–214, 216
tips, 211
transformation, 339
Touch-up edits, 149; see also Photo editing in Photoshop
Triadic color scheme, 28; see also Color
Tripod, 122; see also Digital photography
Type, 189; see also Typography
Typeface, 190; see also Typography
Type tools, 253; see also Adobe Illustrator
Area Type Options dialog box, 259
Area Type with overset text shown, 260
Artboards panel, 263
Character panel, 255
Control panel, 255
methods used for creating type, 254
placeholder text, 257
 point type to area type, 254
type on path, 261, 262, 264
working with, 256
Typography, 107, 189; see also Adobe Photoshop
activity, 203
Adobe fonts and additional sources, 194–195
Adobe’s type properties, 198–201
anatomy of type, 190–192
categories of type, 192–194
character or glyph, 190
components, 191
decorative typefaces, 194
discussion, 202
font, 190
guide lines, 190
legibility and readability, 196–198
letterform, 190
monospaced vs. proportional fonts, 195
Photoshop Character panel, 195
Sans Serif typefaces, 193
Script typefaces, 193
selecting type for project, 201–202
Serif typefaces, 192
spacing, 197
terminology, 189
typeface, 190
type family, 190
units of measure, 192
working with multiple typefaces, 198

V
Vector, 221; see also Adobe Illustrator; File properties
corner points and smooth points, 224–225
images, 55
path, 221
selected paths, 222
Vertical Type, 268; see also Adobe Illustrator
Violet, 31; see also Color
Visual hierarchy, 20–21; see also Graphic design

W
Warm and cool colors, 27; see also Color
Watermark, 177; see also Photo editing in Photoshop
Weather radar map, 1
White, 31; see also Color
Wide shot (WS), 124
Workspace layouts, 211; see also Adobe Illustrator
WS, see Wide shot

Y
Yellow, 30; see also Color