Adobe Fireworks Tutorials.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

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This limitation of liability shall apply to any claim pddf cause whatsoever whether such claim or cause arises in contract, tort or otherwise. As always, to Heefee and the kids. Chad has authored multiple books on Photoshop and After Effects. Chad and his brother, Todd, broadcast the All Things Adobe podcast, which offers free tips in Adobe software: www. He is a Photoshop and Photoshop Elements beta tester and has worked with Photoshop since version 3. Wayne also teaches digital imaging and Photoshop classes at the Rree College of Technology.

Contents at a Glance 1 Welcome to Photoshop. Thank you to Roger Stewart and Carly Stapleton, as well as to all of the editors who caught my mistakes. It was a really great experience to work with Wayne Palmer as my tech editor autodesk 3ds max 2016 serial number free download. His expert eyes always saw concepts that I missed. Thanks на этой странице Matt Wagner for being such a great support and advocate.

Thanks also to my Seminary kids, who dealt patiently with the fact that I adobe fireworks cs4 tutorial pdf free a zombie every morning for two months. An extra special thanks also to my family, who frequently must endure my tendency to overbook my schedule. And yet, through all of this, they see the light at the end of the tunnel more easily than I do. Introduction Welcome to this book! Before больше на странице jump right in and start learning, I want to give you a heads up as to what you can expect going forward.

Photoshop is not just for editing photographs anymore. If you tugorial some prior experience with Photoshop, or if you are looking to use Photoshop for a specific purpose, feel afobe to jump around the book as you please. This book also takes a different focus than most Photoshop ссылка на подробности do.

Other Photoshop books tend to focus on photo editing, which is obviously a core part of what Photoshop does hence the name. And we will cover a lot of information about image editing, of course. Adobe fireworks cs4 tutorial pdf free that Photoshop is available for both Mac and PC, and it functions almost identically on both.

The keys usually used for this purpose are tutoriall modifier keys. These keys are different /17372.txt Macs and PCs. The world of Photoshop is exciting, and you might decide to frieworks your entire career based on what you read here. What Is Photoshop? People use Photoshop in everything from designing posters to designing fashions. They use Photoshop in blockbuster Hollywood movies and in video games.

Anything you can do with a photo, you can do in Photoshop. Photoshop has developed and progressed into something much more. Photoshop 6 introduced cleaner text for printing. Photoshop 7 introduced some very robust painting tools.

Figure shows an example of what can be done in Photoshop. I was playing around with this photo of my wife. I love being able to take a photo and create a piece of art with it. I can go back and remove the green flowers next to her eyes, or change the background colors, or whatever ldf Adobe fireworks cs4 tutorial pdf free want to do. This was just like painting on a canvas. If you messed up, your only choice was to paint over the mistake or start over.

But with the introduction of layers, you could start putting pieces of your work onto separate parts of your image. These separate parts layers can be moved, resized, colored, and otherwise adjusted independently of all other pieces of your work in Photoshop. Figure shows a faux side view of the layers that comprise this project.

Notice that most of the layers do not take up the entire document as the background does. Because these elements are all on separate нажмите для продолжения, I can adjust each one without affecting the others. You probably will want to use other creative adobe fireworks cs4 tutorial pdf free in harmony with Photoshop.

Adobe Bridge is fee file browsing application that allows you to sort, organize, and rank images. You can also download images from your digital camera to your computer by using Bridge. Bridge can open images, group them, perform some Photoshop automation commands, and much more. It was specifically created for making content for cell phones and mobile devices.

It contains profiles—with photos—of a huge library of cell phones. It can also instantly adobe fireworks cs4 tutorial pdf free Photoshop documents that match the exact specs of a particular phone. Fierworks higher-end digital cameras allow you to save photos in a raw file format. This is like a digital negative—completely unprocessed and pristine.

Camera Raw is a plug-in application that works with these files to color correct adobe fireworks cs4 tutorial pdf free adjust them. If software programs like Photoshop adobe fireworks cs4 tutorial pdf free you, have no fear. Why work when Photoshop can do it for you better and faster? It may sound farfetched to you now, but a few hundred pages down the road, you adobe fireworks cs4 tutorial pdf free be more convinced. So what are we waiting увидеть больше What better way to get acquainted with Photoshop than to know its interface?

Most books and training about software programs begin with a tour of the interface, and that tour is typically skipped by most learners. Granted, learning about panels and menus is not the most exciting thing, but understanding the interface is a critical step in becoming a power user. Many self-taught users have a great deal of artistic skill, but find it difficult to become true professionals because they are inept at following workflow basics.

Each tidbit of interface knowledge may seem small and insignificant on its own, but compounded they will allow you to produce your best work in the shortest time. About Firewogks The work area in Photoshop is largely made up of several task-centric, mini work areas called panels. Most workflows use the Layers panel most frequently. Panels can be contracted and expanded adpbe allow you more room to work.

Approach Learning the Interface In many classes that I have taught on creative software applications, I often run into students so overwhelmed by the sight of the interface with all of its tools, panels, customization options, menus, and buttons that they just freeze in panic when the program launches. One student interrupted fireeworks every few minutes еще sony vegas pro 9 ja crackeado free download прощения ask what a particular button did.

Yes, learning the role of every single button and panel is a daunting challenge. You may not know what the pancreas источник, or where stomach acid comes from, or how water is absorbed. But you know enough about the process to put food in your mouth. Think of the Photoshop interface in that way.

You can add to your knowledge as you practice. When the adobe fireworks cs4 tutorial pdf free are collapsed in either the icon-and-name view or in the icon-only view, you can see the full-size panel as a pop-out by simply clicking the icon.

 
 

 

website based Fireworks Video Tutorials, Fireworks Articles.

 
Fireworks CS4 Tutorial Part 1: Intro This Adobe Fireworks CS4 Tutorial will help you familiarize yourself with this image editing software and help you. 4 INTRODUCTION In this tutorial, you will go through the process of creating a website application in Adobe Fireworks CS4 from sketching the original page.

 
 

Adobe fireworks cs4 tutorial pdf free. TUTORIAL. Introduction to Adobe Fireworks CS4

 
 

Thankfully, Photoshop has the capability to save and access different interface configurations, called workspaces. These are two completely different tasks that use two completely different sets of panels. So, you could create one workspace that has what you need for text editing, and create another workspace that has what you need for painting.

Taking advantage of workspaces in Photoshop may seem inconvenient at first, but it can make you much more efficient. These can be accessed from the drop-down list on the far right end of the Application bar.

The default workspace, shown here, is called Essentials. Typically, these workspaces are used for specific workflows. For example, if you select the Painting workspace, the only panels that appear onscreen are panels that you would want for painting, such as the Brushes panel, the Color panel, the Swatches panel, and so on.

But these workspaces can also be helpful in other ways. The Secret Powers of Workspaces Not only can workspaces store information about how you like your panels laid out and which ones you want visible or hidden, but also panels can store customized menu settings and keyboard shortcuts. If you go to the Edit menu, you can choose either Keyboard Shortcuts or Menus. If you select Keyboard Shortcuts, a dialog box will pop up allowing you to customize keyboard shortcuts.

If you find yourself constantly using a particular function in Photoshop, in most cases you can create a keyboard shortcut for it. You can also change the keyboard shortcut if one already exists for it.

If you select Edit Menus, you will have two main choices to customize menus. You can click the eye icon next to a menu item in a given menu to hide that option. Few if any users of Photoshop use every function and command. You can also customize menu items by making them a different color so that they stand out. That way, when you open a menu, your eye will instantly be drawn to the functions that you use most. Or, if you wear several hats perhaps you create paintings, edit photos, and then post them to a web site , you can color menu items based on different workflows.

The menu items you use for painting might be yellow, menu items you use for editing photos might be red, and so on. Workspaces let you save panel locations, keyboard shortcuts, and menus. You can pick and choose which are saved in your workspace. You will get a simple dialog box asking both the name of your new workspace and which components of the workspace for example, panel locations, menus, keyboard shortcuts you wish to save as part of the workspace. Once you click OK, your custom workspace will show up in the Workspace drop-down list with all of the others.

This is even more critical to your workflow than getting acquainted with interface elements. Even if you already know a thing or two about Photoshop, the next few sections will cover impressive new features and some lifesaving shortcuts. Opening Documents First, we need to bring an image into Photoshop. In Photoshop, the terms are essentially synonymous. As with several commands in Photoshop, you have many ways to do the same thing. This can Note be intimidating at first because it seems overwhelming to learn everything.

You only need to learn and use the way that you like best. To open a file, choose File Open. For this chapter, you can open one of your own images, or just follow along. Similar to what you might find in your web browser when you have multiple web pages open in the same window, Photoshop groups documents into tabs when more than one file is open at a time: To cycle through open documents, use the keyboard shortcut CTRL-TAB for both platforms.

Then, while still holding those keys, simply click anywhere on the image to zoom into that area. As before, click with those keys held down to zoom out. Another way to think of this is that it moves the camera, not the actor. But the current version of Photoshop has actually added a little improvement. This will cause your image to zoom in until you release the mouse button.

The Magic of Navigating with Keyboard Shortcuts The really cool thing about navigating documents with the keyboard shortcuts just mentioned is that they toggle only navigational tools.

Using any other navigation method, you would need to move your cursor to change the view of the document, and perhaps go back and select the Brush tool again after that. Who has the time and patience to do that?

The Navigator Panel The Navigator panel is another way that you can navigate documents see Figure As you drag the slider at the bottom of the Navigator panel to the right, you zoom into the image. Dragging to the left zooms back out. Once you zoom in, a little red rectangle on the image preview in the Navigator panel appears, representing the portion of the image you are now seeing in the main document window.

You can drag that rectangle around to see different portions of your image, which is similar to what you saw previously with the Hand tool. As with all other panels in Photoshop, if the Navigator panel is not visible, you can select it Tip from the Window menu at the top of the interface to reveal it in all of its navigational glory. Tools Instead of using keyboard shortcuts to toggle navigational tools, you can select them from the Tools panel on the left side of the interface.

You can select the Zoom tool which looks like a magnifying glass, shown next to zoom in and out. To change the view of your image, you can select the Hand tool in the Tools panel, right above the Zoom tool. Once you select the tool, simply drag your image around to change your view. The Application Bar Mentioned briefly earlier in this chapter, the Application bar is a new feature that provides quick access to commonly used tools.

This is used for temporarily rotating your image. As with the Hand tool, this only changes your view, not the image itself. In previous versions of Photoshop, you might find enclosed in the package a sheet listing all shortcuts. But this list is absent from recent versions. A few versions ago, Photoshop introduced the ability to customize keyboard shortcuts. Instructions on how to do that were provided earlier in this chapter.

However, by going to Edit Keyboard Shortcuts, you can get a list of all keyboard shortcuts in addition to customizing them. Be aware that not all keyboard shortcuts will be on this list. The bulk of our study in this chapter will be about layers. Layers are perhaps the most critical element of Photoshop and can greatly increase your efficiency and the quality of your final product.

Your ability to use Photoshop well will largely depend upon your ability to use layers well. I usually like to start my projects, especially artistic projects, with a brand-new document. This way I can ensure that my document is set up to the correct specs for output. If you start with an existing project that is too small, it might be impossible later to make it large enough to print. At first this dialog box can be intimidating as you glance around at all the empty fields.

And Photoshop also has your back. Photoshop understands that this is a little overwhelming to new users. It also knows that even if you are a total pro and know exactly what you should put in every field, it gets tedious filling out all this technical info.

These presets are nicely arranged into a variety of categories based on different workflows. Figure shows the drop- down list of presets. People in the video world, web graphic designers, print graphic designers, those who create content for mobile phones and portable devices, those in the film industry, photographers, and many more use Photoshop on a daily basis. And for each of them, Photoshop has document presets ready to get them started. Each preset also has a variety of sizes to choose from that are common to that medium or industry.

For example, if you were to select the Web preset and then click the Size drop-down list, you would be presented with most common computer screen resolutions, as well as some sizes useful for web graphics. You can change the unit of measurement to a variety of units. The default unit of measurement in Tip the United States is inches. For web and video documents, inches are irrelevant.

The Truth about Resolution The term resolution is tossed around a lot these days. It is quite possible to have an image that is high resolution, but is still low quality. What Are Pixels? When Photoshop refers to resolution, it refers to how many pixels are in a given area.

So, before we understand resolution, we need to learn a little about pixels. Name Your Stuff! Better to accept the fact that naming files and layers is just a part of life, and name your Photoshop documents. The fewer pixels in a given area like images. When there are more pixels in an image, they will be smaller and less conspicuous, and the resolution will be higher.

Resolution on a computer screen is expressed in pixels per inch ppi. This is because computer monitors have pixels. Printers and scanners often print and scan using dots or lines. When we refer to the resolution of these and other such devices, we use the terms dpi dots per inch and lpi lines per inch.

People often mistakenly use the terms dpi and lpi when referring to computer files, even though computer screens have neither dots nor inches. However, most monitor specs read in terms of pixel dimensions, not dot dimensions. The Bottom Line per Inch You must keep in mind resolution when you are creating your documents in Photoshop.

Just because you tell Photoshop that you want to create a document that is 8. How many pixels are in those inches? For onscreen graphics and images, or for images intended for video or 3D programs, 72 ppi is the standard, because that is the resolution of computer monitors and TV screens. Printed documents require smaller pixels to look clean, so the standard is usually about ppi.

Even though ppi is a fairly common standard, you should never assume anything. I once designed a CD cover for an independent punk band, and I assumed that ppi would be fine.

However, their CD production house recommended I create the art at ppi— twice the resolution that I was planning on. When asking your printing agency about resolution, be sure that you get the resolution for your Tip computer document, not the resolution of their printer.

The first person you ask about this may not know the correct answer. What they might be tempted to tell you is the resolution of their printer, which may be something like lpi. In most cases, this does not translate to document resolution. Document Color The rest of the fields used to create a basic document pertain to color. As such, you should use this color mode when using Photoshop to create images for 3D programs, video games, motion graphics, web graphics, or anything that will have its final output on a computer monitor or TV screen.

Use this color model for most jobs that will be commercially printed. Color Depth This is a huge can of worms. Until you get more proficient at Photoshop, leave this setting at 8 bit. In a nutshell, this refers to the number of possible colors. A 2-bit image would contain only four colors. An 8-bit image can contain Scientists estimate that the human eye can perceive about 10 million colors.

So, for now, 8 bit will be fine. Background Color Ah, finally some respite from the mentally intensive properties used to create a new Photoshop document. The Background Content drop-down list shown here essentially allows you to specify a background color for your document while you are creating it. From this list, you can choose to create a White background layer, a Background Color that is the same color as the current background color in the Tools panel, or simply to create a Transparent background layer.

Introduction to Layers As previously mentioned, layers are an integral part of using Photoshop effectively. They basically contain the various pieces of our documents. Think of the layers of a sandwich. But what if you wanted to remove the lactose from the Swiss cheese? In Photoshop terms, we would say that they are on the same layer. If you add the paint strokes onto the same layer with the photo, and then you want to make changes later move them, recolor them, change their transparency, and so on , you would be in trouble.

It would be extremely difficult, and in some cases impossible. Not to mention that the pixels that you painted over would also be ruined and would need to be repaired, which would probably take half an eternity. On the other hand, if you create a new, blank layer and then paint on that, it would be extremely simple to adjust the paint stroke. And painting on a new, separate layer would have the added benefit of leaving the pixels of your photo untouched.

The Layers Panel The Layers panel is really the hub of our layers-centric workflow. Figure shows the Layers panel in all of its layered glory. If your Layers panel is not visible, you can retrieve it from the Window menu at the top of the interface. Notice in Figure that when you create a new document, a background layer is already created for you.

Photoshop actually offers several different types of layers: plain old layers, background Note layers, adjustment layers, text layers, smart object layers, and others. If you have Photoshop Extended, you can also have 3D or video layers. How to. Fiddle with the Background Layer By default, when you open a file or create a new document in Photoshop, it automatically creates a background layer for you. This layer is locked to prevent you from accidentally performing certain changes to it, such as moving the layer or rearranging its layer order in the Layers panel.

In some instances you might want to edit your background layer directly not edit a copy. If you are exporting to another program or to video or 3D work, you may want transparent areas in your background layer, so that other objects may show through beneath the layers in the Photoshop document.

For whatever reason, if you want to unlock your background layer, simply double-click it. A dialog box will pop up asking you for the name of the layer and for a few other properties of the layer. The new default name is Layer 0, as shown here. You are then free to use the layer as you please.

The icon looks like a notebook page about to be turned. The page-turning icon used to create a new layer can be seen throughout Photoshop and in almost all Tip Adobe applications. It is a universal icon indicating that something new will be created.

Remember this if you ever get stumped. This works if you want to create a new brush in the Brushes panel, a new style in the Styles panel, a 3D light in the 3D panel, and so on. The Layers panel will then show you that a new layer has been created. Photoshop automatically names it Layer 1. If you create another new layer which you can do by using the same method , the default name will be Layer 2, and so on.

Or if the layer is already created, you can rename it by double-clicking exactly the name of the layer and typing the new name. How many layers can you have in one document? As many as your computer can handle. What Is That Checkerboard Pattern? But with the new layer that was created, you may have noticed that the layer thumbnail is a gray-and-white checkerboard pattern. What gives? It basically tells you that nothing is there. You can change the size of the layer thumbnail by going to the fly-out menu of the Layers panel Tip and selecting Panel Options.

From there, you can choose whether to make the thumbnail larger, smaller, or to hide the layer thumbnail entirely. Hiding the layer thumbnail can help speed things along if you have a really big project with a lot of layers, or if you are on a slow computer. Just use the default Photoshop size from the Preset drop-down list, and make sure the Background Contents drop-down list is set to White.

Next, make a new layer by clicking the Create A New Layer button in the bottom right corner of the Layers panel. These two color swatches are the foreground and background color swatches. After clicking on that color swatch, we will meet an important new friend called the Color Picker see Figure In the center of the Color Picker, we have a tall, narrow bar from which to select the basic color.

You can drag the little arrows on the hue slider vertically, or you can simply click the color to use. Next, we need to go to the big square on the left to fine-tune this blue color. Now select the Brush tool by clicking it in the Tools panel, or by pressing B on your keyboard. This turns your cursor into a paintbrush. Notice that the in Chapter 5. For now, make sure that your new, blank paint squiggle is on the new blank layer is selected, and just drag in your document to paint a layer we created, and not on the squiggle see Figure Create another new blank layer.

Go back to the swatch in the Tools panel, and open the Color Picker again. This time, change the color in the narrow color bar from blue to green, and click OK to accept. The layer with the green squiggle is on top of the layer with the blue squiggle in the Layers panel. And it also covers up the blue squiggle. But we can change this through the magic of layers. Simply click the layer with the green squiggle, and then drag it down below the layer with the blue squiggle see Figure This would be a great time to rename them discussed earlier in this chapter.

Another Project: Opacity and Layer Blending Another one of the features of using layers is that we can blend them together in interesting ways. The most simple and speedy way to blend layers together is by using opacity. Opacity is the opposite of transparency. Combining Images Before we adjust opacity to blend layers together, we need to have layers to blend.

Our first step is to open multiple images. I will then repeat that multiple files, they show up as tabs process to open the file dark image. To follow along, open in the Photoshop interface.

Or you can just read and watch me work some sweet image-editing magic on these pictures. These are displayed as tabs toward the top of the interface see Figure Click one of the tabs to switch documents.

This is one of the new, cool features in Photoshop CS4. You have a couple of ways to do this. First, you can select one image and then copy and paste it onto the other one. In our example, we want to copy and paste the dark image on top of the light one. You can also select the entire image by going to the Select menu at the top and choosing All. Tip You can also copy and paste by choosing those options from the Edit menu.

To blend these by lowering the opacity of the top layer, click and drag on the word Opacity in the Layers panel. Figure shows what the project looks like now. Notice how the increased transparency of the dark image layer allows some of the light image beneath it to show through. This allows for even more of the light image beneath to show through. The final result looks like the house is surrounded by early morning fog. Even if your only mission in Photoshop is to remove blemishes or annoying people from photographs, all photos essentially consist of variations in color.

Colors also have strange powers, with each color evoking different emotional responses. Just realize going into this chapter that it might feel a little incomplete.

Entire books have been written on most of the following subjects. I cover here only what you need to know to get started with Photoshop. The Essentials of Color Before we get into how to use color in Photoshop, we first need to look at what makes up a color. One color model that has always made sense to me is that of hue, saturation, and lightness.

We see this model often in Photoshop as well. These three properties refer to different elements of a color. You can choose among several ways of looking at color, and great variations in terminology exist. What Is Hue? Hue is what most people probably think of when they think of color. So, even though red and pink are different colors, they still share the same hue. It uses the hue, Note saturation, and lightness model to adjust colors. Saturation is the intensity of a color. As we increase saturation, colors become more vibrant and intense.

As we desaturate colors, they become faded and washed out. Completely desaturating a color will produce gray. Figures and show a blue color with different levels of saturation. Note that both of these blues have the same hue and lightness. The only thing that has changed is the saturation. What Is Lightness? Lightness is a self-explanatory color property.

Increasing lightness makes a color lighter closer to white , while decreasing lightness makes a color darker closer to black. One of the most common tasks in any image editing program is to make things a little brighter. In lower-budget image editing programs and sometimes even in Photoshop , when you brighten an image, it universally brightens every pixel.

The reverse is also true; when you darken every pixel in an image, you also darken the brightest pixel, completely losing pure white. Figures and show the same blue from Figure with varying amounts of lightness. Pastel colors are created by increasing lightness and decreasing saturation. But when certain colors are used in certain ways, they do influence us. Sound farfetched? In contrast to stop and danger signs, infomercials want your money, so they FIGURE The blue swatch try to create feelings of reliability and stability.

This is typically from Figure with reduced done with blue, as it radiates professionalism and trust. I used examples with these two colors intentionally, because they can evoke such powerful responses from people.

Red and adjacent colors such as yellow and orange are referred to as warm tones. These are powerful colors that can create not only feelings of warning, but also passionate emotions such as anger or rage. See Figure to see how warm colors can add to the intensity of art. Or we can add just a little tint of these colors to create warmth instead of heat. If we have a photo, we can tint it with a warm color to add a little warmth.

Did You Know? About Tinting Like many concepts in the world of color, tinting can be confusing because the term is often used in different ways. In painting, a tint of a color means a color mixed with white to lighten the color, and a shade of a color is a color mixed with black to make it darker. Using this definition, pink is a tint of red.

Essentially, it means to subtly add a color to an entire image. This has an effect similar to using a colored filter on a camera lens. Perhaps the most common type of tinting is seen in sepia-toned images, which are photos that are black-and-white with a faint, dark yellow tint to them think of the first part of the Wizard of Oz.

This subtle addition of color to an entire image is the definition of tint that I will be using throughout this book unless otherwise specified. Also, as with warm colors, how the temperatures make you feel is a good guide to how the colors should be used. Cool things like a breeze or ice cream are generally seen as calming and relaxing.

But cold things can create feelings of alienation or fear. Cool colors work the same way. Used with restraint, cool colors create a relaxed feel. Used more intensely, they can create feelings of isolation. Figure shows an image as is, and Figure shows it tinted with cool colors. Does the image with the cool tint make you feel differently about it? What story does it tell that the original image does not? Because colder colors can create relaxed feelings, they are often the best choice for professional Tip circumstances, like bank logos and the already-mentioned infomercials.

Examine Restaurant Logos The use of colors in restaurant logos is a great way to study the effect that colors have on us. Notice that these logos are often the color of the foods that are served there. Most foods have earth tones, so it makes sense that red, yellow, and orange are used so often. These colors are also mostly found in comfort foods, which is another reason for these businesses to use them in their logos.

Some restaurants want nothing to do with the greasy, unhealthy food served at these places. Instead they want to serve fresh food that caters to a more health-conscious audience. So what color would you guess they would use in their logo?

It is possible to create really intense art that has blue in it. These are just general guidelines. But remember that they are guidelines because they resonate with human nature, not because some ancient nerd arbitrarily made this stuff up.

Using Colors Together A friend and hero of mine, noted illustrator Bruce Heavin, once said something very profound about color that has always stuck with me. Like notes on a musical scale, colors become beautiful, ugly, intense, or out of place based on the colors that surround them. If we surround the pink heart with red hearts see Figure and more pink hearts, it would look like a card your mom might buy. The Color Wheel The color wheel see Figure is a way to view the relationships between all colors.

If you plan on doing any kind of art or design with Photoshop, I strongly suggest picking up a physical color wheel. Although I like to have mine in hand, you can also view color wheels online.

Several different color wheels based on different models of color are available. Because the wheel shows color relationships, it becomes an invaluable help in choosing colors to paint or design with. If you get stuck while designing a web site, DVD menu, or digital art piece, you can try one of these color schemes. These are also called the primary colors.

Knowing that these colors are the base colors helps us as we start looking at other color relationships. Using red, yellow, and blue together when they are bright and fully saturated is a very popular Tip color scheme when designing for an audience of young children.

Secondary Colors When two primary colors are combined, the result is called a secondary color see Figure When experimenting with color schemes such as primary and secondary colors, you can achieve Tip a similar degree of visual harmony by using desaturated versions of the colors. You can also try using lighter and darker versions of the colors. Complementary Colors Complementary colors are opposite each other on the color wheel. Check out schemes from complementary Figure to see some examples of complementary colors.

See the figure caption for answers to the riddle. Another familiar set of complementary colors is blue and orange, used often in business Note web sites. Because of their high contrast when used together, complementary colors are best used sparingly, especially when fully saturated. So do the world a favor, and use complementary colors prudently.

Split Complementary Colors Split complementary colors are closely related to complementary colors. However, instead of using colors opposite each other on the color wheel, one color is chosen, and then both of the colors on either side of the complement are used.

In other words, instead of using the color across the wheel, it uses the colors next door to the color across the wheel. See Figure for a diagram of how split complements are determined.

Analogous colors are ones that are right next to each other on the color wheel. For example, looking at the color wheel, we see that violet, blue-violet, and blue are analogous colors.

In Figure , we see an example of these analogous colors in action in a sample design. Try going to www. For example, if you had a red color and wanted to make it pink, you would add white light if you were working with a file to be output to the Internet or a TV screen.

If you were trying to do the same thing with a file that would be printed, you would create pink from red by subtracting red ink. Understanding the behavior of color models is absolutely essential to working with color in Photoshop, because this program is used all over the world by professionals in every medium.

Many color adjustments work differently depending on the color space used in the current document. If you are a web designer, or if you do video work, or if your final output will always be to a screen or monitor, then you will always want to use the RGB color mode for your documents.

This is because colors on monitors and screens are created with light, and red, green, and blue are the components of light. RGB is often called additive color. This is because we add more color in RGB mode to get to white. This makes sense if you think about it.

If you had a green spotlight shining on a white wall, the color would be green. If you increase the power of the spotlight, eventually the color would probably become white. Likewise, as with light, the complete removal of R, G, and B will result in black. These four colors are the color components of ink and are used for most printed art. Why are these four colors used for ink instead of RGB?

So, where does black come in? Black is also abbreviated as K to avoid confusion with blue B. In theory then, we should be able to get to black by adding C, M, and Y together. Or so it would seem. This is one of the biggest reasons why the colors you print do not match what you see on your computer screen. About Spot Color It can be a real headache having a great design with amazing colors and not being able to print it correctly. The good news is that there is a solution.

The bad news is that it can be a pain to work with, and it costs a fortune. Another benefit of spot colors is that they are spot-on accurate pun intended. For this reason, spot colors are often used for companies like Coca-Cola that have a certain color closely tied to their brand identity.

The most popular spot color company in the United States is called Pantone, which is why spot colors sometimes are called Pantone colors. This is somewhat similar to how a facial tissue is often generically called a Kleenex. Spot colors are amazing, yes, but you definitely pay the price for the magic. In my opinion, Photoshop deals with color very intuitively; it all just makes sense.

This will lay a great foundation for the things you will learn in the rest of the book. These colors can then be used for painting, filling areas with color, and a whole bunch of other things. In Photoshop, the quickest way to access the Color Picker is by clicking once on either of the two swatches at the bottom of the Tools panel.

But what exactly do these buttons do? I find the HSB model the easiest to understand. This is also the default color model for the Color Picker. Because H is selected by default, the narrow bar shows us a range of hues to choose from.

After you feel comfortable with the Color Picker, try experimenting with other color models. We adjust both attributes in the big square on the left of the Color Picker. To select a color in the big square, just click on the color you want. At first, this square probably just seems like a big mess of colors all thrown together. But these colors are actually arranged in a very intelligent way.

To adjust saturation, adjust the little circle horizontally. Colors on the right are saturated, while colors on the left are desaturated see Figure Similarly to how we set saturation, we adjust brightness by selecting different colors along the vertical axis.

Colors at the top are completely bright, while colors along the bottom are completely dark. To sum up, we pick colors by starting with the hue in the center of the Color Picker , and then we fine-tune the saturation and brightness in the bigger square in the Color Picker. The upper-right area shows you your previous color on the bottom , and your new color on the top.

In that way you can compare and contrast the old and new colors easily see Figure Try to create these colors in your Color Picker: How to. Understand the Color Picker Warnings Not to sound ominous, but you should be aware of a couple of warnings in the Color Picker.

The top warning resembles a yellow triangle with an exclamation point in it. This indicates that the currently selected color cannot be reproduced using CMYK inks.

But thankfully, Photoshop offers you an alternative color right below the warning. If you click that swatch, the CMYK-safe color will be chosen for you. The other warning, immediately below the CMYK warning, similarly lets you know that the currently selected color is not a web-safe color. As with the CMYK warning, click the swatch below the warning to select the safe color that Photoshop has suggested as an alternative.

Every number has a color, but the numbers that describe that color change based on the color model used. So, an RGB color might be 35, , This refers to how much ink is used to create the color. A standard CMYK color might be listed as 56, 0, 86, The field with a number sign at the bottom of the Color Picker is used for hexadecimal colors. Hexadecimal numbers are typically used to describe colors on the Web. A hexadecimal number might look like 8c24cf.

I know it looks weird. But you can type those in as well. You can use the Adobe Color Picker to find it and generate the hexadecimal number for you. Then just copy and paste the hexadecimal number from the Color Picker into your web application.

If you like a particular color, you can click the Add To Swatches button in the Color Picker to Tip automatically store it in your Swatches panel. Using Swatches Just like at a paint or carpet store, swatches in Photoshop are little samples of color. Swatches are stored in the Swatches panel see Figure If your Swatches panel is not visible, you can go to the Window menu at the top of the interface and select Swatches. All the little squares in the Swatches panel are saved colors that can be used at any time.

You can also save your current foreground color as a swatch by clicking the Create New Swatch Of Foreground Color button. You can Tip load them by going to the Swatches panel fly-out menu and clicking on the name of the swatch library you wish to load. The Eyedropper Tool The Eyedropper tool is very helpful for selecting colors you find elsewhere. You can click that orange color with the Eyedropper tool, and it will become your new foreground color. Then tool in the Tools panel just click anywhere on an image to sample the color from it.

When you have the Adobe Color Picker open, it turns your cursor into a temporary Eyedropper Tip tool, no matter what tool is selected. So, you can move your cursor outside of the Color Picker and pick a color from an open document if you wish. Now, with great pleasure, I will introduce you to some fantastic creative tools in Photoshop. But it is now our privilege to investigate the things in Photoshop that inspire, the things that allow us to create from scratch. Remember as we go forward that while there are some good rules of thumb for editing images as we touched on in the previous chapter on color , there are no rules for painting and creating art.

What unlocks their potential is the talent you bring to the table. But I know how to get Photoshop to make one for me.

Just let yourself go and be creative. You might be curious as to why those are two separate entities. Brushes are objects in Photoshop with limitless ability. You can use them to instantly create fields of grass or an entire document full of multicolored confetti—with one mouse click! Even more than that, you can use brushes throughout Photoshop. Obviously, you can use brushes to paint and create art, but they are also used by other tools.

You use brushes to erase, fix texture problems, and to perform other tasks as well. Even if you only edit photos in Photoshop, this section on painting will be extremely helpful for you. If you own the Extended version of Photoshop, painting with 3D objects has been vastly expanded in CS4. You can now paint directly on 3D objects to change their diffuse maps. Not only that, but you can also paint directly into other channels as well, such as bump map, reflectivity, self-illumination, and several others.

And these 3D features work amazingly well. You may want to reread this paragraph a few times until that sinks in. But even then you may not quite believe me, so let me prove it to you. First, create a new blank Photoshop document with the default settings. Make sure the blank layer is selected in the Layers panel before moving on. Next, select the Brush tool in the Tools panel. Just press B on your keyboard, and the Brush tool will be selected.

At the bottom of this drop-down, you can see a collection of premade brushes for you to choose from. The number at the bottom indicates how large the brush is. However, you need to choose a color to paint with. When you paint, the color of the paint is the foreground color, which is the upper-left color swatch at the bottom of the Tools panel white, as shown here. Click the foreground color swatch to open the Color Picker, select a color, and click OK.

The other swatch, the Note background color, is not used nearly as often. In the top area of the new document, drag with your mouse to create a paint stroke. It should look like an ordinary paint stroke see Figure If the Brushes panel is not currently showing in your interface, just click the Window menu at the top of the interface and select Brushes.

This is especially useful for creating Tip paint along document edges, such as for frames. The Brushes panel, shown in Figure , is the headquarters of the Photoshop painting engine. Although you can access basic brush options from many places in Photoshop, this is the only place you can find the most powerful of the brush options available to you.

At first glance, this panel may intimidate. The big square area on the right is where we make those adjustments. Photoshop often likes to organize large amounts of data the way it does in the Brushes panel. In all of these places, you click on the left to select a category and then click on the right to adjust the parameters of that category. On the left side of the Brushes panel, select the category Brush Tip Shape. The right side of the panel updates to show you options for the brush tip shape see Figure This determines how far apart the brush repeats the original shape when you paint with this brush.

Drag this option to the right to increase the space between the circle shapes that this brush is made of. Now try painting in your document again below your original paint stroke, and check out the magic see Figure Try doing that with a real paintbrush! When creating a large painting with the same paint stroke or a regular-sized paint stroke in a lower-resolution paintbrush after increasing the document such as a web graphic , you may notice that the paint spacing stroke is not completely smooth.

See Figure for a typical instance of this. To fix this, simply reduce the Spacing value to bring the repetitions closer together. I find myself fiddling with most often. Thankfully, your mouse cursor actually turns into a shape that represents the size and shape of your paintbrush when the Brush tool is selected.

That brings me to some of the most useful keyboard shortcuts—the brush size shortcuts. You can adjust brush size in a variety of ways such as using the Brushes panel , but the best way is to use the bracket keys on your keyboard. They look like this: [ and ]. Pressing the [ key on your keyboard will decrease the size of your brush, while pressing the ] key will increase it. Adjust Brushes You have several ways to adjust basic brush parameters such as size, shape, and hardness.

As I mentioned at the beginning of this chapter, you can also use the Options bar at the top of the interface to adjust basic brush properties. Most of these options are stored in the Brush Preset picker we looked at earlier.

Perhaps the quickest and easiest way to adjust basic brush properties is by right-clicking while using a tool that uses brushes. The right-click menu that appears closely resembles the Brush Preset picker drop-down found in the Options bar. But Photoshop provides multiple ways to do the same thing for a reason; no one way is more or less correct than another. Using those not only allows you to change the size more easily than by using any menu, but with the keyboard shortcuts, you can also dynamically see the size of the brush as you increase it.

Knowing how to adjust brush size solves your problem. You can make any brush significantly smaller or larger than it is. Brushes are based on shapes made with pixels. Custom brushes that are resized and enlarged Caution too much may create paint strokes that appear pixelated.

About Brush Hardness Brush hardness refers to the edge of the shape used to create the brush. See Figure for the difference between a hard-edged brush and a soft-edged brush.

Edges that are soft are essentially feathered, or in other words, blurry. Feathered edges are good for blending colors together. To adjust hardness, you can go to either the Brushes panel or FIGURE A hard-edged brush the Options bar, or you can right-click in the document with the top and a soft-edged brush Brush tool selected.

Photoshop will automatically create a straight line from the first point to the next. About Brush Shape Since brushstrokes are just repeated shapes, what if we used more than just circles to paint? If you want to start with a fresh canvas which I recommend , then you can undo the paint Note strokes; otherwise, delete the layer you painted on, and create a new one for this exercise.

Scroll down here in the right-click menu to select the Scattered Maple Leaves brush. To let this brush do its thing, you need to select a good color before painting. Click the foreground color in the Tools panel to open the Color Picker and select an orange color. Next, drag only once in your document, and look at that—holy autumn, Batman! How is it possible to drag once and create all of this autumn madness? You made multiple leaves, but they were also scattered randomly, and they were given a variety of colors as well.

In the Brushes panel, you can scatter brushes and create random color. Sometimes paintbrushes are more than they appear to be. Can you imagine trying to paint with a laptop? There is a solution. The pen functions like a mouse on the tablet. So, if you draw a happy face on the tablet with the pen, it will paint a happy face in Photoshop. Not only does this tablet recognize the pen for input, but most tablets even the cheap ones also recognize the pressure you apply while painting.

Newer or more expensive models have even more sensitivity. Other models also recognize more from the pen, such as how much it is tilted or rotated, which is really helpful for digital calligraphy.

But this story gets even better. Photoshop is specifically built to respond to these tablets. You can tell Photoshop that when you press harder, it should automatically make the brush size larger.

Or you can set it so that as you press more lightly with the pen, it makes the paint more transparent or scatters it less or changes colors—or all of the above. You can also adjust other parameters with the tablet. To get Photoshop to recognize and use a tablet, go to the Brushes panel and find a property that has a Control drop-down list.

From the drop-down list, select Pen Pressure to control that property by using the pen and graphics tablet. Graphics tablets really help you get the most out of the paint capabilities of Photoshop. The most common manufacturer of graphics tablets is Wacom pronounced WALK-em , and their tablets can be found online and in many stores that sell computers and peripherals.

As powerful at painting as Photoshop is, the most powerful painting program is Corel Painter. Note Painter even allows you to change the type of bristles on brushes and to change colors of individual bristles as you can in the real world. The first one goes back to something that we covered in Chapter 2. You can imagine how time-consuming it would be and how it would interrupt the creative flow to keep going back and forth to the Tools panel to switch tools.

Another great painting tip deals with sampling colors while painting. Suppose you want to print this image on a poster that is larger than the image. But what we could do without losing any image quality is to expand the canvas of this document, which would create more blank space around the document. We can then expand the background pixels of this image by using painting tools. Go to the Image menu and select Canvas Size. That opens the Canvas Size dialog box see Figure We probably want to increase this document by about a half inch in all directions.

Make sure that the Canvas extension color is set to White, and click OK. This expands the size of the document by a half inch on all sides. Now, we can paint more of the background to expand the landscape around the castle.

There are a few different colors here. This will temporarily toggle the Eyedropper tool. This trick works especially well with really defined colors like the ones in this image. If this were a photograph, shadows and soft edges all over the place would make it more challenging. When painting more than a few Caution strokes, you should create a new layer and start painting on that. Note that the blend is smooth.

As with anything we do in Photoshop, before we start playing around with the Gradient tool, create a new blank layer to create gradients on. Next, select the Gradient tool in the Tools panel. To use the Gradient tool, make sure that the new blank layer is selected, and then drag in your document from one side of the document to the other.

Your colors might be different than mine which is okay for now , but essentially one color was created where you first clicked, and another color was created where you let go of the mouse, and everything in between was a smooth blended transition between the two see Figure Before we change the color, be aware that where you drag your mouse controls how these colors blend together.

Use the fields to modify the editable properties of the symbol. After you have examined the contents of the symbol, click the blue arrow located in the upper left corner to return to the canvas.

Tip: Some edits you make to a symbol will propagate to all instances of the symbol. Other changes will be overridden by the Symbol Properties and will use the values that have been entered there. The map view displays the locations where cars are available You have completed the process of designing a web page in Fireworks CS4.

If you would like additional practice using the Ignition Carshare assets, navigate to the page Find Cars locations in the Pages panel and use it as a guide. Start by creating a new page in your tutorial work document titled Find Cars locations. Then copy the layers onto the new page to use them as the background see Figure Use the layers in the page Find Cars locations to recreate the page in your working copy of the tutorial document Page If you d like to learn more about training options, check out the Fireworks training page.

For additional information on using Fireworks, please see the Fireworks Developer Center. All other trademarks are the property of their respective owners Adobe Systems Incorporated.

You ll get hands-on experience using the industry s leading. Logo Design Studio Pro Guide This guide is distributed with software that includes an end-user agreement, this guide, as well as the software described in it, is furnished under license and may be used.

Working With Animation: Introduction to Flash With Adobe Flash, you can create artwork and animations that add motion and visual interest to your Web pages. Flash movies can be interactive users can click. Now, don t go letting your imagination run wild here.

When I say warped,. Fireworks CS4 is the. Start Illustrator. Open the lizard. A navigation bar. Convert the. Dear Candidate, In preparation for the Graphic Design and Illustration certification exam, we ve put together a set of practice materials and example exam items for you to review. What you ll find in this. Workspace tour Welcome to CorelDRAW, a comprehensive vector-based drawing and graphic-design program for the graphics professional.

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