Design Guide

Adobe Creative Suite 2
Design Guide
2005 Adobe Systems Incorporated. All rights reserved. Adobe Creative Suite 2 Design Guide If 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 or copied only in accordance with the terms of such license. Except as permitted by any such license, no part of this guide may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, recording, or otherwise, without the prior written permission of Adobe Systems Incorporated. Please note that the content in this guide is protected under copyright law even if it is not distributed with software that includes an end user license agreement. The content of this guide is furnished for informational use only, is subject to change without notice, and should not be construed as a commitment by Adobe Systems Incorporated. Adobe Systems Incorporated assumes no responsibility or liability for any errors or inaccuracies that may appear in the informational content contained in this guide. Please remember that existing artwork or images that you may want to include in your project may be protected under copyright law. The unauthorized incorporation of such material into your new work could be a violation of the rights of the copyright owner. Please be sure to obtain any permission required from the copyright owner. Any references to company names in sample templates are for demonstration purposes only and are not intended to refer to any actual organization. Adobe, the Adobe logo, Acrobat, GoLive, Illustrator, InDesign, Photomerge, Photoshop, PostScript, Reader, and Version Cue are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other countries. Mac is a trademark of Apple Computer, Inc., registered in the United States and other countries. Macromedia and Flash are trademarks or registered trademarks of Macromedia, Inc. in the United States and/or other countries. Microsoft, OpenType, and Windows are either registered trademarks or trademarks of Microsoft Corporation in the United States and/or other countries. All other trademarks are the property of their respective owners. The Ins and Outs of Text Wraps excerpted from The Complete Manual of Typography, copyright 2003 by James Felici. Used with permission of Adobe Press. For information on books from Adobe Press, visit www.adobepress.com. Adobe Systems Incorporated, 345 Park Avenue, San Jose, California 95110-2704, USA. Notice to U.S. Government End Users. The Software and Documentation are Commercial Items, as that term is dened at 48 C.F.R. 2.101, consisting of Commercial Computer Software and Commercial Computer Software Documentation, as such terms are used in 48 C.F.R. 12.212 or 48 C.F.R. 227.7202, as applicable. Consistent with 48 C.F.R. 12.212 or 48 C.F.R. 227.7202-1 through 227.7202-4, as applicable, the Commercial Computer Software and Commercial Computer Software Documentation are being licensed to U.S. Government end users (a) only as Commercial Items and (b) with only those rights as are granted to all other end users pursuant to the terms and conditions herein. Unpublished-rights reserved under the copyright laws of the United States. Adobe Systems Incorporated, 345 Park Avenue, San Jose, CA 95110-2704, USA. For U.S. Government End Users, Adobe agrees to comply with all applicable equal opportunity laws including, if appropriate, the provisions of Executive Order 11246, as amended, Section 402 of the Vietnam Era Veterans Readjustment Assistance Act of 1974 (38 USC 4212), and Section 503 of the Rehabilitation Act of 1973, as amended, and the regulations at 41 CFR Parts 60-1 through 60-60, 60-250, and 60-741. The armative action clause and regulations contained in the preceding sentence shall be incorporated by reference. Part number: 90057100
Contents
4 6 Welcome Getting Started
Learn what is contained on the product CDs and how to install software.
Overview
Take a look at feature highlights and whats new in Adobe Creative Suite 2, with spotlight overviews on Adobe Bridge, Adobe Stock Photos, Version Cue, PDF Integration, and color consistency.
32
Designing a CD Cover
In this rst print project, well show you how a CD cover was designed using Photoshop and Illustrator, while taking advantage of asset management and automation features in Adobe Bridge.
56
Designing a Magazine
In this project for a printed magazine, youll see powerful InDesign integration features that let you to control layer visibility on placed les, automatically remap styles on imported text, and create consistent PDF les for both online review and print output.
74
Designing a Website
This project outlines a Web design workow using GoLive, with a focus on leveraging assets from the printed magazine for maximum productivity.
84
Designing for Mobile Devices

In this project, well show you how content for a mobile phone or PDA was designed with GoLive using XHTML and CSS, and then tested and previewed using Small Screen Rendering and device-specic CSS queries.
94
Preparing Files for Print

This chapter outlines the best practices for preparing and handing o les to a print service provider, using InDesign, Illustrator, Photoshop, and Acrobat.
106
Index
iii
Welcome
esigners, photographers, and service providers today are presented with creative opportunities that call for greater versatility and speed than ever before, spanning multiple media and technologies. Adobe Creative Suite 2 makes responding to this challenge easier and more fun by providing a complete set of highly integrated, state-of-the-art components in a single unied environment, so that you can do more of your work in one place. Because the Adobe Creative Suite components share toolsets and common user interface elements, youll nd that new features are easier to learn and les are easier to create, edit, share, and publish. Working and collaborating in this environment broadens your creative range and streamlines your workow, enabling you to quickly master new techniques without interrupting your creative momentum. Use this design guide as your launch point as you explore ideas for employing Adobe Creative Suite 2 to achieve your highest creative potential in your next print, Web, and mobile designs.
4 Adobe Creative Suite 2 | Design Guide
Adobe Creative Suite 2 is the ultimate design environment for creative professionals who design and publish content for print, the Web, and mobile devicesletting them design and publish faster, more easily, and more aordably than ever. Making use of the full set of features in Adobe Creative Suite 2 means you dont have to learn additional page-layout, lemanagement, or Web-authoring applications to complete your work. Adobe Creative Suite 2 Premium combines the full new versions of Photoshop CS2, Illustrator CS2, InDesign CS2, GoLive CS2, and Acrobat 7.0 Professional, plus Version Cue CS2, a time-saving le management system that tracks versions and alternate designs for you, as well as provides the ability for Web-based, collaborative review of PDF documents. Also included is the new Adobe Bridge
for centralized le-browsing, Adobe Stock Photos service for fast acquisition of stock images, and Adobe Help Center for central access to Help content, Adobe Expert Support, Adobe Studio, and other online learning resources. Adobe Creative Suite 2 reects the input of creative professionals worldwide and is packed with innovative features that build on this expertise. The high-level workows we developed from our research are also the basis for the projects covered in this guide. This book presents an overview of features and then guides you through ve projects including print, Web, and mobile workowswritten from the creative professionals perspective. To see which components and features a project covers, scan the Highlighted features list at the
beginning of each chapter. The focus throughout is on using all the tools in Adobe Creative Suite 2, emphasizing the most ecient and intuitive way to accomplish your objectives. This document is a workow design guide rather than a comprehensive user guide. Your most complete source for in-depth feature information is the full Help content in the Adobe Help Center, accessible from every Adobe Creative Suite 2 component. In addition, take a look at the resource information printed inside the front cover to nd information on a variety of Adobe resources that will help you use Adobe Creative Suite 2 to enrich your creative experience.
Welcome 5
Getting Started
Included in your Adobe Creative Suite 2 package are the following product CDs and extras.
Installer CDs
The Installer CDs contain all Adobe Creative Suite 2 components, including Photoshop CS2, Illustrator CS2, InDesign CS2, GoLive CS2,* Acrobat 7.0 Professional,* Version Cue CS2, Adobe Bridge, and Adobe Stock Photos. (* indicates components included with Premium Edition only.) Comprehensive, illustrated, how-to Help documentation is included with the installation of each Adobe Creative Suite 2 componentas well as sample les, templates, scripts, and other goodiesfor instant access at any stage of your workow.
Total Training Video Workshop CD

Presented by experts in their elds, Total Training videos include overviews, demos of key new features, and useful tips and techniques for beginning and advanced users of Adobe Creative Suite 2. Look for accompanying step-by-step instructions to selected Total Training videos in monthly updates on Adobe Studio. Visit studio.adobe.com.
Resources and Extras CD

Media on this CD include the following: Sample les and templates for all Adobe Creative Suite 2 components Fonts. Clip art. Stock photos. Color swatches. High-resolution RGB textures (for lighting eects in Photoshop). Scripting guides and sample scripts for InDesign, Photoshop, Illustrator, and Adobe Bridge. InCopy CS2 plug-ins GoLive extras. Full Adobe Creative Suite 2 documentation in PDF. Technical documents that contain conceptual and reference material on a variety of Adobe Creative Suite 2 topics. For an extensive library of articles on additional subjects, visit Adobe Studio at studio.adobe.com.
6 Adobe Creative Suite 2
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Installation of Adobe Creative Suite 2 software

Note: For more detailed instructions on installing the product, see the How To Install le on the product CD. For instructions on uninstalling the product, see the How To Uninstall le on the product CD.
1 Close any Adobe applications that are open. 2 Insert the Installer 1 CD into your computers CD drive. 3 Double-click the CD icon, and then follow the on-screen instructions.
Activation
Activation is a simple, anonymous process that you must complete within 30 days of installing the product. Activation allows you to continue using the product, and it helps prevent casual copying of the product onto more computers than the license agreement allows.
Activation: For more detailed instructions on activating the product and transferring an activation, see the How To Install le on the product CD. To learn more about activation, visit the Adobe website at www.adobe.com/activation/main.html.
1 Start the product to access the Activation dialog box. (If youve just installed Adobe Creative Suite or Adobe Photoshop, the Activation dialog box appears automatically.) 2 Follow the on-screen instructions. Important: If you intend to install the product on a dierent computer, you must rst transfer the activation to that computer. To transfer an activation, choose Help > Transfer Activation.
Registration
New single-screen registration is integrated into the product installer, so all it takes is a few seconds to register Adobe Creative Suite 2. Your serial number is even entered automatically. Register your Adobe product to receive complimentary support and notications about product updatesas well as to access the wealth of tips, tricks, and tutorials in Adobe Studio.
Getting Started 7
Overview
dobe Creative Suite 2 Premium Edition combines all-new versions of Adobe Photoshop CS2, Illustrator CS2, InDesign CS2, GoLive CS2, Acrobat 7.0 Professional, Version Cue CS2 le-version manager, new Adobe Bridge le browser, and Adobe Stock Photos servicealong with streamlined support for consistent color and Adobe PDF creationso that you can realize your ideas more eciently than ever as you publish to print, the Web, and mobile devices. The Standard Edition includes all applications that the Premium Edition has with the exception of GoLive CS2 and Acrobat 7.0 Professional. This overview highlights the top features of Adobe Creative Suite 2 components, in particular for new users. For more on the most recently added features in each component, see the following section, Whats New, beginning on page 14. Integration Adobe Creative Suite 2 delivers superb image-editing, illustration, page design, Adobe PDF creation, and Web and mobile design and deployment capabilities in one tightly integrated design environment. All Adobe Creative Suite components are designed to work together, sharing common toolsets, user interface elements, and support for native le formats. This makes it simpler for you to move between components as you work, activating familiar commands you recognize easily and being able to re-use and edit artwork across components. Ultimately, you have more time and energy for creating because Adobe Creative Suite 2 makes it easier to continue to develop your ideas from one medium to the next, as well as along every step in the creative workow. Version Cue enhances collaboration and ends cryptic le-name confusion by making it possible to track all historical versions of a le automatically, and associate alternative content as alternatesand then prepare les for, and initiate browser-based, collaborative reviews. Versions and alternates are easily viewed
Adobe Creative Suite 2
| Design Guide
and managed right in Adobe Bridge, along with all your project assets. With Version Cue managing your projects, you can access les at the same time as others in your workgroup without fear of overwriting another persons work. Adobe Bridge is a new visual le-browsing tool that provides fast, ecient access to your creative assets. Easy to nd, view, and organize, all your assets are conveniently available for you to drag and drop into your designs as you need them. Since you can view assets as scalable thumbnails (including a multipage PDF previewer) and search among them according to visible metadata attributes, you dont have to open them in order to make your selection. Adobe Bridge is also a central point to access support features, such as live links to Adobe Studio tips and tutorials, and the new Adobe Help Center with comprehensive how-to information. Adobe Stock Photos provides one-stop shopping for images from some of the leading stock photography providers. Search for, browse, compare, download and purchase royalty-free stock photos using Adobe Bridge. Enjoy intelligent search options that search across multiple vendorsand then download and work with images at comp resolution without watermarks. Color consistency in Adobe Create Suite 2 means that you can view consistent RGB and spot colors on-screen by default, automatically preserve CMYK values, and preview blacks more accurately. Use Adobe Bridge to synchronize color settings for all Adobe Creative Suite 2 components and add color settings les from your print service provider to t more smoothly into the providers color workows. You can produce more consistent and reliable Adobe PDF les when you use shared PDF presets across all Adobe Creative Suite 2 components. Youll enjoy a consistent interface for creating Adobe PDF les in Acrobat 4.0, 5.0, 6.0, or 7.0 format, and support industry standard PDF/X-1a or PDF/X-3 les for blind le exchange.
Overview 9
Digital imaging The professional digital-imaging standard for creating and modifying photos, Photoshop CS2 delivers a full assortment of painting, drawing, and retouching tools, including artistic brushes, special eects lters, color correction tools, and the enhanced Healing Brush for eortlessly removing aws. The new Vanishing Point feature makes it easy to maintain the proper perspective when you clone, brush, paint, or copy and edit images. You can achieve sophisticated results by compositing images, text, and eects on hundreds of layers, and eciently create design variations for clients by saving dierent combinations of layers within the same le. Now you can also view, rate, sort, and batch-edit photos from the widest range of digital cameras in a fraction of the time it used to take, thanks to automation features provided by Adobe Bridge and enhanced support for digital camera raw les. Illustration The powerful, intuitive vector-drawing environment that is Illustrator CS2 brings you the industry-standard drawing tools that professionals rely on to create logos, illustrations, package designs, maps, posters, and graphics for the Web and mobile devices. Automatically turn bitmaps into beautifully detailed vector graphics with Live Trace, and then simply point and click to color and ll objects with Live Paint. Draw with precision using the Bezier Pen tool, or quickly sketch on-screen with the Pencil tool. Let your imagination lead as you easily warp, liquefy, and distort artwork, create custom 3D shapes and type treatments, and apply blending modes and transparency eects. Advanced typographical controls also make it easy to produce beautiful typography. Create completely editable graphics for the Web and mobile devices in a variety of standard formats, including SWF export, W3C, SVG and SVG-Tiny export, GIF, JPEG, and native support for Adobe PDF.
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Page layout The sophisticated creative features available to you in InDesign CS2 make it the perfect environment for producing outstanding page designs. Choose from a wide selection of object formatting options, such as drop shadows and feathering, and even save your own combinations of settings as Object Styles that you can apply to additional objects quickly and consistently. Some of the professional type controls that make it easy to set type beautifully include the Adobe Paragraph Composer, optical kerning and margin alignment, and comprehensive OpenType support. With built-in support for native Photoshop (PSD), Illustrator (AI), and Adobe PDF les, you can place native Photoshop les, including duotones, tritones, quadtones, spot channels, and transparent eects; paste and edit Illustrator objects; and selectively display and output layers or layer comps from Photoshop and PDF documents. InDesign ts right into all variety of publishing workows through its robust support for XML and comprehensive scripting support. Also, easily repurpose InDesign layouts and assets for reuse as Web pages with the Package for GoLive command. Web and mobile design To produce and publish interactive content for the highest quality websitesand now the most advanced microsites for mobile devicesGoLive CS2 is the place to work. In GoLive, you can build web and mobile designs in a comfortable visual environment, intuitively manipulating native Photoshop and Illustrator les and importing assets from InDesign for streamlined team collaboration or your individual design process workow. With support and creation tools for global emerging standards such as CSS, XHTML, SVG Tiny, and SMIL, GoLive equips you to create visually rich Web and mobile sites that can be viewed on the widest array of platforms and devices.
Overview 11
GoLive converts your imported les to Smart Objects so that you can resize, crop, and uncrop these images freely in your layouts without accidentally distorting them. Use the visual CSS layout window to build pages that conform to open Web standards, or use prebuilt CSS objects to jumpstart your layout process, and then use the visual CSS Inspector to easily produce and check type styles as well as adjust the position of elements on the page. The enhanced Package for GoLive feature in InDesign allows you to repurpose content from a printed piece for use on Web pages. Robust support specically for mobile site development includes: CSS@media elements to help you lay out elements for optimal display on specic handheld devices, ensuring the appropriate layout size and object types; features that let you review and verify that your code conforms to the latest XHTML specications, whether you design the site with visual tools or write the XHTML code; and the MMS Composer for visual MMS authoring support as you combine standard mobile media formats, like 3GPP movies and JPEG images, with text to create MMS slide shows. Adobe PDF creation, review, and output With Adobe Acrobat 7.0 Professional it is easier than ever to create reliable, compact Adobe PDF les for client reviews, interactive presentations, Web distribution, and high-end printing. The free Adobe Reader 7.0 is all your clients need to be able to review and provide comments directly in the Adobe PDF les, which you can produce from any component in Adobe Creative Suite and deliver online and via email. The Adobe PDF workow is enhanced with features such as complete support for PDF/X-compliant les and Job Denition Format (JDF) les that accompany the Adobe PDF le to describe for reviewers and printers the documents content and intent.
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High-end print production workows are streamlined with powerful print production tools in Adobe Acrobat 7 Professional. Before you print, or deliver PDF les to your print service provider, use these tools to detect issues with total ink coverage, incorrect image colorspaces, rich blacks, and overprinting objects. The Separations preview allows you to preview plates, and the new Ink Manager allows you to map excess spot colors to process color plates. In the Adobe PDF le, convert RGB objects to CMYK objects with precise control, apply transparency attener settings, and globally adjust hairline weights to ensure that they print well on target presses. Comprehensive, easy-to-use tools help you check for problems, and can even be automated via preight droplets.
Overview 13
Whats New
dobe Creative Suite 2 combines all-new versions of the world-class design tools Photoshop, Illustrator, InDesign, GoLive, Acrobat Professional, and Version Cue for le-version management and sharing, along with the new Adobe Bridge le browser, and Adobe Stock Photos royalty-free services. The following are highlights of some of the new and enhanced features. Complete new features lists can be found in the Adobe Help Center or in each components Help.
Tightly integrated design environmentWork in the common Adobe interface and place native Photoshop, Illustrator, and Adobe PDF les directly into InDesign and GoLive layouts. Control layer visibility and output of Photoshop and PDF les placed in InDesign, or the visibility of Photoshop layer comps in Illustrator. Intuitive le-version management Save versions of les and alternate designs, and then easily view, sort, and manage them as a group in Adobe Bridge. With Version Cue operating transparently across all components, search and preview multiple les directly in new Adobe Open, Save, and Export dialog boxes. Adobe BridgeLocate, browse, and organize your creative assets more easily; then drag and drop them into your designs as needed using new Adobe Bridge, a visual le-browsing tool with scalable previews and multipage PDF viewer thats integrated with InDesign, Photoshop, Illustrator, and GoLive. Adobe Stock Photos serviceSearch, compare, download, and purchase stock photos from leading stock libraries directly within Adobe Creative Suite 2. Adobe Bridge provides central access to Adobe Stock Photos from InDesign, Illustrator, Photoshop, and other Adobe Creative Suite components. Consistent Adobe PDF creation A common interface and shared PDF presets across all components of Adobe Creative Suite mean you can reliably create consistent Adobe PDF les with greater ease and speed. Consistent colorSynchronize color settings across all components of Adobe Creative Suite centrally through Adobe Bridge. View consistent RGB and spot colors by default, preserve CMYK values throughout your workow, and be condent of consistent, predictable on-screen color. Mobile content designStart designing mobile sites today in GoLive, with visual authoring tools and the ability to check designs for compliance with a wide range of contemporary devices. Electronic reviews with broad participationUse Acrobat 7.0 Professional to enable commenting on PDF les with the free Adobe Reader 7.0 so that clients anywhere can participate in email-based PDF collaboration and document reviews.
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Photoshop CS2
Vanishing PointMaintain the proper perspective when you clone, brush, paint, or copy and edit images using the new Vanishing Point feature. Multiple layer selectSelect multiple layers at once in the Layers palette and then move, delete, or assign those layers to sets. Also, select parts of an image more intuitively by clicking on or dragselecting around those objects. Smart ObjectsWork more exibly with Photoshop and Illustrator using Smart Objects: Scale raster objects freely in Photoshop without losing quality. Copy and paste live vector objects from Illustrator to Photoshop, which are fully scalable. Also, edit those vector objects in Illustrator and update them automatically in Photoshop. Edit a single Smart Object to update all linked instances of it. Custom menus and workspaces Customize Photoshop menus, shortcuts, and palette locations to better suit the way you work. Save multiple versions of your workspace for dierent tasks and easily switch among them. Highlight new or commonly used menu items in color for quick identication.
Live PaintPaint vector graphics more intuitively because Illustrator now automatically detects and corrects gaps that would previously have aected how lls and strokes were applied. Instead of having to plan every detail of an illustration in advance to ensure the right shading and colors, you can work more as you would drawing by hand on paper. Control paletteLocate commonly used tools in a context-sensitive Control palette, which helps clear up on-screen clutter by reducing the number of open palettes. The Control palette makes illustration options more accessible so that you can design and edit with greater ease and speed.
weights to ensure that they print well on target presses. Apply transparency attener settings and atten a PDF le for print workows that dont output native transparency. Enhanced output preview Receive on-screen alerts about objects with rich black applied, objects that will overprint, and areas of a PDF that exceed user-specied total ink coverage. Then make corrections to problem areas before you print.
InDesign CS2
Object StylesSave time and ensure consistent formatting of objects by using Object Styles. An Object Style may combine any of the object formatting options available in InDesign, including drop shadows, feathering, lls and strokes, line weight and styleas well as text styles and layout attributes, such as anchored object options and text wrap. Redening an Object Style will update it anywhere it is used. Layer visibilitySelectively display and output layers or layer comps in placed native Photoshop (PSD) les and PDF les. You can try out dierent graphic variations by importing a single linked le, and then turning layer visibility on or o. SnippetsUse lightweight snippets to include any combination of text and graphics objects on a page, and will maintain the relative positioning of these objects when you drag them into a new page or document. Snippets are created by selecting any native InDesign
Acrobat 7.0 Professional

CommentingWork more exibly with clients who dont own a full version of Acrobat by enabling them to comment on review PDFs using the free Adobe Reader 7.0. When your client opens the PDF in Adobe Reader, a set of commenting tools opens automatically along with instructions on how to interact with the le, and return or save the le with comments. New PDF correction toolsImprove the quality of your high-end PDF output and prevent costly mistakes on press using new PDF correction tools. Use the new Ink Manager to properly map excess spot colors to achieve proper separations. Convert RGB images in a PDF le to CMYK with precise control, and verify on-screen that the conversion took place. Globally adjust hairline
Illustrator CS2
Live TraceAutomatically turn bitmaps into beautifully detailed vector graphics that are easy to edit and transform without distortion. Reduce the time it takes to recreate a scanned drawing on-screen, without loss of quality.
Overview 15
objects, and then exporting out to the le system or dragging and dropping those objects from InDesign to Adobe Bridge. Snippets can be placed or dragged and dropped onto the page, making it easier to re-use and share layout designs. You can even email a snippet to a colleague to help jump-start a design with much less le overhead than mailing the full InDesign le.
the visual theme, content categories, overall layout, server location, payment service, and more, as you generate the MMS portal. Easily update any of these parameters after the site is live to keep both its look and content fresh. For general Adobe Creative Suite users: Native PSD, AI, and PDF le support using Smart ObjectsDrop native Photoshop (PSD), Illustrator (AI), or Adobe PDF les into GoLive, which automatically compresses them for Web output using parameters you set. GoLive also converts the les to Smart Objects, so that you can resize, crop, and uncrop these images freely in your Web layouts without accidentally distorting them. Instead, GoLive tracks any changes you make and automatically updates and recompresses the le to reect those changes. Rich standards-based Web design and developmentDevelop mobile and Web sites based on global standards, such as CSS, XHTML, SVG-Tiny, SMIL, and more. Working with open industry standards ensures that your websites can be viewed by leading browsers on the widest array of platforms and devices. Visual CSS authoring and editing Use a visual CSS layout window to build pages that conform to open Web standards, allowing your content and layouts to adapt liquidly to a variety of devices. Easily produce and check type styles, as well as adjust the position of elements on the page, using the visual CSS inspector. You can also work with prebuilt CSS objects that help you quickly lay out text and graphics.
Version Cue CS2

Version controlThrow out your ad hoc eorts to keep track of le versions through dierent naming conventions (no more funny le names like brochure_nal_n3.indd) and reclaim the time you spend hunting for, opening, moving, and renaming the many le versions generated in typical creative projects. Instead, track all versions of a le automatically, including historical versions generated sequentially in a serial workow and alternate content generated in tandem in a parallel workow. Also, use Version Cue to prepare versions for client review, output those versions into a review cycle, and determine which version to use based on client feedback. File-sharing managementShare les in creative collaboration without fear of overwriting another designers work. For example, access a design le at the same time as several other people and allow Version Cue to manage the interactions as well as the versions. Version Cue saves all of the versions under the same name but visually dierentiates the versions for everyone accessing them. Automated metadata Automatically capture, store, and search on metadata information directly from the Adobe Bridgean ecient way to locate les without having to open them. Metadata information is embedded in all versions of a le and can include status, keywords, le descriptions, author, copyright, and le type, as well as content information, such as image types and dimensions.
GoLive CS2
For mobile designers and developers: Visual CSS authoring for mobile devicesVisually lay out mobile sites for optimal display on specic handheld devices. To ensure that the nal site conforms with the device and standard specied, GoLive then restricts the size of the layout and the types of objects allowed. Native support for XHTML mobile proleDevelop mobile content using the XHTML mobile prole, the most widely accepted platform for mobile development. Whether designing an XHTML-based mobile site visually or writing XHTML code in GoLive, easily review and verify that the code conforms to the latest XHTML specications. Visual MMS authoringCombine dierent standard mobile media formats, such as 3GPP movies and JPEG images, with text to create MMS slide shows using the MMS Composer. Automatically generate MMS portal sites to display, distribute, and send MMS slide shows to cell mobile device users who request the content. Specify a wide range of parameters, including
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Overview 17
Adobe Bridge
dobe Bridge is the central hub for all Adobe Creative Suite 2 workows.
Browse, organize, and view your project les with a powerful set of viewing and sorting options, and then drag and drop assets into your design documents. Adobe Bridge replaces the Adobe Photoshop le browser with faster performance and thumbnail previews, and is integrated with InDesign, Photoshop, Illustrator, and GoLive to speed up your design work. Scalable previews allow you to preview Photoshop images, Illustrator graphics, InDesign layouts, multipage PDF les, GoLive Web pages, snippets, QuickTime movies, and les in other standard graphics formats. Launch non-Adobe applications such as MS Word or Excel by doubleclicking the le icon.
Select a thumbnail and view detailed le information such as color mode, dimensions, and resolutionwithout having to open the les. Search for one or more assets with common metadata attributes, and then store the results as a collection. Use the Slide Show feature to view images at full screen and ag them as you go using keyboard shortcuts. Or, sort thumbnails within an Adobe Bridge folder visually by dragging them to a dierent position. Raw digital images can be edited using Adobe Camera Raw. Batch processing and automation tasks can be applied to selected images or folders directly through Adobe Bridgewhile you get back to work in Photoshop. The Batch Rename feature lets you edit le names on numerous documents without opening a single le.
Automate labor-intensive tasks across components of the Suite by writing your own JavaScripts or using included workow script examples; then store your scripts in a central location for easy access or sharing with colleagues. Set and synchronize color settings for all Adobe Creative CS2 components centrally through Adobe Bridge. Adobe Bridge also gives you intuitive and powerful access to Adobe Version Cue CS2 for managing versions and alternates of your work in progress. For more information on Version Cue, see Creating a managed project with Version Cue CS2 on page 30. Finally, Adobe Bridge is much more than a le browser. Look through the following sections in this Overview to learn about Bridge Center, and Adobe Stock Photos service.
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Adobe Bridge Slide Show allows you to view and rate images at full-screen size.
Adobe Bridge window
Built-in multipage PDF viewer in Adobe Bridge with scalable preview lets you page through PDF documents without having to open them.
Time-saving automation tasks such as batch-processing or exporting to Web Photo Gallery, can be done in Adobe Bridge while you get back to work in Photoshop.
Overview 19
Bridge Center
n addition to le-browsing and assets management, Adobe Bridge provides a central location to support every stage of your workow. Bridge Center contains features that minimize the time it takes to stop work on one project and switch to another. (To access Bridge Center, click Bridge Center in the Favorites panel.) Color settings for all Adobe Creative Suite components are synchronized in a central place, simplifying the task of checking each component for consistent settingsand minimizing color settings error messages when opening les. Click Open Color Settings at the bottom of the Bridge Center window, or choose Edit > Creative Suite Color Settings to open the Color Settings dialog box. Adobe Stock Photos service is accessed through the Favorites pane of Bridge Center. Youll also nd an RSS reader with live links to Adobe Studio for tips, tricks, and tutorials. See page 28 for more information on Adobe Stock Photos service.
Ever wondered if you could save your desktop exactly as you left it when you quickly move to another project or leave your computer? Now you can, with the Saved File Groups feature. Bridge remembers and opens the applications and les exactly the way you left them, with a list of the recent les and folders accessed. Bridge Center automatically keeps track of recent folders and les accessed on your computer. Opening Bridge Center when returning to your workstation gives you an instant overview of where you left o. Double-click a document thumbnail in the recent les column and get right back to work. Bridge Center also lets you create new Version Cue projects. For more information on Version Cue, see Creating a managed project in Version Cue on page 30. The new Adobe Help Center provides a central location for Help topics on all Adobe Creative Suite 2 components. Youll nd comprehensive, consistent,
up-to-date how-to information on all features, as well as access to other services from Adobe, including Adobe Expert Support. Click the link at the bottom of the Bridge Center window to reach the Adobe Help Center, or go to the Help menu within any Adobe Creative Suite 2 component. Adobe Expert Support provides rapid resolution of how-to issues via the phone or Webgiving you insider, priority access to the worlds leading Adobe software experts. Adobe Expert Support oers annual support contracts or paid support on individual cases. To access Adobe Expert Support or to learn more, click on the Expert Support tab in Adobe Help Center.
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Bridge Center in Favorites Tab of Adobe Bridge
Bridge Center
New Version Cue Project Color Settings Adobe Help Center
Adobe Help Center
Adobe Expert Support Overview 21
PDF Integration
dobe Portable Document Format (PDF) has become a key technology in both print and Web publishing. Creative professionals use Adobe PDF as an integral part of their workow to streamline document distribution and review, print high-resolution output, archive documents, and more. Uses for Adobe PDF les include: Posting to the Internet. Electronically distributing and reviewing by colleagues, clients, and vendors based on the Smallest File Size preset to create compact PDF les appropriate for email and online commenting. Use Acrobat 7.0 Professional to enable the PDF les for commenting in the free Adobe Reader. Printing proofs with desktop printers. Preparing les for prepress and high-end output by converting to industry-standard PDF/X formats. Preparing and delivering Adobe PDF les for high-resolution output, including live transparency. Archiving and retrieving documents.
New PDF integration features make it easier than ever to incorporate Adobe PDF in your workow and generate consistent, reliable PDF les from any Adobe Creative Suite 2 component. Shared PDF presets PDF creation settings les, or presets, are now shared across all Adobe Creative Suite 2 components. A preset is a predened collection of settings based on best practices for specic output, such as Smallest File Size for email reviews, or Press Quality for high-end printing. PDF presets are based on the Acrobat Distiller .joboptions le formatthe most widely used and accepted PDF creation settings format. PDF presets contain settings for image downsampling and compression, font embedding, attening of transparency, and so onwhich take the guesswork out of PDF creation and ensure ecient and consistent results. See Creating Adobe PDF les on page 24 for a list of the PDF presets available.
Custom PDF presets You or your print service provider may require specialized PDF creation settings. Any of the default presets can be customized, and you and your workgroup can share them among all Adobe Creative Suite 2 components. Using custom PDF presets provided to you by your printer ensures that the PDF le is built according to the printers settings. By combining custom PDF presets with the ability to create custom PDF preight proles in Acrobat 7 Professional, you can build a reliable and consistent Adobe PDF workow from creation through output. Shared PDF preset location The PDF preset les shared by all Adobe Creative Suite 2 components are stored in a central location, which greatly simplies the process of storing, loading, and managing PDF preset les. If your printer sends you a custom preset, simply double-click it and it will be loaded into the correct locationin Windows, Documents and Settings/All Users/Shared Documents/Adobe PDF/Settings; in Mac OS: Library/Application Support/Adobe PDF/Settings.
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Common user interface for PDF creation All Creative Suite 2 components now share common PDF settings and a more consistent user interface, which simplies the process of PDF creation across Adobe Creative Suite and makes training and use easier and more reliable. PDF standards (PDF/X) Among the built-in PDF export presets are several that support PDF/X, a format that is quickly becoming a standard for delivering ads and other nal documents that require high-resolution print output. The PDF/X standard enables reliable exchange and output of graphics les and eliminates many of the incorrect color, missing font, and
various le problems that can lead to inconsistent and unreliable output. Adobe Creative Suite 2 includes builtin presets for creating PDF/X-1a and PDF/X-3 les. Note that while the PDF/X standards specify best practices for print output, the standard does not have any minimum image-resolution requirements. For example, a 72-dpi screenshot can be included in a valid PDF/X le. For this reason Adobe has added PDF preight checks in Acrobat 7.0 to check for image resolution. Acrobat Distiller, as well as the other Adobe Creative Suite 2 components, also includes options for specifying image resolution during PDF conversion.
Creation of PDF/X les from Adobe Creative Suite 2 components You can use InDesign CS2, Illustrator CS2, Photoshop CS2, Acrobat, and Acrobat Distiller to create PDF/X les. When you create PDF/X les from, for example, InDesign CS2, all content in the InDesign layout is analyzed and then converted to meet the requirements of PDF/X. If the layout includes RGB, the PDF/X le will be correct (RGB will be converted to CMYK), because the conversion manages all content and ensures that the le is a valid PDF/X le. Similarly, Distiller and other Adobe Creative Suite 2 components create valid PDF/X les.
Learn more For more information, see the PDF Integration Guide for Adobe Creative Suite 2, available on Adobe Studio at www.studio.adobe.com.
Overview 23
Creating Adobe PDF les

Generating PDF les is simpler now, thanks to a consistent user interface in all Adobe Creative Suite 2 components and shared PDF presets that contain optimal settings for typical output needs. This section outlines the easy steps required to generate PDF les.
Creating Adobe PDF les from Adobe Creative Suite 2 1 Choose one of the following
options from the File menu: IllustratorChoose Save As and select Adobe PDF (pdf ) as the Format. PhotoshopChoose Save As and select Photoshop PDF as the Format. InDesignChoose Export or PDF Export Presets. GoLiveChoose Export > HTML as Adobe PDF.
2 Name the le, select a destination

folder, and click Save or Export.
3 In the Adobe PDF Options dialog

box, choose a PDF preset that meets the needs of the intended use of your PDF, or create or load a custom PDF preset. Settings are automatically chosen based on the preset selected. If you need to customize any of the settings or options, do so now, otherwise click Save or Export to nish.
Saving or exporting to Adobe PDF from any Suite component displays an Adobe PDF options dialog box, like the one above. PDF Presets, Standards, and Compatibility options are consistent throughout Creative Suite. PDF options unique to the source application also will appear, for instance, Bookmarks for InDesign, or HTML conversion for GoLive.
Learn more For more information, see The PDF Integration Guide for Adobe Creative Suite 2, and other Adobe PDF related topics, on Adobe Studio at http://studio.adobe.com
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PDF Presets
Adobe provides these PDF presets as best practices for output of PDF les. If you are in doubt about which settings to use, contact your print service provider. Smallest File Size This preset is for PDF les that will be electronically distributed, posted to the Internet, and displayed on-screen. Keeping the le size small minimizes upload and download times and speeds up display. Colors are converted to sRGB, and image resolution is sucient for on-screen display but not appropriate for high-resolution output. High Quality Print This preset is ideal for creating PDF les for a wide variety of uses, including printing proofs to desktop output devices, such as color inkjet and laser printers. This preset also allows for the creation of accessible PDF les from InDesign and GoLive. Press Quality This preset is for PDF les that will be output to high-resolution color separations, digital printing, or for use in a prepress workow. RGB is converted to CMYK, and spot colors are allowed. Transparency is live (unattened). The three presets above create PDF 1.4 or higher les, which means all transparency eects are live (that is, transparency eects are not attened). Printers typically handle the attening of transparency. If your workow requires attened transparency, you may want to consider using PDF/X, a standard for graphic content exchange. PDF/X les are PDF 1.3, which requires transparency to be attened. PDF/X1a 2001 This preset is designed for high-end print output. All fonts required to print the document are embedded and color is either CMYK or spot. PDF/X3 2002 This preset is designed for high-end print output and supports color management through the use of an output intent. Additional presets are included in the Extras folder on the installation CD. In addition, custom presets can be created by you or your print service provider and be loaded, saved, or copied into the common Settings folder. You can double-click a preset le to load it into the correct common settings location. The common settings folder locations are in Windows,<default drive> \Documents and Settings\All Users\Documents\Adobe PDF\Settings or in (Mac OS): \Library\Application Support\Adobe PDF\Settings Tip: If youre still not sure which preset to use and your le is destined for print, the safest practice is to choose Press Quality. This option contains the maximum amount of content your printer could need.
Overview 25
Creating Adobe PDF les from non-Adobe applications

Some print service providers prefer Acrobat Distiller-generated PDFs. This method is often preferred for creating PDF les from non-Adobe applications. To create a PostScript le and use Distiller to convert it to PDF:
1 Choose File > Print. 2 Choose PostScript File from the

printer list and click Save.
3 Enter a lename and location,

and click Save.
4 Launch Acrobat Distiller and

choose Set Up Job Options. (See Help for more information.)
5 Open the PostScript le in

Distiller. The le is automatically converted to PDF. To print to Adobe PDF (which makes the PostScript le, and then creates the PDF using Distiller in the background):
1 Choose File > Print. 2 Choose Adobe PDF 7 from the

printer list and click Save.
Note: Printing to Adobe PDF requires that Acrobat 7.0 Professional be installed. Printing to Adobe PDF uses the last-chosen preset in Distiller, so be sure to set up Distiller properly before printing.
Color consistency
signicant feature in Adobe Creative Suite 2 is simplied, consistent handling of color display and settings. These new features manage color for you, at each stage in your process, allowing you to focus on your creative work. Here are the new features and how they t into a color-managed workow.
Consistent on-scree n viewing of colors across components View consistent RGB and spot colors by default. Also, set a preference in InDesign or Illustrator to view blacks accurately on-screen. Exchangeable color swatches among components Dene color swatches using InDesign, Illustrator, Photoshop, or GoLive, and then exchange those swatches across components. For how-to information on saving swatches for exchange, see Help. Safe new CMYK workow Automatically preserve CMYK values throughout your workow. Take advantage of immediate benets, such as the ability to accurately softproof documents on-screen using built-in controls in InDesign and other Suite components. Consistent color output
CMYK values in your placed content are preserved to eliminate unwanted conversions or re-separation of that content upon output. These color consistency features paired with the Separations preview, Ink Manager, Overprint preview and color conversion features in InDesign CS2 and Acrobat 7.0 Professionalgive you complete control over consistent color display and output, even through any necessary conversions. Tips for successful color workow Synchronize Color Settings in Bridge at the start of the project. Keep Color Management on in all Suite components. Exchange color swatches across components to maintain consistency on projects. Turn Overprint Preview on in Illustrator, InDesign, and Acrobat when previewing the nal le.
Synchronized
Unsynchronized
Central management of color settings via Adobe Bridge Synchronize consistent color settings for all of the components in the Suite from one central management point in Adobe Bridge.
Because Color Management is on in all Adobe Creative Suite components and color settings have been synchronized in Adobe Bridge, color conversion and output will be managed properly. RGB colors are managed for the specied output, and spot colors display and output properly. Objects set to be 100% black (K) are output as true black onlyespecially important for text.
Learn more For more information, see Color Workows for Adobe Creative Suite CS2, available on Adobe Studio at http://studio.adobe.com
Note: Color Management is now on in all Adobe Creative Suite CS2 components.
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Appearance of Black preferences in Illustrator and InDesign let you control display and output of one-color black and two-to-four-color black (rich black).
Exchangeable color swatches across Adobe Creative Suite CS2 components
Spot-color duotone from Photoshop placed in InDesign. Spot color is retained and appears in InDesign Swatches palette for use on other page elements. Duotone separates and prints as two colors.
Black text and hairline rules preview and print as one-color.
Spot-color logo from Illustrator copied and pasted into InDesign. Spot colors preview and print consistently, and automatically appear in Swatches palette.
CMYK photo from Photoshop placed in InDesign. CMYK color values are retained during separation and printing of magazine pages.
Overview 27
Adobe Stock Photos service
dobe Stock Photos is a new royalty-free stock photography service available through Adobe Bridge. Adobe has partnered with leading providers to bring you more than 230,000 high-quality, royalty-free images right at your ngertips. Adobe Stock Photos is easy to nd in Adobe Bridge using the Favorites pane. With Adobe Stock Photos, you wont have to interrupt your design process to hunt down quality photos. Instead, you can use powerful search capabilities to browse and download royalty-free, unwatermarked comps directly into your Illustrator CS2 and InDesign CS2 art. This gives you the exibility to try out dierent images before you pick the perfect candidate. You can work with the comps until you make your nal decision, at which point you can purchase and download a high-resolution photo, without ever leaving the Adobe Creative Suite CS2 component. Comps are not licensed for production, but you can use them in mock-ups or other preliminary work. Because comps are low-resolution, theyre not suitable for printing or publishing. Metadata is stored with all images downloaded through Adobe Stock Photos service, and
is read by Photoshop, InDesign, Illustrator, and GoLive. Metadata is detailed information about the stock image such as image ID, purchase ID, order ID, provider, price, resolution, size, and so on.and can be viewed through the Links palette, le info, or Adobe Bridge. You will no longer need to remember the le name, search criteria, price, and so on, of numerous stock images used in your layouts. Metadata also allows you to track comp images still present in a document when you are preparing it for print. For example, running the Preight command on an InDesign document that contains a comp image will produce a warning that the low-resolution comp image is still in place (and not a purchased, high-resolution version.) Adobe Stock Photos reduces the number of steps to nd, try, and purchase stock images. Keyword Search allows searching across multiple stock libraries simultaneously. Advanced Search allows you to narrow your search criteria by specifying the types of images, the provider, and orientation of the image. A Previous Searches folder saves the results of search activities.
Double-clicking a thumbnail image returned from Search results initiates automatic downloading of comps and immediate editing in Photoshop. Integrated shopping experience allows purchasing from multiple stock libraries in a single transaction. Binding of metadata (XMP) enables you to purchase and download highresolution images even after they have been cropped, edited, renamed, and placed in a layout. A special icon in the InDesign Links palette and Preight document command in InDesign easily identies comp images placed in documents, so that they wont be mistaken for high-resolution images. Standard, worldwide license agreement across all images eases the burden of managing usage rights. Adobe Stock Photos service is at your ngertips whenever you need a specic image or just inspiration. Click the Favorites panel in Adobe Bridge and select Adobe Stock Photos to get going. Then click the Overview button to learn more about how the service works, or start searching. For more information see Help in Adobe Bridge.
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Click on Adobe Stock Photos in the Favorites pane of Adobe Bridge.
A special icon in the Links palette in InDesign and Illustrator identies image comps.
Download unwatermarked comps to try out in your layouts and let Adobe Stock Photos track information about the images for you.
Overview 29
Creating a managed project with Version Cue CS2
managed project is one that has been set up to utilize the consistency, workow, and le-management features available in Adobe Creative Suite 2. This section describes the benets of a managed project, along with simple steps to get you started.
Typically a client or art director will require that several concepts be developed at the same time. An alternate is an alternative choice of content, be it a design layout, an illustration or photo, or even text that is developed in parallel and kept in play during the design process. Tracking versions and alternates of designs can be an error-prone and time-consuming part of any workow. Fortunately, there is a solution to the chaos of long, cryptic le names and hunt through dozens of les in multiple directories. Version Cue CS2 is an integrated component of Adobe Creative Suite that simplies some key activities that are an everyday part of the design process. Version Cue tracks historical versions of les as well as
Versions and alternates A Version is an historical snapshot of a document that is captured at a key stage or turning point in a design. Versions are not individual lesthey are versions of the same lemaking them an ecient way to explore innite design solutions without creating numerous les. Most designs go through many iterations, which must be kept handy for review, presentation, or production purposes.
alternates, and simplies the need to devise a naming convention to save iterations of a design. Version Cue is fully integrated with Adobe Bridge, as well as with the Save, Save As, Import, Export, and Place dialogs boxes in InDesign, Illustrator, and Photoshop. It is through these access points that you can take advantage of Version Cue features. Version Cue is a transparent yet powerful production tool within Adobe Creative Suite components. Once you create a project and add les to it, all you need remember to do is use the Save a Version command, along with a few descriptive words as a version comment, each time you want to record a version of your design. After you create several versions of a le, you can use Adobe Bridge to view thumbnails of all versions along with comments and dates for each, and you can then access, manage, or delete the versions as required. Version Cue is a productivity feature for individuals as well as workgroups on a local network. In a workgroup setting, Version Cue shares le status as well as the les themselves. You know when a le is in use by another person, and who that person is. Files are protected from being accidentally edited by more than one person concurrently.
Versions and alternates of the same le viewed in Bridge 30 Adobe Creative Suite 2 | Design Guide
Setting up a project
Version Cue CS2 is installed ready to go by default in Adobe Creative Suite 2 components. The exception is Acrobat, which requires it be turned on manually in its General preference panel. Before the Save a Version option becomes available in any Adobe Creative Suite component, you need to set up a Version Cue project. Once the project is created and the les stored within it, you can get busy with your creative work. The process is easy; just follow these simple steps.
2. Add assets to your project.

Use Adobe Bridge to add existing les to your project from a central location without having to open them. Just drag the les related to the project into the Version Cue project folder. These les are automatically synchronized as rst versions.
component, just choose File > Save As, click Use Adobe Dialog, and open the appropriate Version Cue project. Then, enter comments for this version of the le into the Version Comments text box, enter a le name, and click Save. Once the rst version has been saved, choose File > Save a Version for all future versions.
Learn more To learn more about Version Cue features, including workspaces and the Advanced Administration utility, see Version Cue topics in Help for Illustrator, InDesign, GoLive, or Photoshop, or in the Version Cue Help PDF le on the Adobe Creative Suite 2 CD.
3. Save versions and alternates.

Once youve created a project, you can save versions using the Save a Version command, or choose to associate one le with another as an alternate in any Adobe Creative Suite CS2 component, as well as Adobe Bridge. To add an open le from your hard drive to a Version Cue project from within an Adobe Creative Suite
1. Create a Version Cue project.

The rst thing youll do is create a Version Cue project, which youll use to organize related les. In Adobe Bridge, choose Tools > Version Cue > New Project. Name the project, add any comments you want to about the project, and click OK. To see the folder, click on Version Cue under the Favorites tab in Adobe Bridge. You may have a design in progress when you realize you want to start saving versions of it. You can create a Version Cue project from within an Adobe Creative Suite component. Using InDesign, Illustrator, or Photoshop, choose File > Open, click Use Adobe Dialog, and then choose Create New Project from the Tools menu.
New Version Cue project (above) and Adobe Dialog (left)
Overview 31
Highlighted features:
Asset viewing and organization (Adobe Bridge) Camera Raw (Adobe Bridge) Smart Objects (Illustrator/Photoshop) Multilayer select (Photoshop) Versions and alternates (Version Cue) Vanishing Point and Warp (Photoshop) Email based-PDF review (Acrobat) Live Trace (Illustrator) Live Paint (Illustrator) Print output (Illustrator/Acrobat)
PR
JE
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Creating a CD Cover
Our rst project is a CD cover and booklet that we designed for a ctitious music label, Substrate Records. We created two cover designs, one for the album and one for the CD single. Using Photoshop and Illustrator to create artwork, Adobe Bridge to view and manage assets, and Acrobat to send out a PDF review, well show you some of the great new integration features and time-saving techniques available for an image-editing and print design workow.
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Creating a CD Cover 33
Organizing project assets

We began this project by organizing all of our creative assets in Adobe Bridge. Two designs were developed for this projectone for the CD album and another for the CD single. Dozens of digital photographs in Camera Raw format had been taken of the DJ artist. We collected these together with stock photos, illustrations, logos, templates, and text les that would be used on the covers. To keep everything organized, we created a new folder called Techton Flu, the name of the music artist, and moved over all our assets into the folder.
Note: A camera raw le contains unprocessed pure picture data from a digital cameras image sensor, without any in-camera processing. Think of camera raw les as a photo negative. You can reprocess the le at any time to achieve the results you want. See Editing images in Camera Raw on page 36 for more information.
Adobe Bridge gives you much greater control over viewing and organizing project les than a standard le browser. Its also intuitive and fun. Well show you lots of tips for getting the most out of Adobe Bridge as we work through the projects in this book. Before we began editing les, we made sure that color settings were synchronized across all Adobe Creative Suite components. From Adobe Bridge, we chose Edit > Suite Color Settings. For this project, we chose North America General Purpose 2. Once our basic setup was complete, we could move on with the creative work.
Synchronized Suite Color Settings
Assets organized in Adobe Bridge le browser
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Rating and correcting images in Adobe Bridge

Our rst step was to look at the images from our model shoot and choose the ones we wanted to use. We used the Slide Show feature in Adobe Bridge to review the images so we could see the photos at full-screen size, and rate and ag our favorites without having to open each one up in Photoshop. The Label menu in Adobe Bridge contains options for numerically rating images and assigning colored labels. We changed the view in Adobe Bridge back to Thumbnails view and sorted the images by the ratings we had assigned during the slide show. All images with a low rating were ltered from view by choosing a View lter in Adobe Bridge. We selected the top picks and edited them as a group in Adobe Camera Raw (Ctrl/Command+R.) Because they were all shot under the same lighting conditions and camera settings, we were able to adjust contrast and color on all images at one time. Adjustments made in Camera Raw are applied to all selected images. For more information on batch-editing raw images, see page 36 for Bruce Frasers special topic, Editing Images in Camera Raw. Making corrections to the photos early in our workow ensured consistency across all our CD cover designs. We could use the images in any Adobe Creative Suite componentknowing they had all been adjusted using the same values.
Tip: To invoke the Slide Show feature in Adobe Bridge, select the les you want to view and press or Ctrl/Command+L. To numerically rate images or assign color labels while viewing images in Slide Show, use the keyboard shortcuts listed in the Label menu. To exit the slide show, press the Esc key.
Tip: In Camera Raw, you can preview the eect of an adjustment on multiple images by selecting the thumbnails in the left column. You can also apply edits like Rotate, Crop, or Straighten.
Images viewed and rated using full-screen Slide Show feature in Adobe Bridge
Images sorted by rating and color code in Adobe Bridge Details view
Batch-editing raw images directly in Adobe Bridge using Camera Raw
SPECIAL TOPIC
Editing images in Camera Raw

Special Topic: This topic is contributed by Bruce Fraser, a San Francisco-based writer, teacher and consultant. Fraser is author of Real World Camera Raw with Adobe Photoshop CS and co-author of the Real World Photoshop and Real World Color Management series. For information on books from Adobe Press, visit http://www.adobepress.com
With Adobe Camera Raw 3.0, youre no longer limited to editing images one at a time. Instead, you can select multiple images in Bridge and load them all into Adobe Camera Raw for editing. The Camera Raw plug-in is hosted by Adobe Bridge, so you can continue to work in Photoshop while Camera Raw processes your images. Camera Raws new Auto default settings provide an excellent starting point for each image, but you can quickly and easily netune them to get the best from your raw images. When you make edits in Camera Raw, you arent editing pixels as you would in Photoshop. Instead, youre tailoring the conversion from the raw le to a color image, allowing you to do things that you simply cant do after the fact in Photoshop. The work you do in Camera Raw lets you get the best quality from your raw images, and leaves you less work to do in Photoshop.
Editing an image in Camera raw format Step 1: Select the thumbnails of the raw images you wish to edit in Bridge. You can be especially productive by choosing a series of images that need similar edits. Shift-click to create a contiguous selection, or Ctrl/Command-click to select discontiguous thumbnails. Then choose File > Open in Camera Raw (Ctrl/Command+R). Step 2: Now youre ready to edit the images. Start with the white balance controls: Temperature controls the blue/yellow balance, Tint controls the magenta-green balance. For accurate white balance, you can click the white balance tool on a lightgray or diuse white area in the image, but for more creative control, use the sliders. In this case, I warmed the images a little by increasing the Temperature value. Step 3: The four tone controls, Exposure, Shadows, Brightness, and Contrast, let you shape the overall tonality of the image. Exposure and Shadows set the white and black points, respectively, Brightness adjusts the midtone, and Contrast increases contrast around the midtone set by Brightness. Together, the four controls let you apply a ve-point curve to the image to shape the overall tonality.
Step 1
Step 2
Step 3
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SPECIAL TOPIC
Start with Exposure. You can check for highlight clipping by holding down the Alt/Option key as you move the slider. Then do the same for Shadowsthe clipping display works here too. Then adjust the Brightness and Contrast sliders to produce the overall tonality you want. In this case, I wanted to hold more detail in the skies and brighten the foreground, so I reduced the Exposure and Shadows values from their defaults, and increased the Brightness and Contrast. Step 4: Fine-tune the tonality with the Curve tab in Camera Raw. To nd where on the curve a point in the image lies, hold down the Ctrl/Command key as you mouse over the imagea small white circle appears on the curve, indicating the values under the cursor. To place a point on the curve, Ctrl/Command-click. You can move the selected curve point either by dragging or by using the Up, Down, Left, and Right Arrow keys. The curve works best as a ne-tuning tool, because it operates on the results of the adjustments you make in the Adjust tab. Youll obtain smoother gradations, with less risk of posterization, if you use the controls in the Adjust tab to do the initial tonal shaping than if you try to do everything using the Curve tab. Step 5: Apply the edits to the other images. Click Select All, and then click Synchronize. The Synchronize dialog box lets you choose which settings to apply to the other imagesif you want to skip the dialog box and apply all the settings, hold down Alt/Option when you click the Synchronize button. Camera Raw then updates the thumbnails to reect the new settings for the other images, and writes the new settings to the Camera Raw database, or to XMP sidecar les in the same folder as the images, depending on the settings youve chosen in Camera Raw preferences. These settings will be used whenever you open the images in the future. Once youve applied the settings, Camera Raw oers you several choices for workow exibility. You can click Done to return to Bridge, click Open to open the images in Photoshop, or click Save to save the raw images in the DNG format, which includes the Camera Raw settings and hence does not require XMP sidecar les.
Step 5
Step 4
Creating the CD album cover

New feature: A Smart Object can be a vector or raster image. A Photoshop layer can also be turned into a Smart Object, allowing you to perform nondestructive transformations of embedded vector and pixel data. Multiple instances of Smart Objects (such as a logo) allow you to easily edit and update all instances at once.
Our client wanted us to develop two designs for the coversone using the portrait of the artistand the other using the artists trademark image of a sunower. We collected a bunch of sunower images using Adobe Stock Photos service (see page 28 for an overview) and chose our favorite. To create the background image for this CD cover, we opened the sunower image in Photoshop and resized it to our template specs. To create the duotone look of the sunower, we converted the original RGB image to Grayscale, then to a Quadtone, and then back to RGB so that additional color elements could be added. The music artists logo, an intricate vector drawing created in Illustrator, was pasted in as a Smart Objecta new feature in Photoshop that allowed us to paste vector artwork from Illustrator into Photoshop, and then apply transformations and eects without losing image quality. The original vector logo was too small for the cover design. We used the Transform tool (Ctrl/ Command+T) to scale the logo up to ll the center of the sunower. Because it was a Smart Object, the logo scaled up beautifully, maintaining its crisp vector detail. On the next page, well explain how to edit the Smart Object in Illustrator. At this point, we were ready to save our rst version of the CD cover image, we chose File > Save As and clicked Use Adobe Dialog. We selected Version Cue in the left column, and then chose the New Project command in the Tools menu to create a new project named Techton Flu. We then named the le (all subsequent versions will be based on this name), added a version comment, blue quadtone with logo, and clicked Save.
New feature: Customizable menus in Photoshop allow you to highlight new or commonly used menu items, making it easy to locate commands for specic workows. For more information, see Photoshop Help. Tip: To save a version, you must rst create a Version Cue project to save it to. This can be done through the Adobe Save As dialog box, or through Adobe Bridge. For more information, see Creating a managed project with Adobe Version Cue CS2, on page 30.
Modifying sunower image
Illustrator logo added as Smart Object
Smart Object scaled up in Photoshop
| Design Guide
Editing Smart Objects

Note: You can copy and paste or place artwork from Illustrator into Photoshop. Pasting artwork displays the Paste dialog box with options to paste as paths, pixels, or Smart Object. Placing artwork automatically turns it into a Smart Object. Make sure that the Illustrator le has been saved with the PDF compatible option checked (the default).
In the last section, we talked about transforming Smart Objects in Photoshop without losing image quality. But what if the client suddenly decides that the logo the client thought was nal could actually use some workand youve already spent days integrating the logo into your Photoshop layout? With Smart Objects, its not a problem. Smart Objects can be edited in Photoshop or Illustrator. In this case, the client wanted to simplify the ornate detail around the edges of the logoa job for Illustrator. Heres how we did it, without losing the work we had done in Photoshop:
Editing a Smart Object Step 1: In Photoshop, double-click the Smart Object layer in the Layers palette, or choose Layer > Smart Objects > Edit Contents. Photoshop generates a temporary copy of the object that opens in Illustrator. Step 2: Edit the artwork in Illustrator and click Save. Changes are saved to the Smart Object, and automatically updated in Photoshop.
Step 1
Step 2
Result
SPECIAL TOPIC
Ecient workow with Bridge and Smart Objects

New Adobe Bridge software and Photoshops Smart Objects can radically improve your workow. In the following example, well produce a number of images for a complex brochure while building in a level of versatility that will make it surprisingly easy to make changes without having to rework the layout. Before I began to create the layout, I rst wanted to send out images for my clients approval. To do that, I used the new Slide Show feature in Bridge and its simple keyboard shortcuts to rate each image on a one-to ve-star system. Then to cull only the best ones, I chose to view just the images that received four or more stars. Next, I used the new Image Processor automation feature to quickly resize and save all the images in JPEG le format. Finally, I dragged the newly created JPEG images from the Bridge window to my email program and sent them o to my client for approval.
Image Processor in Adobe Bridge
While I was waiting for the clients feedback, I created a new Photoshop document and started to build a complex image that took maximum advantage of Photoshops new Smart Objects feature. Smart Objects allows you to create a single instance of an image element that is used in multiple areas of the layout. Any changes you make to the original object are reected in the rest of the layout, making it wonderfully easy to make alterations. Since I was creating the layout before I knew which images the client would choose for the project, I placed Camera Raw les as Smart Objects in the layout. That would allow me to easily replace the images while retaining any transformations that had been applied to the images within Photoshop. Once I received client approval, I replaced each of the placeholder images with the clients selections. Since Smart Objects were used, the replacement images were automatically scaled and rotated, just as I had done with each of the original placeholder images. Updating all the images in the document took less than ve minutes to complete since no layout changes were required to accommodate the new images. Next, I saved a low-resolution PDF of the updated layout and emailed it to the client to give them an opportunity to review the layout and respond with any changes they might want. While I waited for the clients response, I edited the original embedded raw Smart Objects to ne-tune the color, contrast, and sharpness, and then updated the images in the layout. Since the Smart Objects contained all the Camera Raw data from the original images, I was able to re-edit them in the Camera Raw dialog box without having to remember where the original image les were stored.
Initial layout with placeholder images
Updated layout with client-approved images
| Design Guide
SPECIAL TOPIC
When his client received the PDF le, he used Adobe Acrobat to add comments with the desired changes. After I received the comment-laden PDF le, I imported the comments into the high-resolution Photoshop le and made nal adjustments to the layout. After the client saw the initial layout, he requested that the photos and their frames not look quite as at as the originals. I knew that Photoshops new warping capability could be used to distort the shape of the images, but I was concerned that I might permanently change the images. As this project grew in complexity, I started to use more and more Smart Objects in order to maintain an easy editing path. Smart Objects can be nested, one inside another, while still retaining full editing ability of each object. In this instance, the original Camera Raw les were placed as Smart Objects so that they could easily be adjusted or replaced without having to re-work the layout. Then those images were included in a more complex Smart Object that included both the Camera Raw image along with a frame layer, shadow layer, and a vector mask that limited where the photo appeared. Those layers were then grouped into a second Smart Object which was distorted using the Transform and warping features to make them look as if they had been bent. When I needed to change one of the Camera Raw images, I simply clicked the Smart Object that included that image, I chose Layer > Smart Objects > Edit Contents, which presented me with a new document that contained the layers that made up the Smart Object. I then clicked on the Camera Raw Smart Object that was within that document and chose Layer > Smart Objects > Replace Contents to choose a dierent image. When I saved and closed both the Camera Raw image and the more complex Smart Object, the main layout updated to reect the newly changed content. That made the changes almost instantaneous and literally saved hours of editing that would have been required if a previous version of Photoshop was used to create the image. Since there were multiple rounds of client changes and ever-so-many tweaks that could not easily be undone, each time an alteration was made to the image, a new version was saved using Version Cue. This made it easy to get back to any previous version of the image if a mistake was made (or if the client simply couldnt make up his mind), and came in handy when the client ultimately decided he preferred the at version of the images over the more 3D version.
Special Topic: This topic is contributed by Ben Willmore, author of Adobe Photoshop CS2 Studio Techniques, Up to Speed: Photoshop CS2, and co-author of How to Wow: Photoshop for Photography. For information on books from Adobe Press, visit http://www.adobepress.com.
Result of experimenting with Photoshops new Warp feature to make the photos appear more 3D
In the end, the client chose the non-3D version, which was easy to retrieve because it was saved as a version within Version Cue.
Selecting multiple layers

Once the logo was in place, we added numerous illustrations and type objects to the artwork, resulting in dozens of layers. We wanted to keep the illustrations and type on separate layers, but also apply edits to them as a group.
Tip: To select multiple layers, press Ctrl/Command+Shift and click on the layers in the Layers palette. To deselect layers, choose Select > Deselect Layers.
New Feature: Photoshop and InDesign now display a font sample list in the Font menu, just like Illustrator. You can turn the option o or on and control the font sample size in preferences.
Photoshop now lets you visually select objects on dierent layers by clicking or drag-selecting directly in your artwork. This intuitive approach allows you to select objects without having to gure out which layer they are on. We wanted to select and align several of the type layers, so we selected the Move tool, checked the Auto-Select Layer option in the Control palette, and then dragged a marquee selection around the text objects in our artwork. The layers containing the type objects were automatically selected in the Layers palette. We then chose Layer > Align > Left Edges and Layer > Distribute > Vertical Centers. With the Auto-Select Layer option checked, a single click with the Move tool in the image selects topmost layer containing pixels in the area clicked. These features let you spend more time on your artwork and less time in the Layers palette. Another visual way of selecting is to use the Move tool and Right-click (Win) or Control-click (Mac OS) in the image. A pop-up menu appears showing the names of layers that contain pixels in that location. Choose a layer name to select the layer. This clever selection technique allowed us to isolate the purple swoosh shapewhich overlapped many other elements in the imageand change its color to blue.
Drag-selecting objects in artwork
Aligning and distributing objects on multiple layers
Clicking on artwork and choosing layer from pop-up menu
| Design Guide
Using consistent colors

In the course of creating the CD covers for our client, we used Photoshop and Illustrator, and then later leverage the artwork in InDesign and GoLive for the record company magazine and website. It was critical that color settings be consistent at each stage. As we mentioned at the beginning of the project, color settings can now be set and synchronized for all Adobe Creative Suite 2 components through Adobe Bridge. Another new feature is shared color swatches across Photoshop, Illustrator, and InDesign. Once our client chose a design direction, we set up a custom set of color swatches that everyone on our design team could use. This promotes not only visual consistency across all design elements, but ensures that all colors contain the same custom ink mixes of process or spot color. The print budget for the covers included four-color process plus one spot color. Since we had already moved some of our artwork into Illustrator, we created the swatches there. To the default set of swatches we added the spot color, which we named Techton Yellow-PMS 124 C, and a short set of process colors from the approved design. We then chose Save Swatches for Exchange from the Swatches palette menu, named the le Techton.ase, and clicked Save. The .ase le is saved to the Presets > Swatches folder of the Adobe Creative Suite component where it originated, in this case, Illustrator. To import the swatches to Photoshop or InDesign, choose Load or Open Swatches from the Swatches palette menu, locate the .ase le in Presets > Swatches where it was saved, and click Load/Open. To share the swatches with our team, we copied the .ase le to our server where everyone could access a copy. For team members working remotely, we emailed the swatches le.
New feature: CMYK values are now preserved by default across Adobe Creative Suite 2 components. The CMYK color you specify in an Illustrator or Photoshop image will retain the same number values when placed in InDesign, exported as PDF, and printed.
New feature: Illustrator and InDesign now have an Appearance of Black preference that allows you to choose how one-color and two-to four- color blacks (rich blacks) preview and print. This allows you to view accurate blacks on-screen, which is especially important for type. Photoshop previews accurate blacks by default.
Learn more For more information on color consistency, see the Color Workows for Adobe Creative Suite 2 available on Adobe Studio at studio.adobe.com.
SUBSTRATE
Illustrator 43 Adobe Creative Suite 2 | Design Guide
Photoshop
InDesign
Working with versions and alternates

In addition to the CD cover image containing the sunower, additional pages were created for the six-page book. Many versions of each page were developed for our client before a nal was chosen. At each key stage of our design, we saved a version of our artwork. When the client asked us to explore an alternate concept for the CD single, we saved this as an alternate. This way the design was tracked in parallel to the album design, making it easy to locate, review, and manage the related designs. Once youve saved versions of your design, youll appreciate how easy it is to view them as a group or locate the one you want. In Adobe Bridge, we opened the Techton Flu project folder and choose View > As Versions and Alternates. We then clicked on the Versions View button in the upper right corner of the window. The versions we saved were displayed as a group, along with the version comments we added beneath them. This made it easy to view the progression and variations in the design process.
Learn more For more information on versions and alternates, see Creating a managed project in Version Cue CS2 on page 30.
Versions of CD cover viewed in Adobe Bridge (above), and in Adobe Dialog (right) with Thumbnails view chosen
| Design Guide
Using Vanishing Point

The new Vanishing Point feature in Photoshop allows you to paste, clone, or paint images that automatically match the perspective planes in an image. We used this feature on the inside panel of the CD book to lengthen the height of the building. We started by opening the photograph of the building in Photoshop and choosing Filter > Vanishing Point. We used the Grid tool to draw a 4-point grid over the image. We then selected the upper section of the building, held down the Alt/Option key, and dragged the selection upward to extend the image, while automatically following the perspective in the grid. Vanishing Point is equally handy for removing unwanted elements from an image. Our original image had a power line that ran across the image. We were able to erase it using the Clone tool and Vanishing Point.
Before and after using Vanishing Point to expand building (and remove power line)
Vanishing Point window Creating a CD Cover 45
Warping images
The Warp command in Photoshop lets you create dimensional eects by wrapping an image around any shape, or stretching, curling, and bending an image. In this panel of the CD booklet, we selected the image on the layer, then pressed Ctrl/Command+T to invoke the Transform options in the Control palette. We clicked the Warp button in the Control Palette (you can also choose Image > Transform > Warp), and then we selected the control points of the selection boundary and dragged them toward the opposite side of the artwork, to create the eect of a sheet of paper being curled back at the edges to reveal the artwork beneath. The Warp tool is also a great tool for mocking up product shots and packaging. It allowed us to take some of the nal imagery from the CD covers and wrap them around objects, such as the cup shown below, to simulate how additional promotional pieces would look.
Image warp used to wrap image around object shape
Warp button in Control palette
Dragging a control point
After warping
| Design Guide
Constructing the nal layout in Illustrator

Four of the six panels for the CD book originated in Photoshop. Once we had these images to a stage we liked, we created an Illustrator template with guides and trim marks, and then placed the layered Photoshop les into our layout. When placing the les, we checked the Link option in the Place dialog so that if we needed to edit the original images in Photoshop, they would automatically be updated in Illustrator. All six panels t on a Tabloid size artboard in Landscape orientation. We drew the ornamental shapes and dashed-line bubbles in Illustrator, and then added the logos, text for the song list, and legal copy. When painting objects and text, we made sure that we were using the same color swatches created earlier in the project, so that colors would be consistent on all panels. To load custom swatches into Illustrator, choose Open Swatch Library from the Swatches palette menu, select Other Library from the bottom of the list, locate the .ase (shared swatches format) le you saved, and click Open.
Six-page CD booklet in Illustrator
Sending the CD booklet out for review

At this point, our CD booklet was ready for its rst review. In Illustrator, we chose File > Save As and selected Adobe PDF as the format. Adobe Creative Suite 2 ships with PDF presets that make it easy to choose settings for common output needs, and know that you are sending the most ecient and consistent PDF les possible. We chose the Smallest File Size preset and clicked Save PDF. Because the Smallest File Size preset converts images to RGB, it wouldnt be suitable for proofs or printingbut it is the perfect choice for an email-based review. We sent this comp via email to both internal and client reviewers, some of which had full versions of Acrobat 6 or later, and some which had the free Adobe Reader 7. Acrobat 7.0 Professional now has a feature that allows Adobe Reader 7 users to participate in reviews and comment on PDF les. To initiate and track the review directly from Acrobat, we chose File > Send for Review > Send by Email for Review. Simple on-screen instructions will guide you through steps to choose a PDF, add reviewers email addresses, and compose an email message. Reviewers will receive instructions with their message on how to comment directly on the PDF and email comments back to you in an .fdf lea le that contains comments only and thus is compact in size. Double-click the .fdf le to import comments automatically into your original PDF. The result below shows reviewers comments integrated in a single PDF le.
Tip: The enhanced Tracker feature in Acrobat keeps a list of which reviewers have returned comments and provides a simple interface for reminding reviewers about deadlines. For information about Tracker, see Acrobat Help.
Tip: Use the Summarize Comments feature in Acrobat 7.0 Professional to generate a printable text summary of reviewers comments.
Note: For information on initiating an online, browser-based, collaborative review using Adobe Version Cue CS2, see Sending the magazine out for review on page 70.
Email-based PDF review with comments
| Design Guide
Creating artwork for the CD single

While the rst CD booklet was out for review, we got to work on the next component of our design projectdesigning a cover for the CD single release. Illustrator ships with loads of new templates for everything from bumper stickers and T-shirts to matchbox covers. We started our CD layout by choosing File > New from Template, and then browsing to Applications > Illustrator CS 2 > Cool Extras > Templates > Band > CD Booklet.ait. We clicked the Use Adobe Dialog when opening the le, and then clicked the View icon in the upper right corner of the dialog box and chose Thumbnails. This view lets us see large thumbnail previews of the templates as we browse. This template is designed specically for CD cover artwork and contains four panels in one Illustrator document. You can either cut the existing sample art from the template, or use it for reference. You can also start with a blank CD Booklet template. Well start by showing you the nished artwork and then back up and describe how individual elements were created using some of the amazing new features in Illustrator.
Tip: Preview all the great templates that ship with Illustrator (or other Adobe Creative Suite components)without opening a single leby browsing in Adobe Bridge to Applications > Adobe Illustrator CS2 > Cool Extras > Templates.
Finished artwork for CD single
Using Live Trace

To create the artwork of the girl on the cover and sunower on the inside panel, we used a new feature in Illustrator CS2 called Live Trace. Live Trace allows you to take a raster image and convert it into a vector object. For the cover image, we started with a hand-drawn sketch of the DJ. The sketch was scanned and opened (it can also be placed) in Illustrator. After selecting the image, the Live Trace button and options appear in the Control palette. We chose the Comic Art preset, and Illustrator traced the image. We then converted the Live Trace object to a Live Paint object and painted it. We created the vector art for the sunower in a similar way, although this image originated as a grayscale photograph, and we applied custom colors as the artwork was traced. The following steps describe how to use Live Trace.
Tracing and painting in three steps Step 1: We started with a sunower photograph opened, and selected, in Illustrator. We then opened a color swatches palette that contained the colors we wanted to use in the nal sunower art. Step 2: The Live Trace button and options appear in the Control palette. We chose Tracing Options from the pop-up menu next to the Trace button. For Mode we chose Color, and for palette we chose 7-color trace, the name of our swatches le. With the Preview option checked, we could experiment with the Adjustment and Trace settings until we saw a result we liked; we then clicked Trace. Step 3: We then used the Live Paint bucket tool to paint areas of the vector artwork in our CD cover design. See the page 51 for more information about Live Paint.
Step 1
Step 2
Step 3
| Design Guide
Using Live Paint

The new Live Paint feature in Illustrator lets you paint vector graphics intuitively by automatically detecting and correcting gaps that would previously have aected how lls and strokes were applied. In the past you had to make clever edits with path editing tools to create closed shapes. No more. This new method of painting is more like the way you work when painting or coloring by hand on paper. We started by opening the vector DJ illustration we had traced using Live Trace. With the Live Trace object selected, we clicked the Live Paint button in the Control palette. (If you arent starting with a Live Trace object, select the Live Paint Bucket tool in the toolbox and click over your objects to convert it to a Live Paint group.) This allowed us to paint the shapes where paths overlap. We then selected a esh color in the Swatches palette and clicked over areas in the artwork we wanted to ll. Illustrator highlights the area to be lled as your cursor moves over it; no selection is necessary. In some places, small gaps appeared in the contour drawing where paint spilled into the adjacent area. The lips and the stripe in the shirt were not being recognized as distinct areas. With the Live Paint object selected, we clicked the Gap Options button in the Control palette (you can also choose Object > Live Paint > Gap Options), and turned on Gap Detection. We clicked Preview to see where gaps were being closed in our artwork. The Small Gaps setting worked ne, so we clicked OK. We were then able to ll the lips and stripes in the shirt as distinct color lls.
Paths in Live Paint groups can be adjusted at any timeand lls are updated instantly.
Tip: Arrange your Illustrator palettes to suit your workow and then save those palette locations as a named workspace, which you can activate at any time. Workspaces help you control on-screen clutter and streamline the tools available to you for dierent tasks.
Live Paint Bucket tool detecting and lling areas in Live Paint group
Before adjusting gap tolerance
After adjusting gap tolerance (note lips and stripe on shirt)
SPECIAL TOPIC
Creating three-dimensional elements

The 3D eects in Illustrator enable you to create 3D objects from 2D artwork. You can control the appearance of 3D objects with lighting, shading, rotation, and other properties. You can also map artwork onto each surface of a 3D object, as weve done with here with the CD.
Creating 3D objects Step 1: To create a 3D object, you rst need a 2D shape. Here, we drew the CD jewelcase cover by drawing its prole with the Pen tool in Illustrator. The cover consists of the part that holds the CD cover art and the two pieces that make up the hinge.
Step 1
Step 2: Now youre ready to apply a 3D eect. Extrude the jewelcase cover and the hinges separately by choosing Eect > 3D > Extrude and Bevel. In the Extrude Depth text box, enter a number (we used 364 points) to set the depth of the box. Check the Preview option and enter unique values for Perspective (we used 85) and Rotation (we used 21 for x, -8 for y, and 13 for z axes) . Because there are two pieces, you may have to move art into position and adjust perspective and rotation accordingly to make the pieces t properly. Note: There are several ways to rotate an object in 3D space. For unconstrained rotation, drag a track cubes face in the 3D Extrude & Bevel Options dialog box. The front of the object is represented by the track cubes blue face, the top and bottom faces are light gray, the side faces are medium gray, and the back face is dark gray. You can also choose a preset position from the Position menu, or you can enter a value between 180 and 180 in the text boxes for the horizontal (x), vertical (y), and depth (z) axes. Step 3: Now use the drawing tools in Illustrator to create the prole for the CD tray. Notice that the prole of the tray is actually drawn from the base of the form so that the art will extrude to the right.
Step 2
Step 3
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SPECIAL TOPIC
Step 4: Extrude the tray art using the same perspective from the CD cover extrusion. In this case the perspective was set to 85. In 3D the Extrude & Bevel Options dialog box, we chose Plastic Shading from the Surface pop-up menu and set the shading color to white to add highlights. We adjusted the light source by moving the small highlight icon in the center of the Surface thumbnail preview; we then experimented with light intensity, ambient light, highlight intensity, and so on, to achieve the best denition. By changing the surface properties of a 3D object, you can create a wide variety of appearances, from dull and unshaded matte surfaces to glossy and highlighted surfaces that look like plastic. You can also dramatically change the appearance of a 3D object by adjusting its lighting. For example, you can add lights, vary the light intensity, change the shading color, and move lights around the object. Step 5: Combine the four pieces of art to form the entire jewelcase. At this point we had to scale the cover slightly to make it t visually. The bottom hinge was selected and sent behind the tray art to appear as if it were connected. Step 6: For the nishing touch, map the CD cover art onto the jewelcase cover. Start by dragging the vector art of the CD cover into the Symbols palette. To be able to map 2D artwork to a 3D object, the artwork must be stored in the Symbols palette. To map artwork onto a 3D object, click Map Art in the 3D Extrude and Bevel dialog box. Use the Surface arrows to select the surface in your artwork you want to work with. (A light gray color marks surfaces that are currently visible; a dark gray color marks surfaces that are hidden by the objects current position.) Then, choose the artwork you want to map from the Symbol menu. You can adjust the position of the artwork by dragging it, and you can scale the artwork by dragging a corner handle. After you map the artwork, click OK. Click OK again to render the 3D object. This technique is just one example of the kind of artwork you can create using 3D eects. For complete information on creating 3D eects, see Illustrator Help.
Step 6 Step 5 Step 4
Preparing the CD booklet for output

Once we incorporated the nal review comments, we were ready to prepare the les for hand-o to our print service provider. Here is the checklist we used to proof and save our les. We talked to our print service provider and asked whether they preferred native Illustrator les or PDF les. The provider asked that we save the le in PDF format using the Press Quality PDF preset. This format embeds all images and fonts, but leaves transparency live, that is, not attened. Here is the checklist we used to proof and save our les.
In Illustrator: 1. Choose File > Document Color Mode, and make sure that CMYK is selected. 2. Choose View > Overprint Preview and make sure that we are looking at the
best quality preview for checking detail and transparency on-screen. As authors and designers of the documents, our own visual proof is an essential step in our proong workow.
3. Choose Edit > Color Settings, and make sure that North American General
Purpose 2 is chosen. We chose this setting at the beginning of our project through Adobe Bridge, but its good practice to verify the setting again at hando stage.
Tip: Choose Window > Document Info in Illustrator to check color mode, artboard dimensions, fonts, spot colors, linked images (including color mode, resolution, dimensions), and more.
4. Print a nal color draft that includes printers mark to a desktop printer. We
check that trim marks are accurate, and do a visual hard-copy proof of all pages.
5. Save a nal version of the le and add nal to print in version comments. 6. Choose File > Save As, select Adobe PDF as the Format, and click Save. In
the Save as Adobe PDF dialog box, we select the Press Quality PDF preset. To accept the settings associated with the preset, click Save PDF. Our next step was to open the PDF le in Acrobat 7.0 Professional and do a Preight check on the document.
| Design Guide
In Acrobat: 1. Open the PDF le in Acrobat 7.0 Professional and choose
View > Toolbars > Print Production. Click Output Preview to do a visual proof of our document. In this case, we spotted artwork that used two spot colors that needed to be converted to CMYK, so we clicked Ink Manager.
2. Use the Ink Manager to Convert All Spots to Process, and click OK. 3. Choose Tools > Print Production > Preight. Select and run any of
Learn more For more information about PDF presets, see Creating Adobe PDF les on pages 24-25. For information about print workow, see Preparing Files for Print on page 94.
the Preight proles that apply to your job. In this case, we selected List Bitmaps Below 300ppi and List non-CMYK Objects, and clicked Execute for each. The preight reported no problems, so we could proceed with handing o the les.
4. Copy the PDF and Acrobat Preight report together in a folder and burn
them onto a CD/DVD that we deliver to our print service provider.
Output Preview
Convert Colors
Add Printer Marks
Fix Hairlines
PDF Optimizer
Acrobat Print Production toolbar

Trap Presets Preilght Ink Manager Crop Pages Transparency JDF Job Flattening Denitions
Ink Manager with Convert All Spots to Process selected Acrobat Output Preview Acrobat Preight proles
Project and asset management (Adobe Bridge and Version Cue) Snippets and Object Styles (InDesign) Text import, styling, and wrap (InDesign) Placing graphics from multipage PDFs (InDesign) Native le support and layer visibility (Photoshop, PDF, InDesign) Transparent eects (InDesign) Saving versions (Version Cue) Browser-based PDF review (InDesign/Acrobat) Contact sheet (Adobe Bridge/InDesign) Print output (InDesign/Acrobat)
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Designing a Magazine
In this project, we describe how a music record label magazine was designed and produced using InDesign CS2. Asset and project management are key features in Creative Suite 2, and well show you how to make the most of these tools. Support for native layered Illustrator and Photoshop les in InDesign let you control layer visibility without having to resave or place new les. Consistent color support means you see and print the same colors across Adobe Creative Suite components, and enhanced PDF creation options make simple work of distributing reviews and collecting comments. Designers and writers will enjoy new InDesign features that make page design, text editing and styling, and quality output more streamlined than ever.
| Design Guide
Designing a Magazine 57
Organizing project assets

We began this project by organizing all of our assets for this volume of the magazine together in Adobe Bridge. This included InDesign templates, graphics, text les, schedules, a contact list for team members, a list of reviewers, color swatches for exchange (.ase les), fonts, and photos. Scalable previews and search features in Adobe Bridge made it easy to locate the les we needed without having to open them. The multipage PDF previewer in Adobe Bridge let us page through back issues of the magazine to locate layouts for reference, without having to open individual les. Our workgroup consisted of writers, art directors, designers, and production artists who would all need access to project les. To keep track of who was working on which les, and which were the latest versions, we created a new Version Cue project called Substrate Mag Vol. 12. For more information, see Creating a managed a project with Version Cue CS2, on page 30.
Multipage PDF viewer in Adobe Bridge
Detailed metadata including fonts and color swatches used is saved with InDesign les and can be viewed in Adobe Bridge without opening les.
Metadata appears when selecting, or mousing over, a document thumbnail in Adobe Bridge.
| Design Guide
Setting up an organized document

We organized our InDesign document so that guides, graphics, text, and language translations were on separate, named layers. Master pages were set up for each of the basic layouts in our editorial and catalog sections, and contained text and graphics placeholder frames, footers, and page numbers. Paragraph, Character and Object Styles were used throughout the document for design consistency.
Masters and pages are accessed through the Pages palette.
InDesign magazine with master pages applied to editorial and catalog pages
Dragging and dropping from Adobe Bridge

Adobe Bridge is seamlessly integrated with InDesign, allowing us to quickly locate, preview, and drag and drop images into our magazine layouts. A process that used to require hunting by le name through dialog boxes is now accomplished by reducing Adobe Bridge to Compact mode, where it remains in view when working in InDesign. Information about the asset, such as image dimensions, resolution, and date can be viewed immediately by moving the cursor over the image before dragging it, without having to open it. Assets can be viewed and sorted by various criteria, or you can arrange thumbnails manually according to your own preferences. Best of all, assets can be dragged directly onto our magazine pages as linked images.
Adobe Bridge in Compact mode
Photoshop image dragged from Adobe Bridge into InDesign
| Design Guide
Using snippets
Snippets are InDesign objects containing content and formatting that are stored in an ecient .inds format for sharing with colleagues or simply with another InDesign document. A snippet is a subset of the document and can represent page geometries, frequently used content, and XML structure of an InDesign page object. Because they are saved in XML format, snippets contain all content and formatting information, including tags, object, and character and paragraph styles. An example of a Snippet in this magazine is the Contributors section, which was designed by our art director and emailed to our design sta to implement in this issue. Instead of having to write down the specs of the new design, all information is stored in a snippet, streamlining both communication and production. To create a snippet, use one of the selection tools to select an object, or set of objects, on an InDesign page and drag it to Adobe Bridge; or choose File > Export and select InDesign Snippet as the format. It may be useful to add metadata to the snippet before sending it to others. Select the snippet thumbnail in Adobe Bridge and enter information such as description, title, usage, and so on. To use a snippet, select the le in Adobe Bridge and drag it onto your InDesign page, or choose File > Place and double-click the Snippet le that uses the .inds extension. All formatting is retained and content can be edited as needed.
Tip: To export a Snippet, simply select the graphics and text objects you want, choose File > Export, and then choose InDesign snippet as the format. Or, drag and drop the selected object or objects into Adobe Bridge.
Snippet metadata edited in Adobe Bridge
Snippet dragged from Adobe Bridge to InDesign page
Snippet duplicated and content edited
Using Object Styles

Object Styles let you apply consistent graphic and text styling attributes to multiple objects in your document. Attributes saved with an Object Style include graphic formatting, such as transparency, stroke and ll, corner eects, and drop shadows or featheringas well as text and layout formatting, such as paragraph and character formats, text wrap, and anchored object options. On the News & Events page of the magazine, a system of tabbed cards was used to highlight each section. We set up an Object Style that contained the drop shadow and ll and stroke color, and named the style News & Events tab. Additional cards were created by drawing rectangles to size and applying the Tab style from the Object Style palette. Later on, when the client wanted to see what the cards would look like in blue, we simply double-clicked the Tab style, changed the ll to blue and clicked OK. All objects using that style in the document were updated without selecting a single object.
Object Style dened
Object Style applied to multiple objects
Editing Object Style denition updates all instances
| Design Guide
Importing, styling, and editing text

New Feature: Quick Apply lets you apply Paragraph, Character, and Object Styles without ever taking your ngers o the keyboard. Double-click to create an insertion point in the text, and then press Ctrl+Enter (Win) or Command+Return (Mac OS) to invoke Quick Apply, and start typing the name of a style. Press Enter/Return to apply the style.
Much of the copy for our magazine articles comes from writers in MS Word documents and requires stripping out text formatting and style usage; the copy is then reformatted with our own styles. InDesign CS2 streamlines this time-consuming process with new Microsoft Word Import Options and Custom Style Import features. Styles in MS Word documents can be automatically mapped to styles in an InDesign document as they are imported, with full control over which styles to override or retain. Automatically mapping styles lets our designers quickly strip out overall text formatting, without losing local formatting that the writer has applied to emphasize words or concepts in the text. For writers that consistently use certain styles, the designer can automate the process even more by saving a set of options as a preset and applying those settings whenever importing. Smart text-handling features let our editors drag and drop text from one area to anothereven into a dierent text frame. The Story Editor feature enables editors to open the text of a story in a separate window where they can focus on copy and not design.
Tip: To turn on the Drag and Drop feature in InDesign, choose InDesign > Preferences > Type, and check the Enable in Layout view option.
Microsoft Word Import Options
SPECIAL TOPIC
The ins and outs of text wraps

Special Topic: This topic is contributed by James Felici, author of The Complete Manual of Typography, a hands-on guide to typography and typesetting using personal computers. For information on books from Adobe Press, visit http://www.adobepress.com.
A good text wrap closely follows the contour of the object being wrapped. InDesign expertly detects an objects shape and guides text around it. But in typography, whats mathematically correct doesnt always look correct; so theres no perfect one-click wrap. Text wraps look better when the margin abutting the object is justied. To make the right-hand margin justied in text with a ragged-right margin, go to Preferences/Composition and choose the justication option that suits the shape of your wrap. InDesigns Text Wrap palette (Window > Text Wrap) species the distance between an object or frame and the text that wraps it. But setting these values is just the beginning. Wrapping text around a rectangle is straightforward because the shape is simple. Your main concern is balancing the white spaces on all sides of the wrapped object. The value for the distance between the top of a rectangular object and the text that runs above species the distance between the object and the baseline of that line of text. (The baseline is the invisible line upon which characters appear to sit.) Leadingthe space between lines of typeis measured from the baseline of one line to the baseline of the line preceding it. A top text wrap boundary of 0 means that the wrapped object could snuggle right up to the baseline of the text above it, leaving descending parts of letters such as g and y overlapping the object. Always have some positive value for this distancetry the leading of your text. For text below the wrapped object, the boundary you specify denes the minimum amount of extra leading that can appear between the bottom of the object and the baseline of the rst line of text below it. If the texts leading is 12 points, and you specify a value of 0, that baseline can come no closer than 12 points from the object.
Selecting equal values for all the boundaries of this frame doesnt create even spacing on all sides.
Dragging the lower wrap boundary upwards allowed another line of type below the wrapped frame, but the frame still had to be nudged a bit lower to center it vertically .
| Design Guide
SPECIAL TOPIC
Clearly, having equal values for the boundaries above and below an object doesnt guarantee that these spaces will appear equal. Ultimately, the spaces you see around the wrapped object depend on where it sits relative to the baselines of the text around it. The values you set in the palette are minimums, not absolutes, so adjustments are normally needed to get the boundaries to appear equal. You have several options: Adjust the values in the Text Wrap palette (you can type negative values, using the hyphen as a minus sign). Adjust the wrap boundary using the Direct Selection tool.
Figure A
Resize the object. Reposition the object vertically (nudge it with the arrow keys). Once your wrap boundaries are equalized, theyll stay that way, unless you alter the text leading. Wrapping curved shapes is trickier. Take, for example, a simple semicircle. Where the outline curve of the object is most vertical, the space between it and the text is most predictable. But as that curve becomes more horizontal, the space between the text and the wrapped object grows, because the width of the text wrap boundary is fattened by slices of the white space between the lines of text. This makes a circular wrap appear oval, pinched at the waistline. With undulating curves the eect is more subtle, but its still there.
Figure B
To compensate, select the object and use the Direct Selection tool to manipulate the wrap boundary just like any other path. You can add points using the Pen tool. To judge the results, print a proofeven the best screen display is a coarse approximation of a printed page. In a semicircular wrap (g. A), the gap between text and shape grows as the curve becomes more horizontal. Selecting the text (g. B) shows that the text shape is dened by where the lines bounding boxes touch the wrap boundary. Using the Direct Selection tool to modify the boundary at the poles of the semicircle (g. C) makes spacing more consistent.
Figure C
Placing graphics from a PDF le

We had more than 100 CD covers that we needed to place on the catalog pages of the magazine. The cover assets were delivered to us from the agency in a single PDF le, with one cover on each page. We looked through the pages of the document using the built-in multipage PDF viewer in Adobe Bridge. InDesign lets you place individual pages of a PDF le, making this an ecient format for handing o a large number of les. The template pages for the catalog were already set up with graphic frames at the correct size and linked to the text as anchored objects. We chose File > Place, selected the PDF le containing the CD covers, and then clicked Show Import Options. We chose All Pages and clicked Open. A loaded icon with a plus sign appeared, and we moved over a graphic frame and clicked to place the artwork. To automatically size the artwork to the frame, we chose Object > Fitting > Fill Frame Proportionally. We continued to place additional CD covers throughout the catalog. The icon remains loaded with the contents of each successive page in the PDF le. Each time we moved over a graphic object and clicked, another cover was placed. Because the artwork was anchored to the text that described it using the Anchor Object feature, we could edit text and ensure that the graphic always owed with the text, even when it moved to a dierent page.
Multipage PDF viewer in Adobe Bridge
Before and after tting content to ll frame proportionally Tip: When a placed image comes in much larger (in dimensions) than the frame holding it, choose Object > Fitting > Centerpoint before scaling it. This way the image stays centered, and visible, within the frame.
Place PDF dialog box (above) and placeholder frames in layout
Multiple images from single PDF le placed into layout
| Design Guide
Controlling layer visibility

Photo editors and artists often work on photos and images in parallel with page design and story developmentwhich means a decision on the nal cover image isnt made until it is placed into the layoutin the context of the masthead treatment and text. Photoshop artists create variations of the background image to be used on the cover and save them as layer comps within the Photoshop le. The layered Photoshop (or Adobe PDF) le is then placed into InDesign, where the visibility of layers and layer comps is controlled using Object Layer Options. No longer is it necessary to save and import individual variations of the same layered le, just to see how various image treatments will look within the page layout. Photoshop layer comps and InDesign Object Layer Options oer an intuitive, time-saving solution. To view dierent treatments of the placed background image, we selected the graphic object in InDesign and chose Object > Object Layer Options. We then clicked the eye icon (it works just like in the Layers palette) next to each layer name to show or hide the various layers, and could choose one of several layer comps saved with the image from the Layer Comp pop-up list.
Learn more For more information on Photoshop layer comps, see Photoshop Help.
New feature: Place layered Photoshop or Adobe PDF les into InDesign and use Object Layer Options to control layer visibility as you experiment with design options. Or, work with variations of an image multiple times within a layout while linking to a single layered le.
Layer Comp 01 visible
Adding transparent eects

New Feature: InDesign and Illustrator now support true rich-black preview. You can trust that the black you see on-screen reects the actual color mix and not a generic representation of black. Set Appearance of Blacks options in preferences.
In the magazine spread below, a number of transparent eects are in place. The photograph of the DJ contains a transparent background in Photoshop. We dropped it onto our InDesign page, selected it with the text column, and in the Text Wrap palette, clicked the Wrap Around Object Shape icon. The text recognizes the transparency in the image and wraps around the contour of the DJs armwithout the need for clipping paths or custom text wrap shapes. We then selected the photograph and added a drop shadow by choosing Object > Drop Shadow. Because the transparent background is recognized, we got a clean shadow along the contour of the image. New Drop Shadow options let us assign spread and noise values, as well as opacity and blur. The ornamental shapes were drawn in Illustrator, and pasted into InDesign. We then selected the vector paths and lled them with a gradient, and then used the Transparency palette to adjust the opacity and blend mode of the shapes so that they interacted with the images and text beneath. We selected the Feast for One text and set the blend mode to Dierence (see inset at left); for the ornament that overlapped the photographs in the lower right corner of the page, we set the Opacity to 35%.
Note: OpenType fonts are supported in all Adobe Creative Suite 2 components, enabling automatic ligatures, such as the s and t in the title below.
Before and after text wrap and drop shadow added
Learn more For more information on transparency and printing, see Preparing Files for Print, on page 94, as well as The Designers Guide to Transparency, available on Adobe Studio at studio.adobe.com. Magazine spread with transparent eects on native and placed objects
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Saving versions
In a workgroup setting, many team members access les at dierent stages in the workow. All of our project les and assets are shared over a server and, as we described earlier, have been saved to Version Cue projects. Each time a team member works on a le, he or she Saves a Version and adds a few version comments, so that the next person accessing the le knows what was last done to the le. Saving a version after key content changes provides an ecient record of editsand maintains a reference to a single, shared le. Our designers also save versions of page layouts as they are workingthen present them to the art director for feedback. Instead of saving each le under a separate name, and trying to keep track of them for presentation and review, we simply use the Save a Version command from within InDesign. All versions of a le are saved under the same le name, making ecient use of disk space and production time. The rst time a document is saved as a version, choose File > Save As. Click Use Adobe Dialog to display Version Cue options. Select Version Cue in the left column, and then click on the project that you wish to save it to. In this case, we chose Substrate Mag v.12 (the Version Cue project we created at the start of our project), named the le, and then clicked Save. To save subsequent versions, we chose File > Save a Version, and added a version comment, such as gradient background, and clicked Save.
Tip: Even teams sharing a small local network can take advantage of Version Cue features. A document can be shared by members of your group, without overwriting the others work. For more information on saving versions, see Creating a managed project with Adobe Version Cue CS2 on pages 30.
Tip: The rst step to saving a version is to create a Version Cue project. See pages 30-31 for more information.
Saving the rst version from InDesign, using Save As command
Versions of magazine layouts viewed in Adobe Bridge
Sending the magazine out for review

Because of the size of our publication and numerous reviewers, we conduct browser-based reviews on a PDF of the magazine. A single PDF le is posted on a server and accessed through a Web browser, so that reviewers can access the document from anywhere with Internet access at anytime. All reviewers comment on the same document, and can see their comments in the context of others. The editor collating comments has only one document to track, with all comments summarized in one place. Maybe you have a smaller workgroup and dont have a server set up to host the review. Now theres a simple way to set up an online PDF review using the Version Cue workspace as host. If you installed Version Cue, you will already have a workspace available to host the review. For more information on Version Cue PDF Review, see Version Cue Help.
Tip: PDF presets are available in all components of Adobe Creative Suite 2 to ensure consistent, quality Adobe PDF les using settings appropriate for your output needs. For more information, see Creating Adobe PDF les and PDF Presets on page 24.
To generate a review for the magazine, we started by creating a PDF from InDesign. We choose File > Export, clicked on Version Cue, and then opened the Version Cue project folder we created earlier. We selected Adobe PDF as the format, named the le, and clicked Save. In the PDF Export dialog box, we choose the Smallest File Size for PDF preset and clicked Export.
Save the PDF for review from InDesign to a Version Cue project.
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Tip: To enable users of free Acrobat Reader 7 to participate in browser-based reviews, open the PDF in Acrobat 7.0 Professional and chose Comments > Enable for Commenting in Adobe Reader; then save the le.
The next step was to set up the review and invite reviewers. We selected the Version Cue Advanced Administration utility in the System tray (Windows) or Version Cue menu (Mac OS) and followed simple on-screen prompts to add users to our team of reviewers. We then clicked on the Version Cue CS2 PDF Review link at the top of the page and again followed simple steps to start a review. Detailed instructions on this procedure can be found in Version Cue Help. Once the PDF le was specied and reviewers invited, an email message was sent to the team with a URL that they could click. The PDF of the magazine was opened directly in their Web browseralong with Acrobat commenting tools. All reviewers commented on the same PDF le and could see each others comments. When a reviewer nished commenting, he or she clicked the Send Comments button and the PDF le was immediately updated. We were able to view and manage all review comments on our end by clicking on Active Reviews in the Version Cue CS2 Review (of the Version Cue Advanced Administration utility) window.
PDF Review page in Version Cue Advanced Administration window
PDF as it appears in browser with Acrobat commenting tools and instructions to reviewers
Preparing the magazine for print

After incorporating review comments, we were ready to prepare our publication for hand o to our print service provider. This process begins with a series of checks done on our own end. Its more ecient, and less costly, to troubleshoot and x problems in-house than to pay our service provider to do the same. Here are the steps we took to ensure a smooth print workow.
1. Turn on View > Overprint Preview in InDesign and do a visual proof of
each page on-screen. This gives us the most accurate look at color (especially spot color), transparency, and detail. We can zoom in on image details where necessary to check image edges, borders, and alignment.
2. Turn on View > Separations Preview in InDesign to make sure the correct
Tip: You can use the InDesign Contact Sheet feature to quickly lay out multiple images for color proong. In Adobe Bridge, select the thumbnails of the images you want to proof, and then choose Tools > InDesign > Create InDesign Contact Sheet. Options let you specify layout, captions, output (InDesign or PDF le), and so on.
number of colors are showing up. If colors other than CMYK turn up, use the Ink Manager to convert them.
3. Choose File > Preight in InDesign and examine the report on Fonts used
or missing, Links and Images (which includes mode of all images, such as RGB), Colors and Inks, and Print Settings. In this case, a number of RGB images in the document were not converted to CMYK.
4. In Photoshop, we converted the images by choosing Batch > Automate and
using the Conditional Mode Change action. This action will be available once you have chosen the Production set of actions from the Actions palette menu.
InDesign Preight results
Converting RGB images to CMYK using Photoshop Batch options
| Design Guide
5. After converting the images to CMYK, we run a nal Preight check from
InDesign and save the error-free report with the project les.
6. At this point, we print a desktop proof of the nal project. This includes
printers marks, to give us a record of trim and bleed marks, and page information that includes le name, date, and time.
7. Check with our print service provider to conrm whether native InDesign
les or PDF les are preferred. For the magazine, the provider requested we send a PDF le using the PDF/X-1a preset. PDF/X-1a is designed for high-end output and creates a le in which fonts have been embedded and transparency has been attened. Only CMYK or spot color is included.
8. Create a PDF le from InDesign by choosing File > Adobe PDF Presets >
Final hando includes the magazine in PDF, a Preight Report in PDF, and a JDF (Job Denitions le).
PDF/X-1a [2001]. Name the le and click Save. In the Export Adobe PDF dialog box, we accepted all the settings associated with the preset, and clicked Export. (Selecting the PDF/X-1a preset automatically chooses the high-quality, high-resolution attener preset and attens transparency according to those settings when creating the PDF.)
9. Open the PDF le in Acrobat 7.0 Professional and run a Preight check.
Choose Tools > Print Production > Preight, and select the PDF/X-1a:2001 prole; then click Execute. Acrobat checks the le to make sure that it is a valid PDF/X-1a le. In this case, no problems were reported. We ran an additional resolution Preight check using the List Bitmaps below 300ppi prole; this also reported no errors, so we saved a copy of the report with the project les. You or your print service provider can create a custom Preight prole that includes all the checks appropriate to your job.
10. Create a JDF (Job Denitions Format) in Acrobat to go along with
Learn more For more information on JDF workow, see Acrobat Help, as well as Print Production topics on Adobe Studio at http://studio.adobe.com. For more information on print workow, see Preparing Files for Print on page 94.
the PDF le. A JDF le describes the creative intent of the print job and includes information about media and ink requirements, production quantities, and customer information. The JDF le also contains references to les that contain pages (such as chapters, TOC, and so on) and describes how those pages should be ordered to make the end product. Choose Tools > Print Production > JDF Job Denitions, and follow the on-screen prompts to enter customer and project information. Or, ask your service provider for a JDF template.
11. We copied the PDF, JDF, and Acrobat Preight Report together in a folder
and burned them onto a DVD that we delivered to our print service provider.
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Highlighted features: Site diagram (GoLive) PDF review (GoLive, Acrobat) Package for GoLive (InDesign) CSS design and layout (GoLive) Smart Objects (GoLive)
3
Designing a Website
In this project, we design a website using content from a printed magazine just published for the same client. The ability to share content across projects and media is one of the productivity features of Adobe Creative Suite 2. Assets and layouts can be converted for use online, without having to open and optimize les in their source components. Content common to both a printed catalog and its online version can maintain a link to the same source le and be updated automatically as edits are made to the original. You can also create a website from scratch yourself or use one of the many templates included in GoLive. With support for XHTML and CSS standards, GoLive provides powerful hand-coding and visual tools to design your sites using the latest technology available.
| Design Guide
Designing a Website 75
Creating the site diagram

The rst step in designing any site is to design the information architecture that is, how the site will be laid out and how users will navigate through it. For this project we took advantage of the site diagramming tools available in GoLive. By diagramming directly in GoLive, we were able to build from the site diagram to the prototype to the nished site, without having to duplicate work along the way. We started by choosing File > New and choosing Web > Pages > HTML Page, and clicked OK. We then chose File > Save, named the le, and clicked Save. To open the Site window, we chose Reveal in Site from the document window menu. The HTML page just saved should be highlighted in the Files tab of the site window. To create a site diagram, we chose Diagram > New Diagram, named the diagram, and clicked OK. We then clicked the Diagrams tab in the site window, and double-clicked the Substrate diagram we just created. The diagram window appears with a layout grid. In the toolbox, display the diagram toolset. You can add icons to the diagram to represent the pages and other elements of a site, and you can use connectors to organize and represent the page hierarchy and links. The diagram window works just like the layout grid in GoLive, so you can easily arrange pages and other elements in a diagram any way you want. Then, by using the Submit feature of GoLive, our designers were able to convert the diagram into real, editable HTML pages into which they could add the assets created in earlier projects. (To reverse a submission, you can recall the diagram.) You can submit and recall diagrams and elements as often as necessary as you develop a site. To submit an entire site diagram, open the diagram in a design view, and then choose Diagram > Staging > Submit All.
Tip: To create an Adobe PDF le of a site diagram for client review, double-click the diagram, choose File > Export > Diagram. In the Export Options dialog box, select PDF from the Export Diagram menu, and then click OK. Then, just name and save the PDF le. To send the PDF for an email-based review, open the PDF in Acrobat and choose Comments > Send for Review > Send by Email for Review, and follow the on-screen prompts.
GoLive site diagram window
| Design Guide
Converting the magazine to Web assets

With the site design complete and the empty page les in place, we were ready to bring in the assets we created for the printed magazine. Converting the magazine assets for the website consisted of two main procedures. First, we needed to export source les from InDesign using the Package for GoLive feature so that they could be opened in GoLive or other applications. After exporting the les, we were able view them in GoLive, and drag in the les we wanted onto our Web pages. During packaging, stories in an InDesign document are converted to XML les with an .idpk le name extension. By default, paragraph and character styles applied in InDesign are converted to their CSS equivalents in GoLive. (CSS styles can be edited before placement in GoLive, or mapped automatically to CSS styles in a template.) These are all saved in a package folder. This feature was an ideal option for our project, because the website reuses many of the assets and formatting we had already created in previous projects. To create the package, we opened the magazine in InDesign and chose File > Package for GoLive. We chose a name and specied the web-data/web-packages folder in the site project folder as the location. We chose All Pages and selected the Original Images option, because we wanted to control optimization of the images in GoLive.
Tip: Although GoLive packages are designed for use with Adobe GoLive, the les in a GoLive package are saved in nonproprietary le formats, such as XHTML, XML, JPEG, and GIF, that can be opened with other applications.
Tip: You can also export an InDesign page directly to HTML. After using the Package for GoLive feature, open the package in GoLive and click on the HTML Preview button; then choose Export As HTML from the Package menu.
Package for GoLive feature in InDesign
Resulting package in GoLive
Dragging assets from the package window onto a Web page
Using packaged les in GoLive

When you open a packaged InDesign document in GoLive, it appears in the package window, which has tabs that allow you to switch between a page view of the package and a list of the package assets, grouped by type. (You can also see both of these package views from the Inspector window.) The package window allowed us to navigate through pages of our original magazine, picking the assets we wanted to use. We simply dragged assets, such as images and text blocks, from the package window onto a Web page. Because packaged images are treated as Smart Objects by GoLive, and all the original image information is retained in the packaging process, images can be resized and reoptimized at any time directly in GoLive. Use the Inspector palette or the Smart Objects settings to make adjustments to images.
Tip: If you decide to do more work on an original InDesign document, you can choose to overwrite the previous package when you save the document. The package is then updated automatically in GoLive.
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Using Smart Objects

Tip: When you double-click a Smart Object in the Layout Editor, the source le opens in its original application. If you make changes to the source le, GoLive automatically updates the Web-ready version of the le.
The Smart Objects feature in GoLive gave us a lot of power and exibility as we worked with assets created in other Adobe Create Suite 2 componentsyou get the same power and exibility when working with assets from non-Suite applications, too. When you specify an image as a Smart Object, GoLive creates a target le in a Web-optimized format and maintains a link to the source le. When you move, resize, or reoptimize a Smart Object, youre really manipulating the target le; the source le doesnt change. As a result, we could generate multiple image variations from a single source le throughout our website without diminishing the image quality. And, we were still referencing the same source le used in the printed magazine; so if edits were made to the original Photoshop le, both the InDesign magazine and the GoLive website versions would be updated. Examples of Smart Objects in our site include the vector logo from Illustrator, numerous album covers from Photoshop, and PDF documents posted to the site for download. Double-clicking on a Smart Object in GoLive opens the original in the source component for editing.
Tip: Smart Objects can be identied in your layout by the icon that appears in the upper left corner of the object. The le format (.psd, .ai, .pdf, and so on) of the original object is indicated by another icon in the lower right corner.
Smart Objects in our site include the vector logo, album covers, and PDF les.
Using Cascading Style Sheets

Tip: Using CSS prebuilt objects in the Objects palette eortlessly enables a user to create complex liquid-table-like DIV / CSS design. Hand-coding this behavior is quite dicult for the novice Web user, especially if they do not know the ins and outs of CSS design.
All of the formatting on our site was done using Cascading Style Sheets (CSS). CSS lets you control the formatting, positioning, and layering order of text and other elements on an individual Web page, on multiple pages, or throughout an entire site. Because CSS can be applied to multiple pages, you can modify a single style sheet and have the changes take eect globally. While using CSS has long been a powerful and versatile tool for formatting styles on Web pages, it has also been a fairly complex and labor-intensive process. The GoLive CSS Editor, a graphical user-interface for working with CSS, makes using CSS easier than ever. Because GoLive treats text assets in a package as components, we were able to make any text changes we wanted using the CSS Editor. The styles and formatting we applied in InDesign were retained in a style sheet created during the packaging process. To open the CSS Editor, just click the Open CSS Editor button in the GoLive document window, or choose View > CSS Editor. With the CSS Editor, you can easily update styles as needed and have those updates ripple through an entire site. One of the really powerful ways to use CSS is to create an external style sheet and then link elements in a site to it. By linking elements to an external style sheet, you can dene the styles you want so that you can establish a consistent look, and you can apply those styles throughout a site without having to dene them over and over again.
New Feature: GoLive CS2 now lets you control the layering order, (or z order, as in x, x , y and z axis) of CSS elements. This allows you to specify whether text or graphics appear below or above other CSS elements on the page.
Tip: DIV selection is now easier than ever using the Object Selection tool in GoLive. Press Shift while clicking on objects, or dragselect to select multiple objects in a region.
Site CSS Editor in Split Visual Design and Source Code view
| Design Guide
Heres how to create a basic external style sheet:
Creating an external style sheet Step 1: Chooe File > New, and then choose Web > CSS. Choose a precongured style sheet, or choose basic.css to open a simple stylesheet. The external CSS Editor appears. At this point, its a good idea to rename and save the new le, keeping the .css le extension. We renamed our le substratestyles.css. Step 2: Next, dene the text and formatting styles for whatever properties you want. Dierent tabs of the CSS Editor let you control properties such as fonts, borders, margins, backgrounds, and so on. Step 3: Open one of the pages of your site (or create a new page), and then open the CSS Editor. Click and hold the New Link to External CSS button and choose one of the CSS style sheets from the pop-up list. You can also click and release to create an empty reference placeholder under the Name column and reference the external stylesheet in the Reference text box. The styles you dened in the external .css le are now available to you in the CSS palette. With an external style sheet in place, any changes you make to it are automatically reected in the pages youve linked to the style sheet. Step 3
Step 2
Step 3 result
Saving images for the Web

All Adobe Creative Suite 2 components support output for both print and Web or online content. In addition to the Package for Web feature in InDesign, the Save for Web options in both Illustrator and Photoshop allow you to optimize individual images. PDF documents can be optimized specically for use as downloadable les from a website or mobile device, or for full-screen viewing. Using the Save for Web options, you can preview your original artwork next to three optimized previews, and adjust the settings on each until you see a suitable compromise between image quality and le size. If your Illustrator artwork has placed bitmapped images or raster eects, or if your Photoshop artwork contains vector artwork, such as Smart Objects, you will need to experiment with optimization settings to nd the right match. Or, use the Slice tool in Illustrator or Photoshop and customize the optimization settings for each slice. Adobe PDF les can be created and optimized for posting on websites using one of the Adobe PDF presets available through any Adobe Creative Suite 2 component. For more information, see Creating Adobe PDF les on page 24.
Note: Illustrator les can be optimized as GIF, JPEG, SVG, SVG-Tiny, SWF, PNG-8, PNG-24, and WBMP. Photoshop supports JPEG, GIF, PNG-8, PNG-24, and WBMP.
Tip: To optimize an existing PDF le for downloading from a website or online viewing, open it in Acrobat and chose Advanced > PDF Optimizer or File > Reduce File Size.
Learn more For more information on saving and optimizing images for the Web, see Help topics in the corresponding Adobe Creative Suite component.
A Save for Web dialog box is available in Photoshop and Illustrator
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Reviewing the website

There are several dierent ways you can have others review a website. Of course, you can always launch the site and ask others to review it online. But if you want to get feedback earlier in the process, it makes sense to create an Adobe PDF le of your pages and send that out for review. To convert a single HTML page to PDF, click the PDF Preview tab in the document window. Then choose File > Export > HTML as Adobe PDF. Choose a PDF preset in the Export Adobe PDF dialog box and click OK. We used the GoLive default. To convert multiple HTML pages to PDF, open the les folder in the Site window, select the HTML pages you want, and then choose File > Export > HTML as Adobe PDF. Make sure that the Create Single PDF from All Files Selected option is checked, and click Export. We then opened the PDF in Acrobat, chose Comments > Send for Review > Send by Email for Review, and followed the simple on-screen instructions. This option enables users of free Adobe Reader 7 to participate in the review. Alternatively, you could choose to convert an entire published site to PDF if you want to show your clients a prototype of the entire site. You can convert the site from within Acrobat 7.0 Professional by using the Create PDF From Web Page command. This command allows you to convert everything from a single page to an entire site. For information, see Converting Web pages by specifying a URL in Complete Acrobat 7 Help. As the nal stage in our workow, we pushed the site to a live server using the new secure FTP and WebDAV capabilities in GoLive CS2.
Tip: When a PDF le is sent for review using the Comments > Send for Review > Send by Email for Review command in Acrobat, it is atuomatically enabled for review by users of the free Adobe Reader 7.
Web page saved as PDF for review in Acrobat or Reader
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Highlighted features: XHTML and CSS standards Document setup for XHTML mobile prole Mobile Layout view Small Screen Rendering Device emulation Visual CSS DIV selection SVG-Tiny Export HTML pages to PDF for review Syntax check
Designing for Mobile Devices

In this project, well show you how we designed content for deployment to a mobile phone or PDA device. Well show you what you need to know about small-screen display and how to design content for optimal performance on a mobile device. GoLive has the tools to design, test, and preview mobile content using the latest technology, with support for open standards like XHTML and CSS. We previewed content using an Opera thin-client browser with Small Screen Rendering and checked it using standards-based, device-specic CSS queries to ensure that pages appeared exactly as intended.
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Designing for Mobile Devices 85
Designing for mobile

When our music client asked us if we could design a mobile version of the clients website that would display on cell phones, we knew it would be the perfect opportunity to show o some new GoLive skills we had acquired. GoLive provides support for XHTML and CSS standards, templates, optimization, and preview of assets for display on variety of mobile devices. Cascading Style Sheet (CSS)-based design makes it easier to gracefully scale down to small-screen and alternative devices. XHTML (Extensible Hypertext Markup Language) continues to be the most accepted programming platform for mobile sites. When writing code or designing visually, users can then check and verify that their code conforms to the latest XHTML specications. Not only is having an online presence a requirement today, but having a version of your website that can scale to small-screen devices is becoming critical, especially for publishing houses and independent creators of content. As Web designers, migrating to mobile design was easyand it gave us a competitive edge to oer a new service to our clients. You can follow two basic design approaches for mobile. You can create one XHTML source document, using CSS @import and @media queries that enable your content to take on multiple designs for desktop and mobile devices. When done well, as the Opera website below shows, this can be an eective solution. The second approach you can follow is to create a unique user experience with a customized architecture for a specic device. For our music client, this was the right direction.
Tip: GoLive CS2 supports visual Multimedia Messaging Services (MMS) for mobile devices. Content can be published using a third party service (mobile content provider)allowing design rms and ad agencies to create mobile campaigns that can include direct marketing to mobile devices. MMS documents can include bitmaps (static/animated), SVG-Tiny, mobile video, and even Java applications.
Custom mobile design for our client
Single-source website design using CSS@import and @media queries that enable content to adapt to desktop and mobile devices (as shown using GoLive Small Screen Rendering)
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Setting up a mobile document

We started by creating a new document in GoLive using the project-based New dialog box. The New dialog lets you choose from several categories (Site, Web, Mobile, and Scripting) and add les of several types (including XHTML pages, CSS stylesheets, images, and QuickTime movies, as well as SMIL, SVG-Tiny and RealPlayer documents) to a Favorites category. When you select a category, GoLive displays a list of le or site types from which you can choose.
Tip: To get you started quickly, GoLive ships with mobile content samples, including CSS specically designed for display on a mobile phone, or PDA.
We chose Mobile > Pages > XHTML Basic Page. This created a blank XHTML document for a mobile phone. We then created pages for each of the menu items on the home page and added content from our website. GoLive assumes that you are designing for both desktop and mobile devices. However, if you want to focus just on mobile, GoLive CS2 includes special features that can streamline design and development. In the following section, well describe how we set up our workspace and View options to simulate a mobile environment.
Project-based options in GoLive New dialog box
Setting up a mobile workspace

Using the Layout Editor, we chose Mobile Layout View from the Status View Conguration pop-up menu at the bottom of the window. This put the Layout Editor in Split Source view, so that we could see both the formatted layout and the source code while working. For mobile devices, the layout window in GoLive oers a visual environment that makes it easy to specify a device and standard for designing. GoLive then restricts the layout size and types of objects that are allowed on the page while designing. This way there were no surprises when the content went live. We then opened a Live Rendering window (Ctrl/Command+T) and clicked the SSR (Small Screen Rendering) tab so that we could see changes to content or layout updated automatically. The Live Rendering window enables real-time browser input for all design modes in GoLive, making it easy to see how your designs and application development will appear when live. The Live Rendering window takes advantage of the W3C and OMAs latest standards-compliant engine based on the industry-leading Opera browser engine.
Note to developers: GoLive CS2 includes cross-platform Secure FTP support utilizing SSH/SSL, and WebDAV HTTPS (Secure WebDAV), providing a secure protocol for uploading site data.
Split Source Layout Editor in Mobile layout view
Live Rendering window
| Design Guide
Choosing device emulation

Our next step was to assign a user prole for our site. With the Layout Editor open in the document window, we opened the View palette and chose View User Prole > Target Media > Handheld. Handheld emulates in Layout view how the CSS will render when a user views the content with an OMA (Open Mobile Alliance) and W3C (World Wide Web Consortium) standards-based mobile browser created by one of the leading companies, Obigo, Openwave, Access, or Opera. Screen emulates in Layout view how the CSS will render on a desktop browser. Print emulates in Layout view how the CSS will render when a user prints the document. Device emulation in GoLive CS2 allows you to quickly jump from one type of renderingsuch as the way a page would look on a desktop Web browser or mobile phoneto how it would look on an alternative device such as a home appliance, if the CSS style designs were set up ahead of time.
User Prole set to Handheld (Target Media) in View palette
Using CSS
Cascading style sheets allow you to design pages that adapt exibly to both desktop and mobile browsers; and CSS layout objects produce liquid layouts that automatically adjust to dierent screen dimensions.
Tip: Hold down Ctrl or Option as you click on CSS@import to display a pop-up list of style sheets to choose from.
For our mobile site, we wanted to specify that the same text be displayed with dierent typefaces and placement depending on the device on which it was rendered. In the Advanced section of the CSS Editor, we clicked the Create@import button and in the Media eld typed the statement handheld,screen (screen = desktop). In the Reference eld, we clicked the pop-up menu and selected the CSS stylesheet we had created for the mobile site, substrate_wap.css. This creates a query to the device and assigns the CSS accordingly. Just as CSS text adapts exibly to device parameters, so do CSS objects. Notice how the horizontal rules in our mobile site stretch to t the browser window when it is resized. For examples of how CSS displays optimally on both desktop and mobile devices, see the Opera website example on page 86, Designing for mobile. For more information on CSS, see GoLive Help.
CSS layout objects adapt when browser window is resized.
Specifying CSS to use for mobile devices
| Design Guide
Selecting DIVs
A DIV is essentially a container for content on a CSS page. Historically, DIVs have been dicult to position and edit without a signicant amount of hand-coding and manual calculation. The benets of CSS-based design, however, are substantialleaner code, easier maintenance, more searchable and accessible sites, and more exible and visually appealing designs. Now CSS design is incredibly simplied, thanks to visual layout and selection tools in GoLive. Selection of CSS DIVs and their content has been a specic challenge for Web designers up until now. GoLive CS2 has solved the problem with the new Object Selection and Standard Editing tools, which enable you to quickly and easily select CSS DIVs and the content of those DIVs, such as images or text. To visually select and edit the CSS style associated with the album titles on the index page, we used the Standard Editing tool, located in the top left corner of toolbox, and selected the album title text Alternate Dimensions. Notice how the DIV is automatically highlighted in the Split Source view and the CSS style list_sub_item is displayed. We then selected the style by name in the CSS Editor and adjusted the left margin value while previewing the change in the layout. All instances of the CSS style are updated throughout the site.
Tip: The enhanced Layer tool lets you draw and position CSS DIVs precisely and accurately. The Smart Guide and snap-to-grid features can be activated while using the Layer tool, making it easy to align content as it is created.
Using Standard Editing tool to select CSS DIV in Layout, then editing CSS properties for site-wide formatting
Choosing formats for mobile content

New feature: GoLive CS2 includes native support for SMIL (Synchronized Multimedia Integration Language). Using the various development modes, including a SMIL timelinemobile and desktop experiences can be created using content leveraging SVG-Tiny, video, bitmaps, audio, and interactivity though ECMAScript (JavaScript).
Graphics in our site are a combination of JPEG, GIF, and SVG-Tiny images. The Substrate text logo is a GoLive Smart Object, which appears on multiple pages but is referenced to a single target image, keeping le size down. GoLive CS2 also supports a number of other formats for mobile content. See the notes on this page, and refer to mobile topics in GoLive Help.
Using the SVG-Tiny format

Scalable Vector Graphic (SVG) format is used to deliver vector artwork and animation to Web and wireless devices. SVG-Tiny has become the de facto interactive standard that optimizes vector art and animations specically for mobile phones and small-screen devices. Until Adobe Creative Suite 2, working with SVG-Tiny has been rather dicult, as most of the work has been performed in nonvisual source-code editors. Now, vector and bitmapped artwork from Illustrator CS2 can be saved in SVG or SVG-Tiny format. Adobe Creative Suite CS2 even has options to view the SVG code or preview artwork in your browser before saving. The clean, optimized SVG-Tiny components can be animated using tools like Ikivo Animator and then brought into GoLive.
New feature: MPEG 4 /3GPP video is supported in GoLive CS2 with a visual layout and timeline interface for adding interactivity, and then compressing it for mobile devices. 3GPP (Third Generation Partnership Program) is a movie format designed for 3G mobile devices.
Note: Illustrator vector graphics for mobile must be saved in SVG-Tiny 1.1 or SVG-Tiny 1.1+ format. SVG-Tiny format supports animation as well. For artwork that includes bitmaps or raster eects in addition to vector art, use the SVG-compressed format (SGVZ). For more information, see Illustrator Help.
Illustrator Save as SVG Options
| Design Guide
Reviewing the site

When we had each page, content and links in place, we created a PDF of the site to send to our client for feedback. Like any Adobe Creative Suite CS2 document, it was easy to create a single PDF containing all pages in the mobile site from GoLive. In the Layout Editor, we clicked on the PDF Preview mode button. In the Site window, we selected the HTML pages in the les folder that we wanted to send for review and chose File > Export > HTML as Adobe PDF. For Adobe PDF preset, we chose the GoLive Default. We selected Site Creation and under Options, clicked Create a Single PDF from All Files Selected. We then selected HTML Conversion, specied a Custom Size page 150 pixels in width by 800 pixel in height, and clicked Export. We named the le, and clicked Save, and then sent the PDF le to our reviewers for commenting. For more information on PDF email-based and browser-based reviews, see Sending the CD booklet out for review on page 48 and Sending the magazine out for review on page 70.
Tip: To create a PDF le from a single HTML page, open it in the Layout Editor, and click the PDF Preview mode button. Choose File > Export > HTML as Adobe PDF, select HTML Conversion and specify a Custom Page size for your mobile content, for example., 150 x 800 pixels.
Running a syntax check

After incorporating review comments, our nal step in ensuring that our mobile site was free of errors, was to run a validation, or Syntax check on the site. We chose Edit > Check Syntax, checked the following options, and clicked OK. iDOCType assigned. XHTML 1.0 Transitional. XHTML Basic 1.0. XHTML Mobile 1.0.
Learn more: Mobile publishing is at the cutting edge of design, oering new business opportunities, new creative potential, and new challenges with rapidly evolving technologies. For more information on mobile design using GoLive CS2, see Mobile Authoring topics on Adobe Studio at http://studio.adobe.com, as well as mobile topics in GoLive Help.
The Syntax Checker displays an error if it identies incorrect HTML syntax, or if your document is not compliant with the specied DTD (Document Type Denition). For more information, see syntax check topics in GoLive Help. No errors were detected during our syntax check, so we could upload the site to a live publish server.
Color settings Document color mode Resolution Transparency and attening Color palettes, fonts, and previews PDF and native le formats Print Production toolbar (Acrobat) Preight, Output Preview, and Ink Manager (InDesign and Acrobat) Converting RGB to CMYK color (Acrobat)
PR
JE
CT
Preparing Files for Print

In this chapter, we outline the best practices for preparing and saving les for output to a print service provider. We give guidelines for designers to simplify the process of creating clean, consistent les for color separation and high-resolution printing. To help you follow a structured workow, we describe document settings, proong, saving, and preighting topics for InDesign, Illustrator, Photoshop, and Acrobat. PDF integration features across Adobe Creative Suite CS2 components, and powerful new previewing and troubleshooting tools in Acrobat simplify every step of the process, resulting in ecient, reliable, consistent print output.
| Design Guide
Ensuring a successful print job

A successful print job requires several key steps. Communication between a designer or customer and the print service provider, so that les are provided in the format preferred by that provider. Making use of the Adobe PDF presets available in all Adobe Creative Suite 2 componentsto ensure consistent, reliable Adobe PDF les for your specic output requirements. Consistently following a checklist for setting up and handing o les, included in this chapter. This chapter provides an overview of some of the settings and features that aect print output, and then outlines best practices to follow when preparing les for output to a print service provider for color separation and printing on press, or for composite digital printing. Creative professionals on both the design and production end should be familiar with this workow to ensure consistent, reliable results. Adobe Creative Suite 2 ships with a set of PDF presets for all Suite components. These presets contain settings for common output requirements and promote consistent PDF creation. The user interface for PDF creation has also improved across all Suite components so that users see similar interface and preset options. With a basic understanding of printing requirements, and features in Adobe Creative Suite 2 that simplify le preparation and troubleshooting, you can focus on the design of your documentsand be condent of consistent, reliable output.
Note: PDF Integration makes handing o Adobe Creative Suite les smoother and more predictable. Its important that print service providers be familiar with the Adobe PDF presets and have recommendations or custom presets to share with clients to ensure consistent output from customer les.
Preparing Files for Print 95
Setting up and creating a project

Adobe Creative Suite 2 Color Settings The rst step in a successful print workow is to synchronize Suite Color Settings in Adobe Bridge at the start of a project. The second is to know that default Color Management Policies are on by default in all Adobe Creative Suite 2 components. These two factors will go a long way in ensuring a smooth design, proong, and printing workow.
Synchronize Suite Color Settings in Adobe Bridge to match your workow.
| Design Guide
Document Color mode Make sure that documents and placed images are in the intended color mode. For the majority of print workows, this means CMYK mode. In Illustrator, choose File > Document Color Mode > CMYK.
Tip: The best practice for print workows is to create, place, and save documents in the format that matches your output intent, for instance, CMYK. However, if your PDF le contains images that require conversion, such as RGB or spot color to CMYK, this can be done directly in Acrobat using the Convert Colors tool in the new Print Production Toolbar. For more information, see Converting colors on page 104.
In InDesign, choose Edit > Transparency Blend Space > CMYK. In Photoshop, choose Image > Mode > CMYK Color. As stated previously, Color Settings (located in the Edit menu of Illustrator, InDesign, and Photoshop) should be synchronized in Adobe Bridge, so that you dont need to adjust them in individual Suite components or les. If your workow requires that you make an exception, refer to Color Workows for Adobe Creative Suite 2, on the Resources and Extras CD. Resolution Image resolution requirements should be determined at the start of a project. Set the Photoshop image resolution before you create artwork, and make sure that images are at the correct resolution before placing them into InDesign or Illustrator, or outputting to PDF or PostScript. For quality printing, 300ppi is a safe general rule of thumb, but your printer may require more or less depending on the output device and printing methods.
Tip: The best recommendation for setting rasterization resolution in Illustrator or InDesign for your specic job should come from your print service provider.
Rasterization resolution aects how transparency eectssuch as a drop shadows, gradients, or lter eectsare attened when printed. To set rasterization resolution in Illustrator, choose Eects > Document Raster Eects Resolution. To set rasterization resolution in InDesign, choose Edit > Transparency Flattener Presets.
Image resolution in Photoshop
Rasterization resolution set in InDesign Transparency Flattener Presets
Rasterization resolution set in Illustrator Document Raster Eects Settings
Transparency and attening Drop shadows, opacity, feathering, blending modes, and raster eects are collectively referred to as transparency eects. All transparent objects in a leas well as all text and graphics that interact with (are underneath or adjacent to) transparencygo through a attening process during printing. At its simplest, the process of attening converts all overlapping areas in a stack of transparent objects into a collection of opaque objects that retains the appearance of the original transparent objects. A le with attened transparency does not contain live, or editable, transparent eects. Transparency is attened when you convert a le that contains live transparency into a format that doesnt support live transparency. This conversion is the job of the Flattener. During the attening process, the Flattener replaces transparent objects with objects that are visually equivalent to the transparent originals, but contain no transparency. These new, opaque objects are often referred to as attened transparency. Flattened transparency does not contain any live transparent elements and, thus, cannot be manipulated. If you think you may have to change the artwork after the attening process has taken place, be sure to save a copy of the unattened artwork for future editing. Live transparency is included in native InDesign, Illustrator and Photoshop les, PDF 1.4 and later (not from Distiller), and Illustrator EPS (readable by Illustrator only). Photoshop EPS attens transparency. Flattened transparency occurs in PostScript and EPS les, PDF 1.3 and earlier, and any les run through Distiller, . Illustrator and InDesign contain Transparency Flattener presets that aect only how transparent eects are printed. The presets do not aect how artwork or eects are created, and therefore do not need to be decided at the outset of a project. The best practice is to let your print service provider handle transparency attening. If you are handing o native les, transparency will be unattened and your printer will have full control over the best settings to use for the printers specic equipment. The PDF/X presets include Transparency Flattener settings and produce PDF les with attened transparency. The other three PDF presets (Smallest File Size, High-Quality Print, and Press Quality) do not atten transparency. Use the PDF preset recommended by your print service provider when handing o les, and trust that your transparent eects will print as intended.
Tip: Your print service provider should provide you with a recommendation on which default PDF presets, Preight proles, or transparency attener settings to use, or supply custom settings or PDF presets for you to usethat support the providers own print workow.
Learn more If your workow requires that you control transparency attening, see A Designers Guide to Transparency for Print Output, and Getting Started with Transparency, on the Resources and Extras CD, or on Adobe Studio at http://studio.adobe.com.
| Design Guide
Color palette
Tip: A spot color is a special premixed ink that requires its own printing plate on press, for example, Pantone 378. Specify spot colors in your documents only if you intend to use the spot color ink on press. Otherwise, use named, process color swatches to specify color in your document.
Establish your spot and process color palettes and use consistent colors throughout your artwork. Use spot colors only if they are intended to be printed as spot color inks. Use shared color swatches (.ase les) between Illustrator, InDesign and Photoshop for consistency. For more information, see Color consistency, on page 26. Overprint Preview Use Overprint Preview in InDesign and Illustrator at any stage in your workow to see high-resolution previews of all content in your document. Overprint Preview also provides an on-screen simulation of how overprinting objects will appear on press, and provides a more accurate preview of documents that contain spot colorsespecially those where spot content interacts with transparency. Since this option can slow down display, you may choose to use it at selected times. Fonts
Tip: A common, avoidable problem with print les is that fonts are not embedded or included with the les when they are handed o to the print service provider. Creating Adobe PDF les from Adobe Creative Suite CS2 ensures that fonts are embedded.
Know what fonts are intended to be in your document. Use paragraph and character styles and share them with team members to avoid misuse. Use the Document Info palette in Illustrator and the Preight tool in InDesign (shown below) to check for fonts and other content in your document at any time in your workow. If a Preight check turns up an unintended font, remove or change instances of it in your document prior to PDF creation to avoid confusion for your printer.
InDesign Preight report displaying fonts
Illustrator Document Info palette displaying fonts
Saving les for delivery

Ask your print service provider if they prefer Adobe PDF, PostScript, or EPS lesor native InDesign, Illustrator, or Photoshop les. Adobe PDF les Adobe PDF (Portable Document Format) is the master container le format. PDF les hold everything put into it: graphics, text, fonts, spot colors, duotones, and so on. PDF les can contain live or attened transparency. Adopting PDF in your print workow promotes consistency, reliability, ease of use, and reduced errors. Adobe Creative Suite 2 ships with a shared set of PDF presets, based on industry best practices, that make PDF creation from any Adobe Creative Suite CS2 component faster and easier than ever before. The rst step in generating a PDF le is to ask your print service provider what PDF preset is required for compatibility with the providers RIP and workow. Print service providers (aka printers/prepress providers) should be familiar with PDF presets and be able to recommend a default preset or supply a custom preset for you to use that meets the printers specic requirements. Native InDesign les Use the Preight feature in InDesign to run a quality check on your document or publication before printing or handing o les. The Preight utility warns of problems that may prevent a le from printing as desired, such as missing fonts or les, or images in an unintended color mode.
Tip: Use Adobe PDF Presets for common or custom output needsto create consistent, reliable PDF les from any Adobe Creative Suite 2 component. For more information, see Creating Adobe PDF les on pages 24-25.
InDesign Preight report 100 Adobe Creative Suite 2 | Design Guide
Once youve run an error-free preight, you can use the Package feature in InDesign to copy all les required to print the documentincluding InDesign (.indd) le, fonts, linked images, and instructionsinto a single folder for delivery. Choose File > Package, and InDesign will perform a nal Preight and summarize information about fonts, links and images, colors and inks, transparency, and print settings. Save a copy of the nal Preight report with the les for delivery. You will be prompted to enter printing instructions, as well as options for saving your packaged les. Be sure to check Copy Fonts, Copy Linked Graphics, and Update Graphic Links in Package. The nal package folder should include your .indd (InDesign) le, Links folder, Fonts folder, Instructions.txt (generated through the Package process), and a Preight report. (Make sure that you copy your Preight report into the package folder before hand-o.)
Final hand-o of InDesign les
InDesign has additional previewing and print production tools that let you proof and correct les before handing them o. For more information about Separations preview, Ink Manager, and Flattener preview, see InDesign Help. Native Illustrator les If your print service provider requests that you supply native Illustrator les, choose File > Save As, and select Adobe Illustrator Document from the Format pop-up menu. In the Illustrator Options dialog box, choose to include Fonts at 100% and check Create PDF Compatible File and Include Linked Files. This creates an Illustrator le (.ai) with all fonts and linked images needed for print output included. Illustrator les saved with the PDF compatible option can be opened in Acrobat 7.0 Professional and take advantage of Preight features. Native Photoshop les Save les in Photoshop (.psd) format to retain layers, live transparency, spot color channels, and so on. Be sure to include a copy of the fonts used in your Photoshop document along with the native .psd le when delivering les.
Using Acrobat print production tools

Acrobat 7.0 Professional provides new features and enhancements designed to make it easier and more precise for graphic designers and print service providers to create, preview, correct, and output Adobe PDF les. You can quickly preview your documents separations and ink coverage, adjust hairlines and stroke weights, preview and atten transparency, easily and accurately preight print jobs, and create and preview print job options.
Tip: For complete how-to information on using Acrobat print production tools, see Acrobat Help .
PDF les should be opened in Acrobat and checked using the new Print Production toolbar before handing them o to your print service provider. Output preview and Ink Manager Use Output Preview to preview separations, proof colors, view colors by source in addition to ink plates, and highlight warnings for out-of-gamut areas, ink coverage limits, and overprinting. Output Preview also provides easy access to the Ink Manager, lets you simulate black ink and paper white, and lter previews by color type, such as spot color. The Ink Manager lets you convert spot colors to process, or re-map (alias) extra spot colors to reduce the number of separations that print (as shown below.)
Output Preview Convert Colors Add Printer Marks Fix Hairlines PDF Optimizer
Acrobat Print Production toolbar

Trap Presets Preilght Ink Manager Crop Pages Transparency JDF Job Flattening Denitions
Acrobat Output preview 102 Adobe Creative Suite 2 | Design Guide
Acrobat Ink Manager
Transparency Flattening tool Use the Transparency Flattening tool to detect objects in your PDF document that are transparent, as well as how objects in your PDF document will be aected by transparency attening. Preight tool
Note: Acrobat 7.0 includes many tools to help you preview and correct problems in your PDF les. For a complete list of new features and how-to information on print topics, see Acrobat Help.
Use the Preight tool to analyze the contents of an Adobe PDF le based on preight proles that determine its validity for print production. The Preight tool is also useful for determining information for various elements, such as image transparency and resolution, or Adobe PDF le-version compatibility.
1. Click the Preight tool to open the Preight dialog box. Choose a
Tip: To help automate the preight process, you can now create a droplet, a small application that automatically runs a Preight prole on one or more Adobe PDF les that you drag onto the droplet icon. For more information on Preight droplets, see Acrobat Help
Preight prole that corresponds with the PDF preset used or the output intent of your job. Proles for numerous other queries are providedsuch as List all bitmaps under 300ppi or List text using non-embedded fonts. Work with your print service provider to determine the appropriate preight check or checks to run on a PDF before submission. You can also create a custom Preight proleby editing an existing prole or creating a new onethat includes all the checks you need.
2. Click Execute to run the Preight. Review the results to determine if you
need to make corrections. If errors are detected, resolve them in your native les, or directly in Acrobat using the print production tools available.
3. Click the Create Preight report button to save a copy of the report for
delivery to your print service provider.
Acrobat Preight proles Preparing Files for Print 103
Converting colors New and enhanced features in Acrobat give you immediate control over common print problems without having to return to native applications.
Tip: Tools for xing hairlines and adjusting trim marks, page size, and bleeds let you make corrections to your PDF les directly in Acrobat. For complete how-to information on these features, see Acrobat Help.
PDF les that inadvertently contain RGB or spot colors that need to be converted to CMYK can be xed directly in the PDF le, without returning to the source application. Acrobat performs the color conversion based on the prole that was saved with the placed image or document. Make sure that you synchronize color settings for all Adobe Creative Suite 2 components in Adobe Bridge at the start of a project. This ensures that all color conversions whether they take place in Photoshop or Acrobatare done so consistently using the same proles.
1. Open the PDF and preview colors using Output Preview. Select RGB to
Tip: The PDF Optimizer provides many settings for inspecting, analyzing, and repairing documents, such as saving a le back to PDF version 1.3. The PDF Optimizer is also used to reduce the size of Adobe PDF les.
see where RGB images are in the document or run a Preight check.
2. Select the Convert Colors tool in the Print Production toolbar. Under
Document Colors, choose [Device] RGB and choose Convert from the Action pop-up menu. Then select the destination color space from the Prole pop-up menu, such as US Sheetfed Coated v2, for a CMYK conversion.
3. Use the Output Preview tool or Preight tool again to verify that there are
no RGB images in the document.

4. Save the PDF to complete the conversion.
Learn more This chapter provides an overview of the steps required when preparing les for successful print hando. For more detailed information on print production workows using Adobe Creative Suite 2, visit Adobe Studio at http://studio.adobe.com. Converting RGB images to CMYK using Convert Colors tool in Acrobat
| Design Guide
Using Adobe Creative Suite 2

Adobe Creative Suite 2 is the ultimate design solution for your print, Web, and mobile projectsallowing you to seamlessly transfer content from one media to another without interrupting your creative workow. The integration of Adobe Creative Suite 2 components Photoshop, Illustrator, InDesign, Acrobat 7.0 Professional, GoLive, and Version Cue, along with Adobe Bridge and Adobe Stock Photossimplies your process, saves time, and eliminates redundant work. Now that youve seen some examples of what Adobe Creative Suite 2 can do, its time to try it out for yourself.
Index
A
Acrobat. See Adobe Acrobat 7.0 Professional Acrobat Distiller 23, 25 actions, production 72 Adobe Acrobat 6.0 48 Adobe Acrobat 7.0 Professional 12 new features 14 preighting 73, 103 preparing output 55 print production workow 102-104 reviewing Web pages 83 tracking reviews 48 turning on Version Cue 31 Adobe Acrobat 7.0 Reader enabling browser-based reviews 71 Adobe Bridge 10, 16, 18-21, 58, 60 described 9 dragging and dropping objects 61 editing Camera Raw images 35-36 new features 14 organizing project assets 58 sorting images in 35 synchronizing color settings 97 Version Cue 31 viewing versions 69 Adobe Camera Raw feature 18 Adobe Creative Suite 2 activating 7 described 4-5 installing 7 new features 14 overview 8-31 package contents 6, 8 registering 7 synchronizing color settings 96 using Version Cue 30-31 Adobe Expert Support 5, 20, 21 Adobe GoLive CS2 creating new projects 87 creating PDF les 24 CSS Editor 80 extras 6 layout grid 76 managing workow 18 new features 16 placing native les 14 publishing interactive content 11-12 sample mobile content 87 site diagram 76 templates 74, 86 tools 91 Adobe Help Center 5, 20, 21 Adobe Illustrator CS2 Control palette 15 creating artwork 49-53 new features 15 overview 10 preparing output 54 setting up documents for print 97-102 templates 47, 49 Adobe InDesign CS2 converting stories to XML les 77 creating PDF les 24 designing magazine with 56-73 exporting pages to HTML 77 new features 15-16 object formatting 15 outputting Photoshop and PDF les 14, 15 packaging les 101 placing PDF les 66 preighting 72-73, 100-101 repurposing layouts 11, 77 saving versions 69 setting up documents for print 97-102 snippets 15-16, 61 using Photoshop transparency 67 Adobe Dialog 44 Adobe Paragraph Composer 11 Adobe PDF les. See PDF les Adobe Photoshop CS2 converting RGB images to CMYK 72 creating PDF les 24 customizing menus and workspaces 15 editing images 32, 36-48 editing in 36, 37, 39 editing Smart Objects 39, 40, 41 importing PDF comments 41 new features 15 overview 10 pasting artwork from Illustrator 38, 39 printing CMYK color 27 selecting layers 42 Adobe Portable Document Format. See PDF les Adobe Reader 7.0 12, 15, 48, 83 Adobe Stock Photos service 5, 14, 21, 28-29 Adobe Studio 5, 6 Advanced Administration utility 71 IDPK le format 77 AI le format 16, 101 alternates dened 8, 30 managing 18 saving 31, 44 anchored objects 62, 66 Appearance of Black preference 27, 43, 68 archiving documents 22 ASE les 43, 47 assets adding to Version Cue project 31 converting for website 77 managing 18 organizing 32, 34-35, 55, 58 previewing 86 viewing information 60
B
baseline 64 Batch Rename feature 18 batch-editing images 18, 19, 35-37, 72 bitmaps 86 black ink 27, 43, 102 bleeds 104 blending modes 98 blind le exchange 9 Bookmarks option 24 Bridge Center 20-21 browser-based review 70-71, 93
| Design Guide
C
camera raw les 10 Camera Raw format 34, 35-37, 40 Cascading Style Sheets. See CSS CD booklet, creating 32-55 character styles 59, 62, 63, 77, 99 Clone tool 45 CMYK colors 9, 27, 43 collaborating. See Version Cue CS2 color converting to CMYK 26-27 synchronizing 26, 27 Color Management Policies 26, 96 color modes 18, 54, 97 color output 26-27 color palettes, sharing 99 color proong 72 color settings accessing 20 synchronizing 9, 14, 18, 26-27, 34, 96-99, 104 verifying 54 color swatches exchanging 26, 27, 43, 47 metadata 58 colors, converting to CMYK 104 Compact mode 60 comps 28, 29 Contact Sheet feature 72 content interactive 11 repurposing 74, 77-78 corner eects 62 CSS 11, 16, 74, 90 authoring 12, 16, 86, 91 layering order of elements 80 Curves, adjusting 37 custom menus 38 presets 25 swatches, loading 47
diagram window 76 digital imaging 10 dimensional eects 46 Direct Selection tool 65 DIV objects, selecting 80, 91 DNG format 37 Document Color Mode command 54 document information 54, 99, 101 Document Raster Eects Settings dialog box 97 drop shadows 62, 68, 97-98 droplets 13, 103 DTD (Document Type Denition) 93 duotones 27, 38
fonts samples 6, 22, 23, 42, 58, 99 Fraser, Bruce 36 FTP capabilities 83, 88
G
GIF le format 10, 77, 82, 92 GoLive. See Adobe GoLive CS2 gradients, attening for print 97-98 graphic styling attributes 62 Grid tool 45
H
hairline rules 15, 27, 102, 104 Handheld user prole 89 Healing Brush tool 10 High Quality Print preset 25, 98 high-resolution output 22, 23 HTML le format 24, 76, 77, 83, 93
E
ECMAScript 92 email-based reviews 22, 48, 76, 83, 93 embedded fonts 14, 15, 99 Enable in Layout View option 63, 98 EPS les 98 Extensible Hypertext Markup Language. See XHTML le format external style sheets 80, 81 Extrude & Bevel feature 52-53
I
IDPK les 77 Ikivo Animator 92 Illustrator. See Adobe Illustrator CS2 Image Processor automation feature 40 image resolution 18, 97, 103 images adding color to 38 buying high-resolution 28 compressing 22 downsampling 22 editing raw 18, 36-37 optimizing 77, 82 rating 35, 40 removing unwanted elements 45 replacing 40 transforming 46 InCopy CS2 plug-ins 6 InDesign. See Adobe InDesign CS2 INDD le format 101 INDS le format 61 information architecture 76, 86 ink coverage limits 102 Ink Manager 13, 15, 26, 55, 102 Inspector palette 78 interactive presentations 12 Internet posting 22
F
FDF le format 48 feathering 62, 98 Felici, James 64 le dimensions, viewing 18 le management. See Version Cue CS2 le names 16, 30 le versions. See versions le-browsing 9, 34 le-sharing management 16 les managing 30-31 preighting 13, 72-73, 100-101 previewing 58 printing 12, 101 saving for output delivery 100 tracking recent 20 lls 62 lter eects, attening for print 97-98 folders, tracking recent 20
D
desktop, saving 20 device emulation 89
Index 107
J
Java applications 86 JavaScript 18, 92 JDF le 12, 73 Job Denition Format (JDF) les 12 JOBOPTIONS le format 22 JPEG le format 10, 40, 77, 82, 92
N
native les See also individual le formats 14, 16, 98, 100, 101 output delivery in native le formats 100 North America General Purpose 2 color setting 34
O
object formatting 11, 15 Object Layer Options dialog box 67 Object Selection tool 91 Object Styles 11, 15, 59, 61, 63 OMA standards 88, 89 opacity 98 OpenType fonts 11, 68 Opera thin-client browser 84, 86, 88, 89, 90 optical kerning 11 out-of-gamut color 102 Output Preview 102, 104 overprinting objects 99, 102 Overprint Preview feature 26, 54, 72, 99
L
layer comps 11, 14, 15, 67 Layer tool 91 layers controlling visibility 14, 15, 67 editing 42 organizing by 59 retaining on print 101 selecting multiple 15 showing and hiding 67 Layout Editor 88 layout formatting 62 leading 64 Link option 47 linked images 60 Links palette 28, 29 Live Paint feature 10, 15, 51 Live Rendering window 88 Live Trace feature 10,15, 50 live transparency 98, 101
P
Package feature 101 Package for GoLive feature 11, 77 package window 78 packaging les 77-78 page size, adjusting 104 pages, accessing 60 Pages palette 59 paper white, simulating on-screen 102 paragraph styles 59, 62, 63, 77, 99 PDAs. See also mobile devices 84, 87 PDF 1.4 les 98 PDF compatible option 39 PDF les 14, 16, 22-23 commenting 41 commenting tools 15, 71 contents 100 correction tools 15 creating 9, 24-25 email-based reviews 40, 48 attening 15 for output delivery 100
M
margin alignment 11 master pages 59 menus, custom 15, 42 metadata 9, 16, 28, 58, 61 microsites 11 MMS authoring 12, 16, 86 mobile content providers 86 mobile devices 11, 12, 14, 16, 82, 84-93 MPEG4/3GPP video 92 MS Excel 18 MS Word 18, 63 Multimedia Messaging Services. See MMS multipage PDF les. See PDF les
from HTML page 83, 93 new features 15 online review 70-71, 93 optimizing for downloading 82 placing multiple pages 66, 67 preight checks 23, 55, 103-104 previewing and correcting errors 103 reducing size 104 repairing 104 PDF Optimizer tool 104 PDF presets 22, 25, 95, 98 PDF previewer 9, 58 PDF version 1.3 104 PDF viewer 14, 19 PDF/X les 9, 12, 22, 23, 25, 73 Pen tool 10, 65 Pencil tool 10 perspective planes 45 placed images 14, 47, 66, 82 placeholder images 40 PNG-24 le format 82 PNG-8 le format 82 PostScript les 25, 97, 100 Preight check (PDF) 55 Preight command, InDesign 28 Preight proles 98, 103 Preight report 72, 99 Preight tool 103 prepress providers. See print service providers 100 Press Quality preset 22, 25, 54 previewing les 58 previews, scalable 18, 19 print job options , previewing 102 print output best practices 23 guidelines 94-105 handing o contents 73 Illustrator checklist 54 preparing les for 94-105 proong 22, 54, 55, 73 troubleshooting 72-73 Print Production command 55 print production tools 98-104
| Design Guide
Print Quality preset 98 print service providers 54, 55, 73 Print user prole 89 printers. See print service providers 100 process colors 99 projects, setting up 31, 96 proofs 22, 54, 55, 72, 73 PSD le format 16, 101
Q
Quick Apply feature 63 QuickTime movies 18, 87
R
raster eects 82, 98 raster images 38, 50 rasterization resolution 97 raw digital images 34 RealPlayer documents 87 real-time browser input 88 RGB colors 9, 26 RGB images converting to CMYK 15, 23, 72 detecting in document 104 rich black 68
S
Save a Version option 31 Save for Web dialog box 82 Save Swatches for Exchange command 43 Saved File Groups feature 20 Scalable Vector Graphic format 92 scanned images 50 Screen user prole 89 scripts 6, 11, 18 searches 9, 58 secure data 88 separations 102 Separations preview 13, 26, 72 Settings folder 25 site diagrams 76 Slice tool 82 Slide Show feature 18, 19, 35, 40 Small Screen Rendering 84, 86 Smallest File Size preset 22, 25, 48, 70, 98 Smart Objects 12, 15, 38
editing 39-40, 41, 79 nesting 41 packaged images 78 optimizing for the Web 82 SMIL 11, 16, 92 snippets 15-16, 18, 61 source les, linking to target le 74, 79 spot color channels 101 spot colors 9, 26, 27, 99, 102 channels 101 mapping for separations 15 converting to CMYK 55 SSH/SSL 88 Standard Editing tool 91 stock photos 6, 28, 29 Story Editor feature 63 stroke weights 62, 102 studio.adobe.com 6 styles, mapping 63 surface properties, 3D 53 SVG le format 10, 82 SVG-Tiny 10, 11, 16, 82, 86, 92 swatches 6 SWF le format 10, 82 Synchronized Multimedia Integration Language. See SMIL Syntax Checker 93
U
US Sheetfed Coated v2 prole 104
V
user proles 89 Vanishing Point feature 10, 15, 45 vector artwork 38, 51, 82 Version Cue CS2 8-9, 18 new features 14, 16 setting up projects 30-31 hosting PDF reviews 70-71 versions 8, 16, 18 dened 30 saving 31, 38, 41, 69 viewing as group 44
W
W3C le format 10, 88, 89 warp eects 41, 46 WBMP le format 82 Web pages. See also websites rendering 89 Web Photo Gallery 19 WebDAV capabilities 83, 88 websites designing 11, 12, 74-83 downloadable les 82 formatting 80 reviewing online 83 saving images for 82 scaling to small-screen 86 Willmore, Ben 40 workows color 26-27 managing 18 print 96-105 streamlining 40-41 workspaces 15, 87-88
T
templates 47, 49 text dragging and dropping 63 formatting 62, 63 editing in GoLive 80 text wraps 62, 64-65, 68 3GPP (Third Generation Partnership Program) 12, 16 three-dimensional artwork 52-53 thumbnails 9, 18, 30, 60 Tracker feature 48 transformations 38, 46 transparency 62, 68, 102, 103 attening 13, 15, 22, 97-98, 103 live 54 trim marks, adjusting 104 typographical tools 11
X
XHTML le format 11, 12, 16, 74, 77, 84, 86 XML le format 11, 61, 77 XMP sidecar les 37
Index 109

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Adobe Creative Suite 2

Designing for Mobile Devices

Preparing Files for Print

4 Adobe Creative Suite 2 | Design Guide

Total Training Video Workshop CD

Resources and Extras CD

6 Adobe Creative Suite 2

Installation of Adobe Creative Suite 2 software

Adobe Creative Suite 2

10 Adobe Creative Suite 2

12 Adobe Creative Suite 2

14 Adobe Creative Suite 2

Acrobat 7.0 Professional

Version Cue CS2

16 Adobe Creative Suite 2

18 Adobe Creative Suite 2

Adobe Bridge window

20 Adobe Creative Suite 2

Bridge Center in Favorites Tab of Adobe Bridge

Adobe Help Center

Adobe Expert Support Overview 21

22 Adobe Creative Suite 2

Creating Adobe PDF les

2 Name the le, select a destination

3 In the Adobe PDF Options dialog

24 Adobe Creative Suite 2

Creating Adobe PDF les from non-Adobe applications

1 Choose File > Print. 2 Choose PostScript File from the

3 Enter a lename and location,

4 Launch Acrobat Distiller and

5 Open the PostScript le in

1 Choose File > Print. 2 Choose Adobe PDF 7 from the

26 Adobe Creative Suite 2

Exchangeable color swatches across Adobe Creative Suite CS2 components

Black text and hairline rules preview and print as one-color.

Adobe Stock Photos service

28 Adobe Creative Suite 2

Click on Adobe Stock Photos in the Favorites pane of Adobe Bridge.

Creating a managed project with Version Cue CS2

2. Add assets to your project.

3. Save versions and alternates.

1. Create a Version Cue project.

New Version Cue project (above) and Adobe Dialog (left)

32 Adobe Creative Suite 2

Organizing project assets

Synchronized Suite Color Settings

Assets organized in Adobe Bridge le browser

34 Adobe Creative Suite 2

Rating and correcting images in Adobe Bridge

Batch-editing raw images directly in Adobe Bridge using Camera Raw

Editing images in Camera Raw

36 Adobe Creative Suite 2

Creating the CD album cover

Modifying sunower image

Illustrator logo added as Smart Object

Smart Object scaled up in Photoshop

38 Adobe Creative Suite 2

Editing Smart Objects

Ecient workow with Bridge and Smart Objects

Initial layout with placeholder images

Updated layout with client-approved images

40 Adobe Creative Suite 2

Selecting multiple layers