
Photoshop 7 and Illustrator 10 : Create Great Advanced Graphics
by Cross, David/Huggins, BarryRent Book
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Summary
Table of Contents
Welcome | p. 1 |
Platform specifics | p. 1 |
All about this book | p. 2 |
Files for download | p. 3 |
Support | p. 3 |
Knowing your Tools | p. 5 |
Resolution dependence and independence | p. 5 |
Designing for print and the web | p. 6 |
Application integration | p. 8 |
Advantages of Illustrator | p. 8 |
Advantages of Photoshop | p. 11 |
Using the applications in tandem | p. 12 |
Swapping information between Photoshop and Illustrator | p. 14 |
Using Illustrator data in Photoshop | p. 14 |
Opening an Illustrator file from within Photoshop | p. 14 |
Placing an Illustrator file in a Photoshop image | p. 15 |
Copying and pasting an Illustrator file into Photoshop | p. 16 |
Drag and drop method | p. 16 |
Dragging and dropping paths into the Photoshop Paths palette | p. 17 |
Exporting a file from Illustrator as a Photoshop (PSD) file | p. 17 |
Using Photoshop data in Illustrator | p. 18 |
Opening a Photoshop file from within Illustrator | p. 18 |
Opening a Photoshop generated EPS from within Illustrator | p. 20 |
Opening a Photoshop generated PDF from within Illustrator | p. 21 |
Drag and drop method | p. 22 |
Copying and pasting a Photoshop file into Illustrator | p. 23 |
Exporting Photoshop paths for use in Illustrator | p. 24 |
Placing a Photoshop file in an Illustrator graphic | p. 24 |
Which program to use | p. 25 |
Simple vector graphics | p. 25 |
Complex vector graphics and illustrations | p. 26 |
Graphs and charts | p. 26 |
Maps and technical drawing | p. 26 |
Painting | p. 27 |
Type | p. 27 |
Web page design | p. 28 |
Web graphic design | p. 28 |
Rollovers | p. 28 |
SVG graphics | p. 28 |
Animation | p. 28 |
Data-driven graphics | p. 29 |
Mixed formats--vectors and pixels | p. 29 |
Blending components and images | p. 29 |
Scanning images | p. 30 |
Pixel-based artwork | p. 30 |
Image color correction | p. 30 |
Image correction--removal of unwanted objects | p. 30 |
Spot colors | p. 30 |
Duotones and sepia tones | p. 30 |
Summary | p. 31 |
Conclusion | p. 33 |
Illustrator and Photoshop in Tandem | p. 35 |
Setting cross-application preferences | p. 35 |
Setting file saving options for native PSD files | p. 35 |
Setting file saving options for native AI files | p. 36 |
Managing color across the applications | p. 37 |
Why do we use Color Management? | p. 37 |
How does a Color Management System work? | p. 38 |
Consistent color between Illustrator and Photoshop | p. 39 |
Calibrating your monitor | p. 40 |
Choosing Photoshop color settings | p. 45 |
Understanding the Working Space profiles | p. 47 |
Choosing Color Management policies | p. 48 |
Specifying how to be alerted to missing or mismatched profiles | p. 49 |
Managing conversion options | p. 50 |
Understanding the rendering intent options | p. 50 |
Perceptual | p. 51 |
Saturation | p. 51 |
Absolute Colorimetric | p. 51 |
Relative Colorimetric | p. 51 |
Using Black Point Compensation when converting images | p. 51 |
Saving files with embedded profiles | p. 52 |
Converting and assigning profiles | p. 52 |
Viewing the embedded profile | p. 52 |
Using the Assign Profile command | p. 53 |
Using the Convert Profile command | p. 53 |
Choosing Illustrator color settings | p. 55 |
Changing profiles in Illustrator | p. 56 |
Saving custom Color Management Settings | p. 57 |
To Color Manage or not, that is the question | p. 59 |
Soft proofing your colors | p. 60 |
CMYK vs RGB: Viewing print simulations | p. 60 |
Mac vs Windows: Viewing web simulations | p. 60 |
Displaying soft proofs in Photoshop | p. 61 |
Creating a custom soft proof setup in Photoshop | p. 63 |
Displaying soft proofs in Illustrator | p. 65 |
Creating a custom soft proof setup in Illustrator | p. 66 |
Conclusion | p. 67 |
The Building Blocks | p. 69 |
Layers | p. 70 |
Photoshop layers | p. 70 |
Structuring a document | p. 70 |
Layer blending modes | p. 75 |
Layer clipping groups | p. 79 |
Complex layer combinations | p. 81 |
Illustrator layers | p. 82 |
Layer blending modes | p. 84 |
Layer Clipping Masks | p. 86 |
Masks | p. 89 |
Photoshop Layer Masks | p. 89 |
Illustrator Opacity Masks | p. 94 |
Illustrator Clipping Masks | p. 96 |
The power of vectors | p. 98 |
Vectors and Photoshop | p. 98 |
Vector tools in Photoshop | p. 99 |
Vectors and Illustrator | p. 102 |
Channels | p. 103 |
Selection storage with Alpha channels | p. 107 |
Color correction | p. 115 |
Components and re-purposing | p. 128 |
Brushes | p. 128 |
Illustrator brushes | p. 128 |
Photoshop brushes | p. 131 |
Shapes | p. 134 |
Styles | p. 137 |
Illustrator styles | p. 137 |
Photoshop styles | p. 142 |
Gradients | p. 146 |
Creating custom gradients | p. 146 |
Patterns | p. 148 |
Illustrator patterns | p. 148 |
Photoshop patterns | p. 156 |
Actions | p. 164 |
Achieving effects without presets | p. 173 |
Vector shadows in Illustrator | p. 173 |
Photoshop shadows | p. 175 |
Reflections and shading | p. 179 |
Reflections | p. 179 |
Shading | p. 183 |
Working with type | p. 185 |
Illustrator type | p. 185 |
Text blocks | p. 185 |
Text Wrap | p. 186 |
Tabs, rows, and columns | p. 188 |
Photoshop type | p. 189 |
Paragraph text | p. 190 |
Type tips | p. 191 |
Changing the color of highlighted text | p. 191 |
Editing multiple type layers | p. 193 |
Browsing through fonts | p. 194 |
Conclusion | p. 195 |
Creating a Corporate Identity | p. 175 |
The scenario | p. 176 |
Creating the body of the guitar with the Pen tool | p. 177 |
Creating the neck of the guitar | p. 179 |
Creating the other half of the guitar | p. 180 |
Combining all the shapes with Pathfinders | p. 181 |
Creating the ellipse | p. 183 |
Combining the guitar and ellipse | p. 184 |
Creating the musical notes | p. 191 |
Rotating the musical notes around the guitar | p. 194 |
Adding the text | p. 196 |
Working with Photoshop images in Illustrator | p. 205 |
Placing files | p. 206 |
Managing linked and embedded images | p. 207 |
Updating links through the Links palette preferences | p. 207 |
Creating clipping masks | p. 208 |
Creating complex clipping masks | p. 210 |
Conclusion | p. 211 |
Building a company web site | p. 213 |
Preparing the logo using Illustrator | p. 215 |
Adding further elements in ImageReady | p. 218 |
Slicing the image | p. 224 |
Editing rollover states | p. 228 |
Changing the animation speed | p. 232 |
Assigning URLs to slices | p. 232 |
Optimizing images for the web | p. 234 |
Compressed file formats | p. 234 |
Other animation techniques | p. 241 |
Creating SVG web graphics | p. 249 |
Fonts | p. 251 |
Data Driven Graphics | p. 253 |
Understanding the use of variables | p. 255 |
Defining a Pixel Replacement variable | p. 257 |
Defining a Text Replacement variable | p. 259 |
Defining a Visibility variable | p. 259 |
Using Data Sets | p. 260 |
Editing the default Data Set | p. 260 |
Creating a new Data Set | p. 261 |
Previewing Data Sets | p. 262 |
Modifying Data Sets | p. 263 |
Replacing an image using variables | p. 264 |
Editing text in a text variable | p. 264 |
Conclusion | p. 265 |
Producing Packaging Artwork | p. 267 |
The scenario | p. 267 |
Adding images in Photoshop | p. 277 |
Creating flattened artwork from the layered original | p. 284 |
Quick keyboard commands to create artwork | p. 285 |
Creating the illusion of dimension | p. 289 |
Mapping flat artwork to an image in Photoshop | p. 297 |
One step beyond | p. 308 |
Creating two-color artwork | p. 310 |
Conclusion | p. 320 |
Managing files with WebDAV | p. 323 |
Working with WebDAV | p. 324 |
What is XML? | p. 327 |
From HTML to XML | p. 327 |
Beyond hypertext | p. 328 |
Some rules of XML | p. 328 |
Structured appeal | p. 329 |
Attributes of elements | p. 330 |
Element or attribute? | p. 330 |
Separating presentation and content | p. 331 |
Self-documenting data | p. 332 |
Brief introduction to SVG | p. 333 |
Installing an Adobe SVG viewer | p. 333 |
A first SVG document | p. 334 |
Making it move | p. 335 |
Index | p. 339 |
Table of Contents provided by Syndetics. All Rights Reserved. |
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