In this free tutorial, you’ll learn about the new templates that come with Adobe Photoshop CC 2017 that can make starting a web, photo or print project easier and faster. For more Photoshop training visit our Photoshop Training page.
In this free tutorial, you’ll learn about the new settings to control individual (left/right) eyes using the Face-Aware Liquify tool in Adobe Photoshop CC 2017. Learn more about Photoshop in our Photoshop training courses.
November of 2016 has seen an update to the Adobe Creative Cloud Suite which includes Photoshop. I have already posted one article on the changes to the New Document window and another article on the updates to the Liquify Filter.
The focus of this article will be on the changes to the Properties Panel in Photoshop CC 2017. The last couple of updates have seen improvements to the Property Panel, but this by far is the biggest change.
Take a look at this screen capture of the 2015.5 Property Panel in use.
The Properties Panel contains absolutely no information about the selected layer.
The same layer selected in Photoshop CC 2017 now includes x and y coordinates as well as width and height data.
Here is another example this time with a text layer selected. First in the 2015.5 release.
And now in the 2017 Update.
In addition to the x and y coordinates available previously we now can change the font, font size, alignment, and color. Additionally there is an Advanced button that will open the Character Panel.
All of these changes are designed to accomplish one thing, making each task more efficient by limiting the number of panels we need to open.
The Properties Panel update is a welcome change to Photoshop CC 2017.
If you remember the last update to Photoshop (Summer 2016) we shared a post about the new Liquify Filters Face-Aware feature. It turned out to be a wonderful addition.
The filter addition would naturally recognize the facial region and let you modify eyes, nose, mouth, and face shape. Working on a face or multiple faces became much easier.
But there was a drawback…there was only one set of adjustment tools for the eyes. Which meant the changes would be applied equally to both eyes.
Photoshop CC 2017 has addressed this issue and has fixed it. The Liquify Filters Face-Aware settings include two sets of controls for the eyes; one for the left and one for the right. Eye size, height, width, and tilt can be set for each eye independently.
Thank you Adobe. A great filter is now even more powerful and an easier to use utility.
Sometimes the changes to an application are subtle, sometimes not so much. Last year’s Start Workspace in Photoshop was one of those not so subtle changes. Just a few weeks back Adobe’s Creative Cloud application suite updated to its 2017 version and Photoshop has added another one of those not so subtle changes.
Selecting File > New in the menu bar or the New button within the Start Workspace has resulted in dialog box similar to this for a number of years.
If you expanded the Document Type menu you were presented with several choices including; Clipboard, Default Photoshop Size, U.S. Paper, International Paper, Photo, Web, Mobile App Design, Film & Video, Iconography, Art & Illustration, Artboard , and Custom.
This is no longer the case. The New Document window is much larger and although some of the old menu categories remain the window is completely revamped.
Each of these presents a screen with a series of default sized blank documents, and also pre-built templates available through Adobe Stock.
Many of the templates are free and there is a search option that will take you to Adobe Stock online so you can look at the other options available.
Once downloaded the resulting file will contain a series of scenes, layers, or artboards and each item will be on its own layer ready to be used as you see fit.
All the custom options are still there but Adobe has added through Adobe Stock many start-up options. You don’t have to start with a black slate if you don’t want to.
In this Adobe InDesign tutorial you’ll learn how to merge multiple image files into Adobe InDesign to create form letters, postcards or other custom InDesign documents that use custom images for each page in the document. To learn more, visit our InDesign Training Course page to see our InDesign Training classes.
Photoshop has continued to refine the selection tools available and the latest update, June 2016, is no exception.
Gone is the Refine Edge tool, or better yet, not gone but improved and placed in its own workspace.
I have two images I would like to combine and masking out the unnecessary bits of the second image pictured is a simple task which has been made easier. Once photo number two has been added as a new layer to the first image and sized so our participants are approximately the same size we’ll choose the Quick Select tool. Notice there is a new choice in the Options bar, a button labeled Select and Mask.
Clicking the Select and Mask Option takes us into a new workspace and lays out all of our tools in a new window. All the options you’ve used in the past with the Refine Edge tool are here and a few more. The View Mode now includes Onion Skin with a transparency setting that makes masking even easier than it used to be.
After all adjustments have been made clicking the OK button will apply the mask and return you your standard workspace.
I’ve seen a post or two on Adobe’s Community forum concerned that the Refine Edge tool was gone. Have no fear, it’s still there it has been renamed and resides in the Select and Mask workspace.
I was recently leaving the parking lot of a local business when the cloud formation in front of me reminded me of a painting by American painter and illustrator Maxfield Parrish. If you are not familiar with his work here is a painting called Ecstasy that was commissioned for the 1930 General Electric Mazda Lamp Calendar. The model was his daughter Jean Parrish.
The clouds I was looking at were beautiful and saturated with color because it was close to sunset. I grabbed my phone, took a picture, and went about my business. Imagine my disappointment when I looked at the photo later that same evening and this is what I had captured.
No worries…that’s one of the many reasons we use Photoshop.
Step number one was to get rid of the power lines, street lights, and poles. My tool of choice was the Spot Healing Brush with Content Aware active. Simply setting the brush size and dragging over sections of the poles and power lines with this tool and next thing you know; unsightly clutter removed.
I wasn’t 100% sure how much of the image I wanted to keep so the next thing that needed to go was the building in the lower left-hand corner. Selecting that area with the Rectangular Marquee tool and using Content Aware Fill was all it took. By the way, this was all being done to a copy of the background layer.
Now it was time to decide what part of the image stayed, and what would be cropped. If you think you might change your mind later don’t forget to uncheck Delete Cropped Pixels in the Options bar. That way all of the image is still available.
Now to enhance the image with one of those layers that almost any photograph will benefit from; a Levels Adjustment. Or some of you may prefer a Curves Adjustment. Either way we are adjusting the tonal quality of the photo. Removing the vale as it were, and tweaking our contrast. At this point I’m 90% there.
One more step and we are complete. Just a slight bump in saturation done by adding a Hue/Saturation Adjustment layer.
When complete we have a sky that would be the perfect backdrop to any Maxfield Parrish painting. And all it took was a little imagination…and Photoshop.
Using InDesign to create your publication is making your life so much easier.
The photo shoot for your upcoming article went well.
Then you realize in all the pictures taken there is one shot that didn’t happen. Timing, lighting, location…whatever it was, the image isn’t there.
Thankfully, the Creative Cloud includes Adobe Stock images. All that is necessary is opening InDesign’s CC Library Panel. It can be found in every Workspace except Printing and Proofing and even then can be opened by choosing Window > CC Libraries in the menu bar.
Once open, the Library Panel offers a search option at the very top.
Typing in a search term or phrase will return hundreds of results from Adobe Stock’s photos, illustrations, vectors, and videos. It certainly would be nice if I could narrow the results down to include only photos and vectors.
New to the June 2016 release of InDesign that request has been fulfilled. Immediately below the search bar you will now find a “Results from Adobe Stock” option with a spinner to the left that lets you expand your search choices to include four filters; photos, illustrations, vectors, and videos.
Checking the appropriate boxes will immediately narrow your search down to only photos, and vectors in our case. Less hunting, less work equals a more productive you.
Oh, by the way, even though this article is about InDesign this new search filter is also available in Photoshop, Illustrator, Animate, and Dreamweaver. Enjoy!
In this tutorial, you’ll learn how to merge data from a spreadsheet, worksheet or text file into an Adobe InDesign document. Using data merge, you can create custom post cards, mailings or form letters in Adobe InDesign. To learn more about Adobe InDesign, visit our Adobe InDesign training course page.
The Liquify filter has been part of Photoshop since version 6.0 which was released in September 2000. Over the years there have been a variety of improvements in this filter and the newest release is no different.
There is an entirely new facial recognition portion to the Liquify filter. It works on one face or many faces as long as they are full frontal views. It doesn’t work on profiles. There are separate settings for eyes, nose, mouth, and face size.
Let’s take a look at what it can do. We’ll start with a photo from Adobe Stock.
With a few adjustments to each of the four facial areas our original photo now takes on a new appearance. A narrower face, raising and narrowing the nose, thinner lips, and making the eyes a little smaller looks like a different person.
Sometimes the picture is perfect…almost. You see, while the composition is excellent that slight tilt left or right throws the image off. Photoshop has offered a couple of different tools over the years that will allow us to fix this issue but not without additional doctoring.
With Photoshop’s latest release (2015.5 June release) they have knocked it out of the park. Let’s take a look at a simple example. Here is a shot of downtown Memphis, TN. taken from the observation deck of Memphis Bass Pro Shops at the Pyramid.
It’s a decent enough shot but the slight tilt of the camera puts the horizon at an angle, which you can see in this screen capture from Photoshop.
The tools we’ve used in the past, primarily the ruler tool, would allow us to straighten the image. But then we would end up needing to crop the image to take care of the white or transparent background that became visible where the picture rotated. The crop tool also allowed us to rotate an image to straighten it, and CS6 even proportionally cropped the picture as we rotated it. As a matter of fact, that’s still an option as you can see here. The area between the orange lines is what will be cropped.
Ideally we could rotate the image and not need to crop the finished product.
Enter a new usage for Content Aware that is associated with the Crop Tool. The Content Aware algorithm continues to amaze as it finds its way into more and more tools. Now all you need to do is check the Content Aware checkbox in the Options Panel when you select the Crop Tool.
Rotate the image so the horizon is level, press enter or click the Commit current crop operation button and watch in amazement as the picture is rotated and the areas that would normally be blank are filled based on surrounding pixels.
No pixels lost and a perfect horizon line. Thank you Photoshop and thank you Content Aware!
Have you ever seen an ad before and wondered what font was being used? That’s probably not the type of question you ask of just anyone, but in the world of graphic design…well that’s a different story. The latest release of Photoshop, 2015.5 June release has a new feature that will help answer that nagging font question.
Let’s use this image as our example and we’ll place some sample text above it to test our results.
With the image containing our unknown font open in Photoshop we’ll need to designate the area to sample from, so using the rectangular marquee tool simply draw a rectangle around the text you’d like to sample.
Next, using the menu select Type > Match Font.
After having selected Match Font from the menu, a new Match Font dialog box will open. The dialog box will be divided into two sections. The upper section will offer suggestions from your installed fonts. The lower section will offer suggestions from the available fonts at Typekit.
Then it’s just a matter of doing some comparisons’. Choose an installed font for your sample text and see how much it does or doesn’t look like the font being sampled.
In a perfect world we would always find an exact match, but that’s not where we live and there are hundreds of thousands of different fonts that exist. It will find the closest suggestions it has based on what you and Typekit have.
It can be a true time saver.
The art of photography has changed dramatically with the advent of the smart phone. Today everyone is a photographer, and pretty much all of those photographs need some adjustment. Enter Photoshop with the ability to adjust your pictures in a non-destructive way.
The Adjustments Panel in Photoshop includes 16 different types of adjustments that can be applied to your image as a separate layer. By doing this as a separate layer none of the pixels in the original image are altered. The benefit to you of course means you always have your original.
Let’s take a look at two of the most common adjustments: levels, and hue/saturation.
Here is a beautiful image of the Bay Bridge in San Francisco taken from a passing plane. At first glance everything looks great but truth be told it could use a little help.
This image shows the histogram, or tonal range of or picture. Notice the two orange triangles on either end. They indicate where black should start on the left side (0) and where white should start on the right side (255). By moving the sliders, the circled options, we have re-established those tonal beginning points. The mid-tone slider has also been adjusted to drop the mid-tone just a touch. The resulting changes have a dramatic impact on the image.
One additional adjustment to our image will be beneficial. We’ll bump the saturation (color intensity) just slightly to improve the coloring in the lower left-hand corner.
The difference is subtle but just enough to help the image pop.
There are times when everything about the picture you’ve just taken seems to be perfect. Then, when it comes time to use it, you discover one key color just doesn’t work. Or you need the same item in more than one color.
Using Photoshop one solution is to apply the color needed to a new layer and change its Blending Mode.
Take our automobile example for instance. The photograph captures the essence of the car but the ad needs to feature a new, hot color.
Our first step is to add a new empty layer above the car layer. There are several ways to do this but we are only going to mention one which is the keyboard shortcut; Ctrl+Shift+N on Windows , or Cmd+Shift+N on a Mac.
This adds a new layer above our background layer. We’ll rename this new layer “paint job” by double clicking the name in the Layers Panel and typing the new name in its place.
Next we’ll change the foreground color in the Tools Panel to the new color we want on our car. If you know the RGB color value you can click the foreground color swatch to open up the Color Picker Panel. Then type the RGB values in the appropriate location and click OK.
With a new layer in place and the color we what selected the next set would be to use the Bruch Tool to paint over the car on the new layer. It doesn’t have to be perfect, we can clean things up later.
The magic happens in our next step. Once we’ve painted over the existing color and it looks like our next example image we change the Blend Mode of this new “paint job” layer from Normal to Color.
Voila! A new car with a new paint color. There may be a little clean-up work needed on the “paint job” layer, but that can be handled with the Eraser Tool.
Easter eggs in software have been around since 1978. The term was made popular by developers at Atari after game designer Warren Robinett placed his name as a hidden message within the game Adventure. Finding the message was like going on an Easter egg hunt.
Today, Easter eggs are hidden gems within software applications, operating systems, and DVDs. The developers at Adobe are no strangers to this concept.
The new dark interface settings within Photoshop have given the development team a wonderful location to place an Easter egg. To get to these settings we need to open the Preferences panel and we can do so by selecting Edit > Preferences > Interface on a Windows computer, or by clicking the Photoshop menu and going to Preferences > Interface on a Mac.
Inside the Interface portion of the Preferences panel there are four square buttons at the top of the dialog box. They represent our four different color settings. Clicking on each one allows you to lighten or darken the UI (User Interface). The Easter egg is changing those buttons to either coffee cups or slices of toast.
Hold down Ctrl+Alt+Shift on Windows or Cmd+Opt+Shift on a Mac and click on one of the buttons…they change into coffee cups. Do the same thing again…they change back into square buttons. One more time…they change into slices of toast. A fourth click while holding down our key combination and they return to square buttons.
There are times when it would be helpful to find and mark the exact center point of an image. Let’s discuss a few ways this can be done.
The most manual way of doing it can be done by opening the menu option, Image > Image Size, or using the keyboard shortcut Ctrl+ Alt+ I on Windows, or Cmd+ Opt+ I on a Mac. Using the width and height you can determine the halfway mark and drag a couple of guides into place.
Another way of doing this would be to open the image. Show the rulers either using View > Rulers in the menu or the keyboard shortcut Ctrl+ R on Windows or Cmd+ R on a Mac. Then using the menu option Select > All or Ctrl+ A on Windows or Cmd+ A on a Mac, select the entire layer. Using the Move Tool check the Show Transform Controls checkbox in the Options bar. You should now see a “target mark’ in the center of the image. Drag a horizontal and vertical guide to this position and you are set.
How about a third option? Using the same first two steps as the above method, while the background layer is selected, choose Edit > Free Transform in the menu, or Ctrl+ T on Windows, or Cmd+ T on a Mac. This will show the same “target mark” in the center of the image. Place your horizontal and vertical guides and you are good to go.
Here’s one last way of showing and marking the center of an image. Using View > New Guide Layout in the menu, select two rows and two columns with a 0px gutter for each, click ok and you are done.
There are times when you discover a tool or technique that has been there for a while. I believe all Photoshop users experience this at some point. The Rotate View Tool is one such tool for me.
It was introduced with Photoshop CS4 and I must admit I was blissfully ignorant of its existence for a long time.
Having come from a fine art background I have spent many hours drawing, and painting. When you cannot rest your hand on a part of the canvas because of wet paint, or need a better angle of attack to finish a sketch the easy approach is to rotate the canvas on the easel or the paper on the desk. Sometimes it is more about the flow of a line because you are left or right handed. The left side of a curve is easier to draw than the right side because of wrist motion. Rotating the paper or canvas makes that easier to accomplish.
When you are using some of the same drawing tools in Photoshop the same issues arise. Whether you are drawing with a mouse or a tablet it would be great to have some of that same flexibility on a computer that exists working on paper.
That is where Photoshop’s Rotate View Tool comes to the rescue. In Photoshop CC 2015 pressing the letter R as a keyboard shortcut, or left clicking and holding the mouse button down on the Hand Tool will reveal the Rotate View Tool.
Now you can move your cursor onto the image, left click and rotate the image while a compass like symbol displays the direction of the rotation as you drag. You also have the option of typing the degrees of rotation in the option bar. Now your natural left or right handed flow is easier to control.
Once you have finished using the brush you can return the image to its normal position by clicking on the Reset view button in the option bar while the Rotate View Tool is active.
It is a simple tool, but like all tools, invaluable when you need it. I am happy to have stumbled upon it and wanted to share it with you. Enjoy!
It will continue to support SWF and AIR applications, and also will include the ability to output animations in any web based format including SVG (via extensions).
Adobe Animate CC will offer:
- New vector art brushes
- Improved pencils
- 360 degree rotation of the canvas
- Controlling audio syncing without coding
- Color tagging for quick updating throughout a project
- Access to Adobe Stock images, illustrations, and vector graphics
- CreativeSync integration with CC Libraries
- Support for 4K+ video export
- Support for .OAM files
When it becomes available through the Creative Cloud application it will be listed as Adobe Animate CC. After you download it you will find it among you applications as Adobe Animate CC 2015.
The future of web animation looks bright and with this new release Adobe Animate CC is poised to continue the legacy that was Flash Professional.
Select only the paragraphs you want shaded.
Having a background color for a paragraph in InDesign has always been possible. Just use the selection tool and set the fill color to the background color of your choice. If there were several paragraphs in the text frame, use the rectangle tool to draw a rectangle the size of the paragraph you wanted shaded. Set the fill color to the appropriate shade and then place it behind the paragraph.
Just remember to group the rectangle with the text frame, otherwise moving one will not necessarily move the other. Do this a dozen or more times within a document and it just creates more pieces to keep up with.
Along comes the June release of InDesign CC 2015 and all this changes…for the better.
There is a new added feature to the Paragraph Panel that makes this so much easier. Simply use Type > Paragraph, Window > Type & Tables > Paragraph in the menu or the keyboard shortcut Ctrl+Alt+T on Windows or Cmd+Opt+T on a Mac. Any one of these methods will open the Paragraph Panel.
You will now notice a new section at the bottom of the panel with a Shading checkbox and a color drop-down menu. All you need to do is select the paragraph you want shaded, check the box and select a color.
If you need to do any fine tuning there is a separate Paragraph Shading Panel that can be found in the Paragraph Panels menu. Adjustments such as tint, offset in all four directions, and shading alignment with each line, as well as a few others are available in this panel.
Now the shading is part of the paragraph, not a separate piece that we need to keep track of.
Eliminate overset text when editing content in InDesign.
Your document is finished, your layout is perfect, and you get that last minute email or phone call telling you there are six copy changes that need to be made. We have all been in this position before. Shortening content will not cause as many problems as adding content, usually.
Adding a sentence or two in our perfect layout will generally result in pushing content beyond the bounds of our text frame, and that is called overset text. The information is there it is just truncated. Also preflight is informing us we have errors in our file (thank goodness for preflight).
Fixing overset text problems is not difficult, it is just time consuming. It would be nice if there was a way to eliminate this problem, especially when there is available space for content to grow.
Such a fix exists, and it can be found in the InDesign Text Frame Options panel.
This panel can be found by selecting Object > Text Frame Options in the menu or using the keyboard shortcut Ctrl+B on Windows or Cmd+B on a Mac. The panel contains three different tabs and we are referring to the third tab labeled Auto-Size.
At the top of the panel you will find a drop-down menu that offers the auto-size options: Off, Height Only, Width Only, Height and Width, and Height and Width (Keep Proportions). After making a choice from this menu your next option is to control the direction of text flow. Let us say we have chosen height only. By default text will be allowed to expand vertically in either direction. You can modify your setting to direct text to remain anchored to the top flowing downward or anchored to the bottom flowing upward. Similar options are available if you choose width only as well as height and width.
In addition to these setting you have three optional constraints: Minimum Height, Minimum Width, and No Line Breaks.
These settings can make life so much easier, especially when text added to page 3 pushes content on page 27. Auto-size text to the rescue.
Photoshop’s Glyphs Panel can create custom fractions.
In a previous post we talked about the newly added Glyphs Panel to Adobe Photoshop CC 2015.1. Now let us take a look at using fractions from this panel.
Most fonts will supply a few fraction glyphs like our example using Arial, but you and I both know that those 7 fractions will not cover all of our potential needs. That means we will need to create a custom fraction for our text.
We will begin by opening the Glyphs Panel either from the Type menu, Type > Panels > Glyphs Panel or the Window menu, Window > Glyphs.
For our example I have chosen to undock the Glyphs Panel and place it to the left of our text. Undocking a panel is as simple as left clicking on the tab with the panel name and dragging it where you would like to use it.
Our next step is to narrow down the glyph choices. You will find a drop-down menu in the center of the panel. We are looking for Numerators.
The only thing we will find within the Numerators category will be numbers 0-9 all classified as numerators or the upper value of a fraction. Double clicking the number you need is all it takes to insert it into your text, as long as your cursor is in the correct location.
Now we need a slash to separate the top number of our fraction from the bottom number. That can be found in the Glyphs Panel drop-down menu under Math Symbols.
Double clicking the fraction slash will insert it wherever your cursor is.
That leaves the denominator, which can be found in the Glyphs Panel drop-down menu under Denominators.
Double click the value you need and as simple as these few steps have been you now have the exact fraction your text requires.
A Glyphs Panel has been added to Photoshop
Those of you that use Illustrator or InDesign have had access to this panel for some time now. But, Photoshop for some reason has taken it’s time in making it available.
Well, it’s finally here! The June 2015 release of Photoshop has seen fit to include a Glyphs panel. We defined glyph in another article so we will just direct your attention there.
We have two different ways we can open the Glyphs Panel. We can select Type > Panels > Glyphs Panel in the menu or select Window > Glyphs in the menu as well.
Once the Glyphs Panel is open it gives you access to all the alternative characters the selected font makes available. Adding an accented character, fraction, or decorative character is as simple as finding it in the panel and then double clicking it to insert it into your text.
Show Recent Files Workspace When Opening a File.
Some of the most recent changes we have seen in Photoshop CC 2015 began with the code name Spectrum. This name describes changes to the applications involving the darkened user interface. We introduced the new Start Workspace in a previous post, and today will continue by discussing a change you can make to the File > Open settings.
Normally when you have a file open and wish to open an additional image you either select File > Open from the menu or use the keyboard shortcut Ctrl+O on Windows, or Cmd+O on the Mac. This brings up you operating system standard dialog box to open a file.
Now you have an option to change that by selecting Edit > Preferences > General on Windows, or Photoshop > Preferences> General on the Mac. The preferences window has a new selection “Show ‘Recent Files’ Workspace When Opening a File. In this same preferences window you will notice an informational message telling you that workspace changes will take effect the next time Photoshop is started. That’s application speak for close and reopen the application to see it work.
Once you have restarted Photoshop, when you choose to open a second file instead of the standard open dialog box the Recent Files workspace opens on the right side of the window. It offers the same settings as the new Start workspace. If you decide not to open a second image there is a close control in the upper left corner of the workspace or you can press the Esc key.
Export artboards, or layers using Quick Export
Photoshop has offered numerous file options for saving an image over the years. Selecting File > Save As from the menu currently offers over 20 different file formats.
Frequently there is the need to save images for publishing online. The menu choice of File > Save for Web (now File > Export > Save for Web) was something I used on a regular basis. So often as a matter of fact it is one of the few 4 key keyboard shortcuts I use (Ctrl+Alt+Shift+S).
Either of the methods described will save the entire image depending on layer visibility. But wouldn’t it be nice if we could save layers, groups, or artboards separately; not as PSD files, but as jpgs, gifs, pngs, or svg files.
With only the layer, group, or artboard selected we can use the Layers panel menu option and select Export As. The new Export As dialog box opens allowing us to choose file type, size, resampling, meta data, color space conversion, as well as image scaling. The image scaling option even allows the same image to be exported in multiple sizes.
Want to save it as a png? The same menu has a simple Quick Save as PNG.
The standard File menu offers an Export Preferences window that will let you establish your settings choices when you use File > Export > Quick Export as…
Start and Recent files workspace
After installing the November update to InDesign CC 2015 the first thing (actually the second, because the first is the new splash screen) you will notice is a new default workspace.
The new Start workspace provides access to recent files, libraries, presets, open, new tutorials, Adobe stock photos and syncing to CC libraries. It can be set up in list view, which is its default, or thumbnail view. It displays by default when you launch InDesign or when no files are open.
There are two ways to dismiss the Start workspace. You can change the workspace to something other than Start using Window > Workspace in the menu or using the workspace drop-down in the Application bar. You can also select Edit > Preferences > General in the menu and deselect “Show ‘Start’ Workspace When No Documents Are Open” to turn it off.
This new workspace also offers our first glimpse into the further usage of flat controls. The New and Open buttons appear to be nothing more than rounded rectangles surrounding the label in the center. There is a subtle mouse-over effect to indicate it is a clickable control. This theme is carried out throughout many of the interface windows.
InDesign Makes Working with Glyphs Easier
First things first, what exactly is a glyph?
In the world of typography a font is a set of characters, numbers, and punctuation that comprise a family to be used together. A glyph, on the other hand, is a single character that within a font set may have several different designs.
When working within InDesign in the past if you wanted to see if there was an alternative glyph you needed to select the character, open the Glyphs panel (Type > Glyphs or Window > Type & Tables > Glyphs), select a category in the Show menu, and then scroll to find your character option.
The November 2015 update to InDesign has added an interesting and incredibly simple way to make this choice.
Simply select the character you wish to replace with a different glyph and look for the blue border that shows up at the bottom of the selection. If you float your cursor over the blue border a callout will show you any alternate glyphs available. You can then simply click on your choice and it will replace the existing character.
It will even tell you if there are any fraction glyphs available.
This is wonderful when replacing an existing character, but what about finding symbols you may need in the initial creation of your document; like the euro, copyright, or trademark symbols. InDesign’s latest update has added a new search feature within the glyph panel. Simply type in a name, value, or character and it will search the font set you are currently using.
InDesign CC 2015.1 delivers, using an incredible set of productivity tools to make your job easier.
Font Filtering and Searching
With each new version of Photoshop working with fonts continues to improve. The addition of Typekit and filtering font names as you type have both been great additions.
With the latest update, November 2015, a few more choices emerge.
i. Fonts can be filtered based on their classification: Serif, Slab Serif, Sans Serif, Script, Blackletter, Monospaced, Handwritten, and Decorative.
ii. You can display fonts that have been synchronized from Typekit.
iii. The fonts you will be using on a regular basis can easily be starred for future purposes.
iv. You can also filter fonts based on visual similarity.
As simple as these additions seem they all aid in working with fonts whose listings can grow to epic proportions over the years.
The toolbar has been a part of Photoshop dating all the way back to version 1.0, released for the Mac in 1990. It has gone through a variety of changes over the past 25 years, most of them involving arrangement of tools and the addition of new tools.
In the first nine versions the toolbar was a two column layout, period. Then with the release of Photoshop CS 3 they added the ability to toggle between a one column and a two column layout.
The latest release, Photoshop CC 2015.1, has added a new, fascinating option; customizing the toolbar.
Either from the edit menu…
or using the newly added Edit toolbar button, which appears as an ellipse within the toolbar itself…
you can open the Customize toolbar property window. Now the buttons can be completely cleared, regrouped, rearranged, or added to the Extra tools list. Anything added to the extra tools list will become part of the new edit toolbar button.
Your new toolbar arrangements can even be saved as presets and loaded when you desire.
After years of being able to modify menu options, create custom keyboard shortcuts, and set up personal workspaces, customizing the toolbar is a welcome addition.