can DC bad tangents

By blurring the text, it is easier to see the tangent. Unintentional tangents will likely distract from your layout and impact your viewer's focus.

Keep It Vector

An Adobe Illustrator or Vector EPS file is the best format to get a logo in.

Keep It Legal (the Other Way)

Often a scanned logo will have its legal symbol become illegible. You may choose to insert these special characters using the Key Caps on a Mac or the Character Map on a PC. The following keyboard shortcuts are also available on a Mac:

Composition, Space, and Alignment

Give careful attention to how your text fills up the page. The screen is not a box that must be packed edge to edge with as many words as possible. White space is the empty area around the text, and it helps focus the viewer's eyes on the text. Think of white space in terms of the printed page. Don't cram, or you will cause information overload. Think of white space as visual breathing room for your composition.

In terms of alignment, Western civilizations are most used to left-justified text. Look at the proliferation of newspapers, magazines, and books that follow this practice. It is okay to rock the boat, but be prepared to allow more time for your audience to read and comprehend the information.

Pay close attention to your first, second, and third read points. Where is the viewer's eye attracted to first? Then what brings them to the second point, followed by what motivates them to go to the next focal point? These read points are primarily formed due to scaling, composition, and color. Remember: design first, and add effects later.

Be careful with tangents, the places where ascenders and descenders overlap. A tangent adds a focal point to your text, but accidental tangents are undesirable because they make the viewer's eyes work harder. Tangents are an unintentional effect when different point-size lines are mixed together. A good way to check for tangents is to take a flattened copy of your composition and apply a 30-pixel Gaussian Blur. Look for dark areas that signify high density, and adjust leading and kerning to correct them.

Logo Standards

Despite your personal experience, logo standards do not exist to make your life difficult. A company places a lot on that little piece of art. A logo helps a company stand out; it stands for quality and uniqueness. For large companies, a fortune is invested in developing that logo and promoting it to the world. Companies want to have that logo and brand identity moving in the same direction.

Of course, problems do arise. Logos may contain serifs or fine design elements that don't hold up at low resolutions. Often arguments will pop up in the edit suite about drop shadows or glows. Other times it will be over the need to keep the ®, ©, or ™ symbols, which turn to little blobs on the television monitor. A great place to start is the company's Web site. Look at how the logo has been simplified to work on the "little" screen. You'll find that several of your battles will have already been decided.

Every company that takes its brand seriously will have a style guide. Here you will find precise details on fonts, colors, size, and placement. You must get a copy of this. Ask your clients. If they are unsure, start making phone calls. Try the in-house graphics department, the marketing group, the creative department, or the company's ad agency. If the group is small, you might even ask who created the logo and follow up with the designer.

Creating Lower Thirds

Most video editors choose to build their title graphics (or lower thirds) within the title tool of their nonlinear edit system. These built-in character generators are very limited and do not give the precise control over text and graphical elements that Photoshop provides. I recommend that you use Photoshop as a supporting player or let it assume the role of character generator entirely. As a supporting player, Photoshop is quite effective at making complex gradients for use in bars. Let's create a lower third bar from scratch.

Designing Custom Lower Thirds

Step 1. Open a safe-title document. Use the one created earlier in this chapter, Photoshop's built-in template, or try out the Tools for Television Safe Grid Action found on the DVD.

Step 2. Grab the corner and expand the document so that you can see some of the empty space around the canvas. It is a good idea to place a photo or freeze frame in the background for reference purposes.

Engaging Lower Thirds

^ Looking to make your lower thirds more stunning? Be sure to try adding texture to a bar. There are several texture images on the DVD; you can also use them slightly out of focus by running a blur filter.

Photoshop's Gradient Editor outperforms all other gradient tools (even those in other Adobe applications). Choose from complex shapes, multiple color or hues, and advanced blending options for superior results.

Video #10 Exploring Gradients

Video #11 Designing Lower-Third Graphics

Looking for more details? See the video tutorials on the DVD-ROM.

Step 3. With the Rectangular Marquee tool, draw a box across the lower fifth (you thought I'd say lower third?) of the screen. You may choose to have the box extend to the bottom or have it stop around the action-safe area.

Step 4. Select the Gradient tool. Click on the gradient in the Options bar to edit the gradient to your choice. You may load gradients from the submenu or create your own from scratch. You may want to adjust the opacity stops for a ramp effect.

Step 5. Draw the gradient within the selection. Experiment with different gradient shapes, as well as point of origin and length of gradient.

Step 6. Deselect the gradient, and apply a Gaussian Blur filter on the layer to soften the edge.

Step 7. If you'd like to introduce some texture, place a grayscale photo or pattern directly above the layer and group it with the bar with the Create Clipping Mask Command (Layer> Create Clipping Mask). You may also choose to adjust the blend mode (Luminosity works well) and the opacity to achieve the desired effect. You will find some texture files in the chapter folder that you can use.

Step 8. Add the logo. If the file is an Adobe Illustrator file, choose Place from the File menu. Otherwise, you can open the document and copy and paste the logo. You may want to use layer styles, such as a drop shadow or glow to offset the logo from the bar. See Chapter 6, "Bugs, Bevels, Glows, and More" for more details on layer styles.

Step 9. Draw the text block for the name. I recommend using Paragraph text so you have better control over the characters.

Step 10. Duplicate the text layer, shift it down, and modify the text and font. Choose a smaller point size and different font or style for the title, which is generally longer than the name.

Step 11. Apply a contrasting edge effect such as a glow, drop shadow, or stroke.

Step 12. Select or link the two text layers together and choose new set from the submenu of the layer's palette. You can now duplicate this set by choosing Duplicate Layer Set from the Layer menu (or drag its layer onto the Layer Set icon in the layer's palette) as many times as needed. Turn off the Visibility icons and work with one copy at a time for each title. In this way, you can use a layer set for each "talking head" in your video.

Targeted Flattening Revisited

When you are ready to save for the graphic for your video editing software, you will usually save the composition out as a flattened file (most often PICT or TARGA) with an alpha channel. There are several approaches to flattening a file. Targeted flattening, introduced in Chapter 3, is one technique that works well.

Step 1. Turn off all elements you do not want flattened (including the background or reference image).

Step 2. Create a new (empty layer) and highlight it.

Step 3. While holding down the (Q ) key, choose Merge Visible. All layers are now flattened to the single, selected layer.

Step 4. Turn this layer off by clicking on its visibility (eyeball) icon.

Step 5. Hold down the iX ( 0) key and click on the merged layer's name in the layer's palette. The selection border (aka marching ants) should encircle the layer.

Step 6. Switch to the Channels palette and click on the Save Selection as Channel button.

Step 7. Choose Save As from the File menu and use the Save A Copy option to create a PICT or TARGA file with an alpha channel included.

Step 8. If you have multiple titles, discard the alpha channel (NLEs get confused if there are multiple alpha channels) and repeat for each lower third. Simply turn off the current group of titles and activate your next set. Then repeat steps 1-7.

While this process may seem time consuming, you'll become quick at it with a little practice. The quality you can achieve is superior to any stand-alone character generator or built-in title tool. The time savings really add up for multiple titles. Remember to always save a layered file so that you can make changes.

Title Tools versus Photoshop

# There are still a few .zrTi reasons to use the title tool that came with your editing application:

• Animated Character Effects

• Embedding titles in Sequence file

Photoshop, however, has its own benefits that push it over for standard titles and lower thirds work.

• Spell-checker

• Advanced Character Control

• Advanced Paragraph Control

• Texture Mapping and Fill Effects

Prepping a Logo for Animation

By using Adobe Illustrator, an Illustrator or vector EPS file can be split into layers. This layered file can then be imported into Adobe After Effects as is or these layers can be saved as a layered Photoshop file. This file can be tweaked in Photoshop and easily imported into After Effects or your NLE. Once there, you can animate and render. See? That's only six degrees of separation. Let's try it out.


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Step 1. Open the file ChSNSl.ai or another vector logo in Adobe Illustrator.

Step 2. Call up the layer's palette and flip down the twirl-down menu. You should see every item in the logo listed separately.

Step 3. It is necessary to consolidate items a bit to make them more manageable. Press A to activate the Direct Selection tool.

Step 4. Lasso around the newspaper, and choose Object>Group or press @+© (©+©).

Step 5. Repeat for the microphone, copyright symbol, and corporate name, grouping each one individually. Your layer's palette should be much cleaner.

Step 6. Highlight layer #1. Go to the palette's submenu and choose Release to Layers (Sequence). This will put each group on a new layer. The Build option would do a progressive build where each layer would contain all of the previous items, plus one additional item.

Step 7. If you would like to name a layer, double-click on its name. You can also drag the layers to change their stacking order. For predictable results, it is a good idea to "un-nest" the layers by dragging them out of the layer set.

Step 8. Choose File>Export; then name the file and select Photoshop (.psd) as the format.

Step 9. Specify resolution, and choose to write layers. Do not change the color model during export. It may affect the onscreen appearance (especially with gradients and transparency). Allow Photoshop to do your color conversions instead. It is generally a good idea to write the file at 150 to 450 ppi depending upon the size of the source file. You can always resample the image in Photoshop.

Step 10. Open up the file in Photoshop. All your layers should be intact. Feel free to filter or process the image with layer styles (if you use styles, be sure to flatten them).

Step 11. Import into your editing or compositing application. You can now animate the individual pieces so they scale, move, or fade as they move into place. It is a good idea to add the end keyframes first before moving layers. This way, all of the elements will return into proper registration.

Design Ideas

The two most common techniques to help a logo stand out are a glowing edge or a drop shadow. This is based on the principle of type on pattern, which says that a contrasting edge makes it far easier to see something when it is positioned over a busy or moving background. Use Ch05_Logos Start.psd to get started, or grab a copy of your own logo.


By employing the Free Transform command, we can cause a logo to reflect off a flat surface. This effect can be keyed, but looks particularly effective when positioned over a background created with a reflected gradient.

Step 1. Scale the logo to about 60% screen size, positioning it near the top of the safe title area.

Step 2. Duplicate the logo layer by pressing B-a+j (^B+O).

Step 3. Use the Free Transform command on the duplicated layer. Flip vertically by right-clicking and selecting Flip Vertical. Nudge the logo down using the arrow keys so that the bottom edges line up. You can add the ^S key for a power nudge.

Step 4. Scale the logo to make it shorter by grabbing the bottom edge and pulling up towards the top of the screen.

Step 5. Access the perspective distortion by right-clicking. Spread the logo out to simulate a cast reflection. Click the Apply Transformations box, or press fffl^ft (lamsm 1.

Step 6. Reduce the opacity and blur the layer to achieve the desired look.

Step 7. You may choose to add some lighting effects for an additional effect. Make a new empty layer, select all and choose Copy Merged (Edit>Copy Merged), or press +© (^©+©[email protected]).

You can render out the lighting effects using the excellent plug-in from Digital Film Tools called Light! (You'll find a demo on this book's DVD.)

Step 8. It is likely that the © symbol will need to be replaced. Add a new type layer and insert the needed symbol.

Light! from Digital Film Tools has many possibilities for both design and production.

3D Perspective

Sometimes you will want your shadow to have a little depth.

This effect is simple but extremely popular because it dramatically improves readability.

Step 1. Position your logo on the screen.

Step 2. Make a copy of the logo by duplicating the layer. The fastest way is^^+0 ( D + 0).

Step 3. Place the copy behind the original by dragging it in the Layers palette.

Step 4. Load your default colors by pressing the D key. Black should now be loaded as the foreground color.

Step 5. Load the duplicate layer by holding down the jj-a key (L key) and clicking on the layer's thumbnail. Press i^A urn mm) to fill with the black foreground color.

Step 6. Leave the layer active, and select the Move tool by pressing V

Step 7. You are now going to nudge a copy. Hold down the ^9 key key) and quickly tap the down and right arrow back to back. Repeat until the desired edge appears.

Step 8. To further enhance the effect, you can apply a beveled edge to the original logo on top.

Step 9. It is likely that the © symbol will need to be replaced. Add a new type layer and insert the needed symbol.

Distressed Type or Logo in Photoshop

Want to make editable vector type with distressed edges? You can by harnessing a photo texture and layer masks.

Step 1. Typeset your words over your background layer or add a logo.

Step 2. Add a photo with a lot of texture to your document (in this case a photo of a wooden fence). You'll find a usable sample in the chapter's folder on the DVD-ROM. You can also use the items contained in the distressed layer set to create this look. Place the photo above the logo in the Layers palette.

Step 3. Desaturate the photo by pressing +ffl

Step 4. Increase contrast in your photo through a combination of Levels adjustments and Artistic filters such as Film Grain.


Be sure to achieve a high contrast, yet allow gradual transitions. A gentle Gaussian Blur filter can help soften the image a bit.

Step 5. Switch to the Channels palette and (j+Click (L+Click) on the RGB composite channel to load a selection. This will create a ragged selection based on the details in the photo.

Switch back to your Layers palette and turn off the texture layer's visibility icon.

Select your text or logo layer and add a Layer mask by click on the Add layer mask button at the bottom of the Layers palette.

You may want to add a drop shadow or slight emboss to your text or logo using layer styles. Experiment with blending modes as well.

If you want to distress the type further, you can keep going. Load the text or logo layer by jj-a + Clicking (L+ Clicking) on its layer thumbnail.

Create a new empty layer and fill the selection in with Black. Then deselect the layer by pressing [email protected] (L d)

Choose Filter>Artistic>Cutout... to process the image further. Turn of all layers except the filtered layer.

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Step 12. Switch to the Channels palette and jj-a + click (^0+click) on the RGB composite channel to load a selection.

Step 13. Switch back to the Layers palette and disable to the Cutout layer. Reenable the text layer and background.

Step 14. Select your layer mask on your text layer and choose to Edit>Fill... and use Black. Your edges should erode more (if not, you can inverse the selection and fill again).

Step 15. You can run a Levels adjustment on the layer mask to refine its transparency.

Fill with a Pattern (Create Clipping Mask)

You will often be asked to place a pattern or image inside the letters. In the past, I would have suggested the Paste Into command. However, now a much more flexible solution called grouping exists. This effect is similar to a track matte. To make this effect easier to show, use the items in the layer set called #3 Group. The font used is Mingler Snowy by Chank.






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Step 1. Position the logo where you want it.

Step 2. Add a texture layer above.

Step 3. Select the texture layer and create a clipping mask by pressing [email protected] (L+©+©).

Step 4. Adjust the blending mode and opacity to isolate the effect.

Step 5. You may choose to add an outer glow or drop shadow to the logo layer to help it stand out more.

Step 6. Any changes to the logo layer will automatically update with the new texture.


One technique to offset a logo is to "light" it from behind. This technique is easy to accomplish. The background in this example was made with Glitterato from Flaming Pear.

Step 1. Position the logo where you want it.

Step 2. Make a copy of the logo by duplicating the layer. The fastest way is (X+0 (L+O).

Step 3. Run the Radial Blur on the duplicate layer. Choose the Zoom option, set to Maximum Blur, and use the Good option. (Best takes a very long time to render.)

Step 4. Press D to load the default colors.

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B-a+clicking (^0+click) on it. Fill the selection by pressing i^A urn mm) Deselect the layer by pressing

Step 6. Repeat the blur, load, and fill cycle until your rays are the desired length.

Step 7. On the blurred layer, apply the color overlay layer style. Select the desired color and adjust opacity to taste. You should get a real-time preview of your work if the Preview box is checked. Click OK.

Step 8. Place the glow layer behind the logo so the beams shoot past.

Step 9. Optionally, you may also choose to place an additional copy of the beam layer on top. Adjust the opacity to make the color look like it has wrapped around the logo.

Cast Shadows

This technique is similar to the reflected type treatment. It allows you to cast a shadow in any direction.

Step 1. Position the logo where you want it on the screen.

Step 2. Make a copy of the logo by duplicating the layer. The fastest way is jj-a+j (^B+O).

Step 3. Press D to load the default colors.

Step 4. Load the duplicate layer by jj-a+clicking on it (^0+click). Fill the selection by pressing i^A urn mm)

Step 5. Apply Free Transform to the layer and select the Perspective Transformation. Access the perspective distortion by clicking or right-clicking. Be sure to grab the transform handle in the middle of the top edge. Put it to the right or left, depending on your "light" source.

Step 6. Next, access the scale command by right-clicking. Adjust the length of the shadow to taste. Click the Apply Transformations box, or press ^^^ (fotct).

Step 7. Blur the shadow and change its blending mode to Multiply.

Step 8. You may want to add a contrasting edge depending upon your background layer.

Step 9. It is likely that the ® symbol will need to be replaced. Add a new type layer and insert the needed symbol.

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Glass Bug

Do you need to create a network-style jelly bug—those semi-transparent logos that sit in the corner and look like they are made of glass? The technique works well for simple logos or station numbers.

Step 1. Split your logo or bug up into as many layers as you need so the pieces are clearly separated.

Step 2. Be sure you have transparency surrounding the objects. This will likely be the case if you have masked each object or started with a vector logo.

Step 3. Place a reference photo or frame grab below the logo so you can judge the effect.

Step 4. Apply a Bevel and Emboss layer style as well as a slight white drop shadow. Keep the bevel thin and crisp.

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Adjust the Fill command for the layer, which will lower the original fill, but preserve the opacity of the effects. You can do this from the Blending options, the Custom area of the Styles dialog box, or from the top of the Layers palette.

Turn off all layers except the bug.

Make a new (empty layer) and select it.

Choose Layer>Merge Visible while holding down the (A ) key. You will get a merged copy that is perfectly registered with the layers below.

Click (^0+Click) the new layer's thumbnail in the Layers palette to load the selection.

Switch to the Channels palette and click the Save Selection as Channel button to create an alpha channel.

Step 11. Save the file as PICT, Targa, or PNG-24.

Step 12. Import into After Effects or your NLE. You should tell it that the graphic is premultiplied with White to get the cleanest edge.

Those Other Programs

Sometimes there's no way around it: you have to work with programs other than Photoshop—or at least you have to know how to make another program's output cooperate with Photoshop. Here are a few tips from the trenches on handling the usual suspects.

Need to Go Deeper with PowerPoint?

^ I invite you to pick up How to Wow with PowerPoint, a book I co-authored that offers advice on harnessing the power of PowerPoint 2007. If you work in internal communications or corporate video, PowerPoint knowledge can go a long way.


While in business school, I finally worked closely with those "other" people who make all of the awful speaker support slides we get. You know, the "I need to use this PowerPoint presentation in my video" kind of folks. I was amazed at the decisions (or lack thereof) that went into making a presentation.

In response, I developed a list of "deadly sins. " I've shared this list with lots or presenters through the years. Now I'd like to bring a concentrated version to you. Use this advice when building new graphics for clients or reformatting existing presentations for the screen.

Seven Deadly Sins

1. Too few slides/screens. There is no per-screen charge.

2. Too many words. You are not creating "open captions for the thinking impaired." Just a key phrase or few words to reinforce the current point.

3. No road signs (Where are you going?). Use several titles slides for each section so that it is clear where you are. Make it clear where you are in the video.

4. Reliance on gimmicks. If you have to use a Kiki wipe to keep your audience's attention, your fullscreen graphics aren't working.

5. Ignoring design. Just because the client says it all has to fit on one slide doesn't mean you shouldn't suggest alternatives. You are being hired because of your good taste and technical skill. Use them.

6. Not proofing. Many little mistakes sneak in. Changing tenses for verbs, first or third person writing, small spelling errors such as your versus you're. Don't assume that any presentation you are given has actually been proofread.

7. Forgetting your audience. Remember, you want the audience to actually be able to read the slides and comprehend them. Keep them uncluttered and the point size readable.

Rules of Good Presentation Design

1. Limit fonts used. No more than three; aim for two. Stick with a font family, if possible, to keep it looking clean.

2. Use a heavy font. Make sure it is readable on screen. Use a medium-to-black weight if possible.

3. Avoid stock templates. Do you want an engineer in Redmond, Washington designing graphics for your video? Build new backgrounds that complement your client's message; then offer them JPEGs of the Background so they can use them in their presentations in the future.

4. Use three to seven bullets per page. Any more is "death by bullets."

5. A bullet is one to five words. You are giving the audience a key word or phrase to help them encode the information. You are not placing the script on the screen. That's what closed captioning is for.

6. Readability test (design for the back of the room). It may look big from your chair, but stand back and test it.

7. Use builds or simple animations to bring bullets on line by line. Reveal the information to keep your audience's attention. Every time something moves, your viewer is likely to look at the screen.

8. Be consistent with justification and capitalization. This one is tough. Decide in advance. Are you going for sentence case or title case? Establish a style guide per project and follow it. Share it with others working on the project as well.

9. Use transparency. Ramp effects, partial transparency, and soft drop shadows/glows help to make the presentation seem more "organic."

10. Easy to change. Create a template and use it. Always keep layered files around, even after the project is done. If you have full-screen graphics in your video, they are the most likely things to be changed in the future.

Exporting PowerPoint Slides

You may often find yourself needing to edit slides into a talk by a speaker. Fortunately, PowerPoint makes is relatively easy to export slides into graphics that can be read by Photoshop or video software.

Step 1. Open up the PowerPoint presentation file using Microsoft PowerPoint.

Step 2. Remove any unnecessary slides in the Slide Sorter view. Select unwanted slides and press imrnm

Step 3. Saving slides out will vary depending which version of PowerPoint you are using. For most versions, choose File>Save As. In PowerPoint 2007, you will want to click on the Office button and choose Save As>Other Formats.

Step 4. Pick a file format such as TIFF. Click the options buttons and choose to resize. Specify a square pixel size such as 720X540; this can easily be converted to other video sizes within Photoshop.

Step 5. Specify a destination folder to hold the slides.

Step 6. Click Save. An image for each slide will be saved, but they will be flattened files.

Be sure to also save any background and logo files out for use in your video. If you do not own PowerPoint (and run Mac OSX), Keynote is an affordable alternative that can read PowerPoint files with relative accuracy. Be warned; there are several Windows-only third-party plug-ins for PowerPoint.

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Exporting Apple Keynote Slides

Apple's Keynote presentation software has proven to be a strong entry into the speaker support software market. In fact, many of my own clients have switched to it due to its excellent support for graphics, full-motion video, and anti-aliased text. You can even export a full-screen QuickTime movie if you need to bring a Keynote animation into your video edit. In our situation though, let's assume you want stills.

Step 1. Open up the Keynote or PowerPoint Presentation using Keynote.

Step 2. Remove any unnecessary slides. Step 3. Choose File>Export...

Step 4. Specify that you want to export Images, use the TIFF format, and click Next.

Step 5. Specify a destination and click Export to save your files.

Step 6. Open the graphics in Photoshop where you can crop and size for your video needs.

Sending Photoshop Text to After Effects

If you need to animate your Photoshop text in After Effects, the process has gotten much easier. After Effects can now convert Photoshop text layers back to editable vector text. This will make it easier to complete credit rolls or title animations.

Step 1. Import your PSD file as a layered comp into After Effects

Step 2. Open the comp by double-clicking its icon in the project window.

Step 3. Select a text layer in the After Effects timeline (you can only do one at a time).

Step 4. Choose Layer>Convert to Editable text. After Effects converts the Photoshop text layer to an AE text layer that can be animated or scaled while harnessing the full power of vector text.

EPS and Illustrator Files

Earlier we solved the color problems with client files, but we're not done yet. If you are ever asked how you want a client's logo, answer, "An Encapsulated PostScript or Adobe Illustrator file would be best, please." Even though we are working in a primarily raster program, the flexibility in scaling a vector file will prove invaluable.

An Adobe Illustrator or Vector EPS file is the best format to get a logo in.

Be careful, however. Not all EPS files are vector. Always ask for a vector file. If the client tells you to get it from their Web site, it is likely that they didn't understand what you were asking for. It's worth the extra effort to get the right file from the get-go. If a raster file is the only available option, then you can try to use LiveTrace in Adobe Illustrator, which proves invaluable when converting between raster and vector.

One important gotcha: you don't open a vector file in Photoshop, you place it (File>Place...). You will be presented with a bounding box identical to the Free Transform command. Remember, holding down the (A ) key will scale from the center. The ^S key constrains the width and height scaling. You can also rotate the image by moving your cursor to the outside edge.


I bring this up only because I have to. Every once in a while, you will come across a logo created in Microsoft Word. Microsoft pushes its Office Suite as an all-in-one solution to business owners. Don't be surprised to find simple logos being created inside the word processor. Your clients may be telling you the truth when they say that a Word document is the only version they know of.

Generally speaking, these logos are vector. Your first reaction would be to take it into Adobe Illustrator. While this preserves the vector data, the image's appearance will likely be distorted because it does not copy and paste cleanly into Illustrator. The trick is to size the logo inside Word.

Step 1. If you have Microsoft Word, open the file Ch05_WordArt-Demo.doc.

Step 2. Copy the logo to your clipboard.

Step 3. Create a New document in Word.

Step 4. Paste the logo.

Step 5. Click on the logo. The WordArt formatting palette should appear.

Step 6. Click on the Format WordArt button to access scale controls. You should be able to enlarge the logo to the required size. Be sure to click the Lock Aspect Ratio check box.

Step 7. Copy the item to your clipboard. Word works at 300 dpi, so this should provide plenty of pixels to work with.

Step 8. Create a new document in Photoshop. The new document will automatically be sized to the clipboard's contents.

Step 9. Paste, save, and start working.

In the Know

Need to know more about type? If you feel like searching the Web, here are some great starting points:

Chank Fonthead DincType Fontalicious Acid Fonts My Fonts Microsoft Adobe Font Lab



www.fontalicious. com






Understanding Adobe Photoshop Features You Will Use

Understanding Adobe Photoshop Features You Will Use

Adobe Photoshop can be a complex tool only because you can do so much with it, however for in this video series, we're going to keep it as simple as possible. In fact, in this video you'll see an overview of the few tools and Adobe Photoshop features we will use. When you see this video, you'll see how you can do so much with so few features, but you'll learn how to use them in depth in the future videos.

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