Inside Adobe Photoshop 5.5
TITLE_DISPLAY:
Inside Adobe Photoshop 5.5
出版資訊:
Indianapolis, IN : New Riders Publishing, 2000.
格式:
圖書
物理描述:
xxix, 888 p. : ill. ; 23 cm. + 1 computer laser optical disc (4 3/4 in.)
題名主題:
主題詞彙:
ISBN(国际标准书号):
9780735710009
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---|---|---|---|---|---|---|
正在查詢... Research | Book | T385.B68194 2000 | 1 | Stacks | 正在查詢... 未知 | 正在查詢... 不可借閱 |
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摘要
摘要
In Inside Adobe Photoshop 5.5, Gary Boutons learning methodology is set up to give you hands-on experience with Photoshops features, using either the imagery created in the book or the users own. Gary goes well beyond simply reviewing the features and grounds his readers in the most practical and useful aspects of Photoshop-the real-world uses of this powerful program-before delving into the more complex, arcane, or esoteric uses of the program. Each chapter includes a balance of textual discussion, hands-on excercises, and review material, all written in Garys highly praised style.
目錄
The Book that Took A Century to Write | p. 1 |
The Boutons Break with Tradition | p. 2 |
Adobe Photoshop: The Uncommon Household Word | p. 2 |
An Omnibus Approach Provides Help for All Classes of Designers | p. 3 |
Push Down and Twist: The Directions for Accessing this Book | p. 4 |
Terms Used in this Book | p. 6 |
Conventions Used in This book | p. 6 |
Special Text | p. 7 |
We Use Nicknames for Well-Known Products | p. 7 |
Contents At A Glance | p. 7 |
Part I Strolling before Running | p. 7 |
Part II Basic Magic Using Photoshop | p. 8 |
Part III Intermediate Magic and Photoshop | p. 8 |
Part IV Extended Uses for Photoshop | p. 9 |
Part V Publishing and Beyond | p. 10 |
Part VI Moving to Higher Ground: Meet Version 5.5 and ImageReady 2 | p. 10 |
Part VII The Back O' the Book | p. 11 |
Folks Just Like You | p. 12 |
Part I Strolling before Running | p. 13 |
1 Getting Acquainted with Computer Graphics and Terms | p. 15 |
What Types of Computer Graphics Are There? | p. 16 |
The Picture Element Placeholder | p. 17 |
Image Resolution | p. 17 |
How Many Pixels Are in an Image? | p. 18 |
Color Depth (Color Capability) | p. 18 |
Line Art | p. 18 |
Indexed Color | p. 19 |
The Grayscale Channel Image | p. 22 |
The Color Channel Image | p. 22 |
CMYK Color Mode | p. 23 |
LAB Color | p. 24 |
Color Reduction Methods | p. 25 |
Three Methods for Palletizing an Image | p. 26 |
Different Palletizing Options | p. 28 |
Anti-Aliasing and Resampling Artwork | p. 30 |
Image Resolution and Granularity | p. 31 |
Anti-aliasing and Brush Strokes | p. 32 |
Interpolation and Averaging | p. 34 |
Nearest Neighbor | p. 35 |
Bilinear Interpolation | p. 36 |
Bicubic Interpolation | p. 37 |
Progressive Changes and Anti-Aliasing | p. 37 |
Summary | p. 38 |
2 Getting Stock Images | p. 41 |
The "Rules" for Acquiring an Image | p. 42 |
Examining the Flatbed Scanner | p. 44 |
Understanding Reflective Scanning: Scanning Photos Using a Flatbed Scanner | p. 44 |
Direct Scanning Do's and Don'ts | p. 50 |
Letting a Layout Dictate a Scan | p. 51 |
Editing a Scanned Image | p. 55 |
The Vertical Strip Layout | p. 59 |
Simplicity of Design and Economy of Scanning | p. 65 |
A Warning about Scanning Everything on Earth | p. 69 |
The Kodak PhotoCD | p. 70 |
Working with PhotoCD Images | p. 70 |
Correcting the Gamma of an Image Acquired from a PhotoCD | p. 74 |
Transparency Scanning | p. 77 |
The Digital Camera | p. 80 |
The Pipeline of Digital Photography | p. 81 |
What Are You Getting Yourself into with a Digital Camera? | p. 83 |
Film Speed | p. 83 |
The Lens System | p. 83 |
Types of Compression and the Storage Card | p. 84 |
Amount of Samples | p. 84 |
Three Ranges of Cameras | p. 85 |
Olympus D-500L (Street Price: $799) | p. 85 |
Olympus D-600L (Street Price: $1,300) | p. 86 |
The Polaroid PDC-3000 (Street Price: $2,000-$3,000) | p. 86 |
Summary | p. 87 |
3 Customizing Photoshop 5 | p. 89 |
The Preferences Dialog Box | p. 90 |
Setting the General Preferences | p. 90 |
Setting the File-Saving Preferences | p. 93 |
Setting Display and Cursors Preferences | p. 94 |
Setting the Transparency and Gamut Preferences | p. 95 |
Setting Units and Rulers Preferences | p. 96 |
Setting the Guides and Grid Preferences | p. 97 |
Setting the Plug-Ins and Scratch Disks Preferences | p. 99 |
Setting the Memory and Image Cache Preferences | p. 100 |
Understanding Gamma | p. 102 |
Optimizing Your Palettes | p. 104 |
Info Palette | p. 105 |
Getting Acquainted with the Options Palette Options | p. 106 |
Brushes Palette Options | p. 107 |
History Palette Options | p. 110 |
Actions Palette Options | p. 110 |
Layers, Channels, and Paths Palette Options | p. 111 |
Quick Mask Options (Toolbox) | p. 112 |
Personal Working Preference | p. 113 |
Summary | p. 114 |
4 The Photoshop Test-Drive | p. 115 |
The Magnetic Lasso Tool and Floating Selections | p. 116 |
Editing the Butter | p. 116 |
The Layer Via Copy Command | p. 119 |
Copying the Shaker | p. 119 |
Using Layer Effects | p. 122 |
Changing Times | p. 124 |
Layer Mask Mode | p. 129 |
Copying and Masking a Sugar Cube | p. 129 |
Warming Up the Coffee | p. 132 |
Clipping Groups | p. 133 |
Surfacing Over the Coffee Pot | p. 133 |
Shading the Coffee Pot | p. 136 |
Summary | p. 139 |
Part II Basic Magic Using Photoshop | p. 141 |
5 Working with New Features | p. 143 |
Working with the Type Tool | p. 144 |
Using the Vertical Type Tool and Dialog Box | p. 144 |
Working with the Horizontal Type Tool | p. 147 |
Folks and Beacon: Installing New Fonts | p. 149 |
Using Mixed Typefaces | p. 150 |
Photoshop's Type Mask Tool | p. 153 |
Photoshop's Freeform Pen Tool | p. 155 |
Using the Freeform Pen Tool for Design Work | p. 155 |
Pillow Embossing the New Layer | p. 159 |
Photoshop 5's History List | p. 161 |
Tracking and Refining Embellishments Using the History Palette | p. 161 |
Snapshots and New Variations | p. 166 |
Using the History Brush | p. 169 |
Exploring the Magnetic Tools | p. 171 |
Using Magnetic Selections in Your Editing Work | p. 172 |
A Contact Sheet for Quick Browsing | p. 175 |
Creating Your Own Contact Sheet | p. 175 |
From PDF to PSD | p. 178 |
Creating a TIFF File from a PDF Page | p. 178 |
The Resize and Export Transparent Image Assistants | p. 179 |
Exporting to GIF 89a Format | p. 180 |
Exporting to PNG Format | p. 181 |
File Info's Copyright and URL | p. 184 |
Info from Photoshop User to Photoshop User | p. 184 |
More Protection for Your Images | p. 186 |
An Improved Actions List | p. 186 |
Creating a Soft Star Macro | p. 186 |
Aligning Linked Layers | p. 190 |
Using the Align Linked Command | p. 190 |
Summary | p. 192 |
6 Selections, Layers, and Paths | p. 193 |
The Icons Masterpiece | p. 194 |
Hitching Your Lasso to a Star | p. 194 |
The Lasso Tool and Polygon Lasso Tool Modes | p. 196 |
Defining a Selection with Quick Mask | p. 201 |
Using Paths to Create Selections | p. 203 |
What's in a Path? | p. 203 |
The Lowdown on Layers | p. 209 |
Subtracting from A Floating Selection | p. 215 |
Working with Clipping Groups | p. 218 |
Summary | p. 221 |
7 Retouching a Photograph | p. 223 |
Assessing the Compositional Damage | p. 224 |
Using the Pen Tool and Floating Selections | p. 225 |
Retouching with the Rubber Stamp Tool | p. 229 |
Changing a Path to Make a New Selection | p. 231 |
Creating a Path to Define the Shoulder | p. 233 |
Cloning a Pattern | p. 235 |
The Trick Is to Extend What's Available | p. 236 |
Cropping the Image | p. 238 |
"Shared Attention" in the Finished Image | p. 239 |
Summary | p. 241 |
Part III Intermediate Magic and Photoshop | p. 243 |
8 Restoring Heirloom Photographs | p. 245 |
Concerns Unique to Old Photographs | p. 246 |
Digitizing a Warped Photo | p. 246 |
Scanning the Wrinkled Photo | p. 247 |
Scanning the Black-and-White Photo in Color | p. 247 |
Knowing the Characteristics of Your Output | p. 247 |
Does the Resolution Match the Output? | p. 248 |
Does the Color Match? | p. 248 |
How Are Details Reproduced? | p. 249 |
Restoring the Faded Photograph | p. 249 |
Adjustment Layers and the Curves Command | p. 249 |
Rubbing Out an Unwanted Person | p. 253 |
Repairing the Cracked Photograph | p. 255 |
Using the Dust and Scratches Filter to Remove Blemishes | p. 255 |
The Final Inspection | p. 258 |
Removing a Stain from a Photograph | p. 259 |
Assessing the Damage | p. 259 |
Removing the Stain | p. 261 |
Summary | p. 264 |
9 Creating Surrealistic Images | p. 265 |
Stock Photography and this Chapter's Image | p. 266 |
Compositing Two Images to Create a Surrealistic Image | p. 267 |
Using Layer Opacity to Visualize a Composite | p. 268 |
Using Multiple Tools to Apply a Layer Mask | p. 270 |
Removing the Bench with the Rubber Stamp Tool | p. 273 |
Using Guides and Rotating a Layer | p. 277 |
Distorting an Object to Achieve Perspective | p. 279 |
Manipulating the Sky Area | p. 281 |
10 Working with Mixed Media | p. 287 |
Creating a Digital Cartoon | p. 288 |
Scanning a Physical Pen and Ink Drawing | p. 288 |
Preparing a Clean Scan for Coloring | p. 290 |
Prepping Artwork for Streamline | p. 293 |
Importing an EPS File | p. 295 |
Selecting and Coloring on a Unique Layer | p. 297 |
Shading with the Paintbrush Tool | p. 300 |
Applying Authentic Lighting Effects | p. 301 |
Using Screen Captures in the Scene | p. 304 |
Adding a Tint to the Monitor | p. 307 |
Creating a Highlight that Fades | p. 309 |
Using the Layer Mask to Remove Unwanted Areas | p. 310 |
Using a Seamless, Patterned Tile to Create Perspective | p. 312 |
Highlighting the Center of the Piece | p. 315 |
Summary | p. 316 |
11 Using Different Color Modes | p. 317 |
Creating the Best Grayscale Image | p. 318 |
From RGB Color to Grayscale | p. 319 |
Duotones: Complementary Color Plates | p. 321 |
Creating a Sepiatone Effect | p. 326 |
Filtering Grayscale Images | p. 330 |
A Grayscale Filter Sampler | p. 330 |
An Homage to Traditional Photographic Reproductions | p. 332 |
Getting Tints from an Image | p. 338 |
Embossing Using Color Channel Information | p. 340 |
Summary | p. 343 |
12 Creating a Photorealistic Fantasy | p. 345 |
What Elements Are Needed for the Composition? | p. 346 |
Sizing-up the Photographic Image | p. 346 |
Selecting Silhouettes | p. 351 |
Using the Magnetic Lasso Tool | p. 351 |
Using a Combination Editing Technique | p. 353 |
Using Paths to Define Hard Edges | p. 354 |
Creating Complex Selections in Layer Mask Mode | p. 356 |
Painting Over Items That Don't Match Your New Image | p. 361 |
Painting an Image Selection | p. 361 |
Editing-in a Prop | p. 363 |
"Sleek" Doesn't Cover "Clunky" | p. 364 |
Masking Out Unwanted Areas | p. 365 |
Defining a Selection | p. 368 |
Using Partial Opacity Paint | p. 370 |
Creating the Fantasy Composition | p. 373 |
Copying the Actor and Arranging the Scene | p. 373 |
Deemphasizing a Background | p. 374 |
Finessing the Fantasy | p. 376 |
The Layer Mask and Fringed Hair | p. 376 |
Finishing the Actor's Hair | p. 378 |
Sizing and Adding Text | p. 379 |
Summary | p. 381 |
13 Creating a "Perfect" Image | p. 383 |
Introducing "Park Blah" | p. 384 |
Using the Color Range Command to Select the Sky | p. 384 |
Adding a New Sky to the Image | p. 390 |
Using the Sharpen Tool to Enhance Focus | p. 394 |
Using the Color Balance Command | p. 395 |
Using Quick Mask to Create a Realistic Reflection | p. 398 |
Rotating, Copying, and Positioning the Sky | p. 401 |
Alpha Selecting and Layer Masking the Lake | p. 402 |
Warming the Waters: Changing the Color Cast in a Lake Scene | p. 406 |
Using the Variations Command to Correct Color Cast | p. 407 |
Summary | p. 408 |
Part IV Extended Uses for Photoshop | p. 411 |
14 Making Things Appear Small | p. 413 |
Scale, Camera Angle, and Lighting | p. 414 |
Separating the Woman from the Background | p. 416 |
Setting Up the Image as a Layer and Working with Transparency Options | p. 416 |
Beginning the Silhouetting Work | p. 417 |
Using the Pen Tool to Select the Edge of a Blouse | p. 419 |
Using the Pen and Convert Point Tools | p. 422 |
Further Trimming Away at the Image | p. 424 |
Using the Pen Tool on Hands | p. 425 |
Editing the Pants and the Shoes | p. 427 |
Rough Masking Around the Pants and the Other Hand | p. 428 |
Masking Around the Other Hand | p. 431 |
Deleting Around the Outside of the Arm | p. 431 |
Two Tools: One Selection Goal | p. 432 |
Familiar Tools, Identical Techniques | p. 434 |
Using the Paintbrush Tool to Finish the Masking | p. 434 |
Giving the Girl a Big Hand | p. 436 |
Thumbs Up | p. 439 |
Creating a Thumb Shadow | p. 440 |
Sampling and Applying a Shading Color | p. 443 |
Layer Masking for Touch-Up Work | p. 445 |
A Question of Lens Focus | p. 445 |
Color Casting and Correction | p. 446 |
Summary | p. 448 |
15 Working between Applications | p. 451 |
Complete Replacement as a Retouching Method | p. 452 |
Using the Pen Tool to Define the Coffee Can | p. 453 |
Filling In the Coffee Can | p. 456 |
Creating a Drop-shadow Template | p. 459 |
Cloning over a Coffee Can Edge | p. 462 |
Adding PhotoRealistic Touches | p. 463 |
A Brief Thingy on EPS, Illustrator Files, and Resolution | p. 466 |
Placing the Image and the Label | p. 468 |
Warping the Label on a Budget | p. 471 |
Using Windows Programs to Bend the Label | p. 474 |
Photoshop's Got Your Dimensions | p. 478 |
Importing, Copying, and Aligning the Logo | p. 478 |
Creating a Fake Label Edge | p. 481 |
Adding Noise and a Highlight | p. 483 |
Summary | p. 488 |
16 Creatively Working with Filters | p. 489 |
Creating a Woodworking Home Page with the Help of Filters | p. 490 |
Using the Gradient Editor | p. 490 |
Filtering the Custom Blend | p. 492 |
Lighting Effects and the Texture Channel | p. 496 |
Creating Buttons in Photoshop | p. 497 |
Dimensionalizing the Button | p. 499 |
Tiling the Texture | p. 502 |
Creating Fractal Terrain | p. 503 |
The Render Clouds Filter | p. 504 |
From RGB Color to Indexed | p. 505 |
3D Transform and Product Visualization | p. 509 |
Preparing the Art for 3D Transform | p. 509 |
Adding a Table Top | p. 512 |
Adding Shading and a Background | p. 513 |
Adding "Business" to the Box | p. 515 |
Working with 3D Transform's Sphere Shape | p. 517 |
Creating Arcing Text | p. 517 |
Going with the Flow; Filters that Complement Geometry | p. 519 |
Stylizing the Desk Scene | p. 519 |
Using Two Filters and Two Layers | p. 522 |
Using the Watercolor Filter | p. 524 |
Summary | p. 526 |
17 Special Effects and Photoshop | p. 527 |
Removing Someone from Their Clothing (with Their Permission) | p. 528 |
Start with an Image that Contains Motion | p. 528 |
Removing an Area by Cloning Over It | p. 529 |
Using the Pen and Airbrush Tools | p. 530 |
The "Rhythm" of the Tools | p. 532 |
Using the Smudge Tool | p. 533 |
Stroking a Seam Path | p. 534 |
Aligning Sample Points and Erasing Arms | p. 536 |
Showing the Inside of the Sleeve | p. 538 |
Jeans Are Either Too Long or Too Short | p. 543 |
Erasing the Other Sneaker | p. 546 |
Making and Importing Shadows | p. 548 |
How to Replace a Face | p. 551 |
Getting the Sizing and Lighting Right | p. 552 |
Rotating an Image | p. 555 |
Matching Skin Tones | p. 558 |
Summary | p. 559 |
Part IV Publishing and Beyond | p. 561 |
18 Outputting Your Input | p. 563 |
The Many Routes to Physical Output | p. 564 |
Personal Printing | p. 565 |
Black-and-White Output: Personal and Professional | p. 567 |
PostScript Printers | p. 570 |
What Goes Into That Dot on a Page | p. 571 |
Examining a Digital Halftone Image | p. 571 |
Understanding the Halftone Cell, Resolution, and Other Factors | p. 573 |
Line Angles | p. 574 |
Line Frequency | p. 576 |
The Times Two Rule | p. 576 |
The Number of Tones in a Grayscale Image | p. 579 |
Using Calculations to Determine Image Quality | p. 579 |
Higher-Resolution Printers | p. 580 |
The Photoshop Method of Counting Colors | p. 580 |
Ink Is Different from Toner | p. 582 |
Decreasing Contrast in the Laser Copy | p. 582 |
Photoshop's printing Options | p. 584 |
Using the Page Setup Dialog Box | p. 584 |
Using the Print Command from the File Menu | p. 588 |
Printing to Different Color Modes | p. 588 |
Increasing Print Quality, Decreasing Artist Involvement | p. 591 |
Pre-Press and the Service Bureau | p. 591 |
How Pre-Press Savvy Do You Need to Be? | p. 592 |
Strategies for Getting Your Work Out the Door | p. 592 |
Working with CMYK Images | p. 593 |
Using the Gamut Warning Feature | p. 593 |
Converting RGB Images to CMYK | p. 595 |
Printing Color Separations | p. 596 |
Deciding Whether to Do Your Own Color Separations | p. 597 |
Print to File Options | p. 598 |
Printing to PDF or EPS | p. 599 |
The Film Recorder | p. 600 |
Formats of Film Recorder Output | p. 600 |
Transferring a Photoshop Image to Film | p. 601 |
Your Monitor's Setup | p. 601 |
Sending the Right Size File | p. 602 |
How Large Is Large Enough? | p. 602 |
Using the Proper Aspect Ratio? | p. 603 |
Achieving the Proper Aspect Ratio | p. 603 |
Making 35mm Negatives | p. 606 |
Converting a Portrait Design to a Landscape Slide | p. 607 |
Summary | p. 608 |
19 Creating Graphics for the Web | p. 609 |
The Client: The Textures Home Page | p. 610 |
The Stained Glass Filter | p. 610 |
Blurring the Work and Editing the Effect | p. 612 |
The Lighting Effects Filter and Tone/Color Editing | p. 615 |
Creating a Lopsided, Horizontal Pattern | p. 618 |
Creating a Custom Gradient | p. 621 |
Sizing Up and Creating a Workspace | p. 623 |
Adding Text with the Type Tool | p. 625 |
Adding an Effect to an Imported Object | p. 628 |
Sizing Graphics and the Actions List | p. 630 |
Measuring Available Space | p. 630 |
Programming the Actions Palette | p. 632 |
Previewing the Appearance of the Web Page | p. 637 |
Measuring Space and Creating Navigation Buttons | p. 638 |
Flattening and Cropping a Copy of Your Work | p. 640 |
Summary | p. 642 |
20 Building Animations | p. 643 |
Examining the Animation Pipeline | p. 644 |
Creating Still Images | p. 644 |
Creating Sequential Still Frames by Using Third-party Animation Tools | p. 645 |
Batch Editing in Photoshop | p. 646 |
Compressing and Compiling Frames into Animation | p. 646 |
File Formats and Compiler Compatibility | p. 646 |
Animating with Flo' and Transparency Masks | p. 647 |
Editing the Boombox Image for Animation Purposes | p. 648 |
Going with the Flo' | p. 651 |
Adding a Background, with a Twist | p. 659 |
Launching the Actions List Batch Editing | p. 661 |
Working with Compression, Timing, and File Sorting | p. 663 |
MainActor: Push-Button Video Compiling | p. 664 |
MooVer for Macintosh QuickTime Compiling | p. 666 |
Summary | p. 670 |
21 Moving Up to Photoshop 5.5 | p. 671 |
Why Should I Buy the Upgrade? | p. 672 |
Calibrating the Photoshop RGB Color Display | p. 673 |
Enter Adobe RGB (1998) | p. 673 |
Noodling with the Exact Settings You Want | p. 673 |
A Word about Accuracy and Color Spaces | p. 675 |
New Tools Geared for Simplifying Procedures | p. 676 |
Examining the Magic Eraser Tool and the Background Eraser Tool | p. 676 |
The Magic behind the Magic Eraser Tool | p. 677 |
Using the Background Eraser Tool | p. 680 |
Brief Tutorials on Contiguous and Noncontiguous Selection | p. 683 |
Removing Fringing Automatically and Manually | p. 687 |
Checking Out the Type Tool Enhancements | p. 690 |
Web-Working with Photoshop | p. 694 |
Selecting and Defringing a Text Object | p. 694 |
Choosing a Web Palette Color | p. 695 |
Optimizing and Finalizing the Text Element | p. 701 |
Introducing the DitherBox | p. 704 |
Improved Indexing and Brush Sizes | p. 707 |
Enter the Picture Package | p. 709 |
The Web Photo Gallery | p. 711 |
Interesting Features We Didn't Cover | p. 712 |
The New Toolbox Icon | p. 712 |
Summary | p. 712 |
22 ImageReady: Slicing and Image Mapping | p. 713 |
Learning about High- and Low-Frequency Images | p. 715 |
Saving a High-Frequency Image | p. 715 |
Experimenting with JPEG Optimization | p. 717 |
Optimizing a Low-Frequency Image | p. 719 |
Anti-Aliasing and Image Optimizing | p. 721 |
How Many Colors Surround Anti-Aliased Text? | p. 721 |
Examining Droplets | p. 723 |
Creating Your Own Droplets | p. 723 |
Slicing Images | p. 725 |
Using Slicing When Only Part of an Image Is Interesting | p. 726 |
Playing the "Substituted Slice" Game | p. 729 |
Introducing Image Maps | p. 733 |
Creating Keyboard Image Maps | p. 733 |
Using Slices for Image Maps | p. 740 |
Summary | p. 743 |
23 ImageReady: Creating JavaScript Rollovers | p. 745 |
Creating Your First JavaScript Rollover | p. 746 |
Getting the Optimization Out of the Way | p. 746 |
Making a Basic Rollover Page | p. 747 |
Finalizing the Rollover Button | p. 753 |
Manual Editing of the Rollover Page | p. 756 |
Using Imported Vector Graphics | p. 762 |
Making a Glow Effect and Assigning the Design to a State | p. 767 |
Ah! Finishing Touches Again! | p. 771 |
Dissecting the Styles Palette | p. 774 |
Making Squooshy Buttons | p. 776 |
The Animated Rollover Button | p. 776 |
Summary | p. 776 |
24 ImageReady: Creating Animated GIFs | p. 777 |
How Does an Animated GIF Work? | p. 778 |
Using an ImageReady Script for Animation | p. 778 |
The "Squash and Stretch" Animation Type | p. 783 |
The Bouncing Ball Animation | p. 783 |
Computer Graphics and GIF Animations | p. 789 |
Bringing Cells into ImageReady to Animate | p. 790 |
GIF Animation Disposal Methods | p. 793 |
Other Animation Types and Creative Shortcuts | p. 797 |
Moving a Virtual Camera Around | p. 797 |
Moving Lighting in a Scene | p. 802 |
Making a Neon Sign GIF Animation | p. 804 |
The Carnival Marquee | p. 806 |
The "Invisible Man" GIF Animation | p. 806 |
Summary | p. 806 |
24 1/2 Where Do We Go from Here? | p. 807 |
Closing Thoughts | p. 807 |
Learning from Life | p. 808 |
Learning How to Learn | p. 809 |
Appendix | p. 811 |
Index | p. 825 |
New Riders Publishing,
圖書
Bouton, Gary David, 1953-
Bouton, Gary David, 1953-
Bouton, Barbara Mancuso, 1955-
Kubicek, Gary, 1956-
2000
9780735710009
Indianapolis, IN : New Riders Publishing, 2000.
SD_ILS:725949
T385.B68194 2000
Inside Adobe Photoshop 5.5
Inside Adobe Photoshop 5.5
Inside Adobe Photoshop 5.5
Adobe Photoshop.
Inside Adobe Photoshop 5.5
Bouton, Gary David, 1953-
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