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The red rectangle. You can stay zoomed in and move easily to another section by dragging the red rectangle (which actually scrolls), located in the center of the Navigator, to another area. The popup menu. You access this menu by clicking the triangle located on the upperright corner of the panel. The Navigator panel s popup menu includes a View Artboard Only option. This option sets the thumbnail in the Navigator panel to show only the extent of the Artboard. If this option isn t set, the thumbnail shows all objects included in the document. The magnification level box. You can type an exact magnification level in the box in the lower-left corner of the Navigator panel. The slider. Located at the bottom of the Navigator panel is a slider that gives you yet another way to zoom in and out by dragging the slider to the left or right. The Zoom In and Zoom Out tools. The Zoom In and Zoom Out tools look like little triangles and big triangles on either side of the slider triangle. You can zoom in and out a preset amount (using the same amounts used by the Zoom In and Zoom Out tools and menu items) by clicking the Zoom In or Zoom Out icons.

Slot #14

When using the transformation tools, be sure that if you don t want to change any of the characteristics of the type that you select just the path. Use the Group Selection tool to click once on the deselected path, and Illustrator selects only the path, not the type. If you transform the area text when you have both selected, the transformation applies to the text as well as the path.

Delay (right axis) Throughput (left axis)

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13. Click OK to close the New Document dialog box. When you do, your new, blank document appears in a new document window. Figure 4.2 shows the window of a newly created document that uses settings typical for a magazine (8 107 16 inches, or 48p 62p7.5). Note how the zoom level appears both in the Zoom field in the application bar and after the name of the document in the document tab.

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Figure 6.15 (a) Double-ended Enigma for testing the EPI-loop in Figure 6.12; (b) Double-ended Enigma for testing the VIP-loop in Figure 6.12; (c) Double-ended Enigma for testing the NOT-loop in Figure 6.12.

In the old days of wet darkrooms, printers routinely employed a technique called Dodging and Burning to change the exposure locally when printing They did this by blocking the light from the enlarger that fell on the paper (dodging) with their hands or implements and, conversely, allowing the unblocked areas to receive more light (burning) This technique worked well in most cases, but if you didn t get the exposure right, you had to start all over Photoshop has had the Dodge and Burn tools for a number of iterations, and they are very powerful tools in their own right However, similar to wet darkroom printing, if you don t get it right, histories not withstanding, you will have to start all over Rather than use the Dodge and Burn tools, here s another method that you may want to try that can increase your options 1.

As Figure 13.3 shows, Outline mode creates an image lacking any fills. You can, of course, add a fill to any area, but this mode is probably most appropriate for images where you want to produce a pen-and-ink style of drawing.

Create a new layer above your image layer and give it a memorable name; for this exercise, call it Dodge & Burn 2 Choose Edit Fill 3 In the Fill dialog box, choose Use: 50% Gray from the Contents pop-up menu and click the OK button 4 Change the Dodge & Burn layer s blend mode from Normal to Overlay 5 Press D to set the foreground and background colors to their default setting 6 Select the Brush tool and a suitable brush tip and paint on the layer as if you were painting on a mask Painting with black is similar to applying the Burn tool, whereas painting with white is similar to applying the Dodge tool If you make a mistake, change the foreground color to 50% gray (in the Color Picker, enter the following percentages: H0, S0, B50) and paint over your strokes to undo the effect.

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