List of Figures | Photoshop CS For Dummies

Chapter 1: Introducing the Two Faces of Photoshop

Figure 1-1: Many of the Photoshop tools have an old-world, rustic charm that’s sure to warm the cockles of the most timid technophobe.
Figure 1-2: The unadorned “I Love My Libation” poster boy of 1948.
Figure 1-3: A few hundred strokes of the brush result in a party animal to rival Carmen Miranda.
Figure 1-4: Image editing has no respect for composition, form, or underlying skeletal structure.
Figure 1-5: You can apply more moderate edits to your image.

Chapter 2: Getting to Know the Interface

Figure 2-1: The Photoshop Welcome Screen gives access to Photoshop resources.
Figure 2-2(Windows) The Photoshop program window opens onto a world of photo manipulation wonder.
Figure 2-2(Mac) The Photoshop program window opens to reveal a powerful, polished interface.
Figure 2-3(Mac) You can access a tool using the key-board shortcut letter listed next to the tool.
Figure 2-4: Press the Shift key and the shortcut letter to cycle trough the list of related tools on each flyout menu.
Figure 2-5: The anatomy of a dialog box.
Figure 2-6: Rght-click (Control + click on a Mac) inside the image window to access context-sensitive menus.
Figure 2-7: Get your fingers snapping and your keyboard tapping by creating custom keyboard shortcuts.
Figure 2-8: Palettes give access to many important operations.
Figure 2-9: Drag the palette tab (left) to break the palette into its own little palette apartment.
Figure 2-10: The Tool Presets palette provides quick and easy access to frequently used tool settings.

Chapter 3: Using Photoshop for the First Time

Figure 3-1: Use the New dialog box to set the size, resolution, and color mode of the image.
Figure 3-2: The new image is just like a painter’s empty canvas. Grab a brush and start painting.
Figure 3-3 (Windows) This dialog box lets you locate and open images on your hard drive or some other disk.
Figure 3-3 (Mac) The Open dialog box in Mac OS X sports a browser type display, allowing you to easily locate and open your image.
Figure 3-4: The new File Browser button on the Options bar makes opening and closing the File Browser easy.
Figure 3-5: The File Browser window offers many options for managing image files.
Figure 3-6: The Import flyout menu displays installed devices, as well as the WIA Support menu item.
Figure 3-7: The WIA Support wizard helps you through the steps you need to take to import an image from a peripheral device.
Figure 3-8: The WIA Support wizard waves its magic wand and helps you bring images into Photoshop.
Figure 3-9: Use this custom dialog box to get pictures.
Figure 3-10: When the images are in Photoshop, you can fiddle with them to your heart’s desire.
Figure 3-11 (Windows) Use the Save As dialog box to select a file location and give the image a name.
Figure 3-11 (Mac) The Save As dialog box lets you select image file format and where the image will be stored.
Figure 3-12: The Navigator palette lets you quickly zoom in and out. You can move the view to another area of the image.
Figure 3-13: Clicking with the Zoom tool magnifies the image in preset increments.
Figure 3-14: Use the Hand tool to move an image around in its window.
Figure 3-15: Use the buttons at the bottom of the Toolbox to change image view.
Figure 3-16: The dotted line on each ruler shows the location of the mouse pointer.
Figure 3-17: Grid lines can help you align elements in your image window very precisely.
Figure 3-18: Guides can be positioned horizontally and vertically in the image window.
Figure 3-19: This dialog box appears, prompting you to save changes.

Chapter 4: Sizing and Resizing Images

Figure 4-1: Increasing the zoom factor makes your image pixels appear larger on-screen but doesn’t affect the printed image.
Figure 4-2: Click the left side of the status bar to get a quick look at the dimensions and resolution of an image.
Figure 4-3: You control file size, image dimensions, and resolution through the Image Size dialog box.
Figure 4-4: Two images with the exact same number of pixels but subject to two different resolutions.
Figure 4-5: Three images, each containing fewer pixels and printed at a lower resolution
Figure 4-6: Known to friends and family as Kid Squishums, this versatile little tyke is the result of deselecting the Constrain Proportions check box.
Figure 4-7: The Resize Image Wizard (Assistant on a Mac) steps you through the sizing process.
Figure 4-8: The Canvas Size dialog box changes the size of the page or canvas the image is on.
Figure 4-9: Use the Crop tool to select the area of the image you want to keep (left). After cropping, the marquee disappears (right).
Figure 4-10: Use the Trim dialog box to set the trimming color (or trans-parency) and areas of the image to be trimmed.

Chapter 5: Introducing Color

Figure 5-1: A vector drawing looks the same whether viewed at its actual size (left) or magnified (right).
Figure 5-2: A pixel-based image looks smooth at its actual size (left) but shows its pixels when magnified (right).
Figure 5-3: An image can contain from one to four channels.
Figure 5-4: Converting an image to another color mode is easy in Photoshop.
Figure 5-5: An RGB image contains three channels — red, green, and blue.
Figure 5-6: A CMYK image contains four channels: cyan, magenta, yellow, and black.
Figure 5-7: The Adobe Gamma dialog box lets you save monitor color space settings.
Figure 5-8: The Open Monitor Profile dialog box provides color space information for many monitor models and color spaces.
Figure 5-9: Use the Display Calibrator Assistant to calibrate your monitor.
Figure 5-10: The Color Settings dialog box handles all the color space settings necessary for Photoshop.
Figure 5-11: The Foreground and Background color squares give access to the colors you pick.
Figure 5-12: The Color palette is used to quickly create custom colors.
Figure 5-13: Use the Swatches palette to select colors and add custom colors to the palette.
Figure 5-14: The Color picker is a great tool for specifying exact custom colors.
Figure 5-15: The Custom Colors dialog box is used to select special ink colors.
Figure 5-16: Using the Swatch book drop-down list, you can select a professional color matching system such as Pantone, TOYO, or DIC.
Figure 5-17: Use the Match Color dialog box to transfer a range of colors from one image to another.
Figure 5-18: The difference between converting a color image to grayscale (left), and throwing away all but the blue channel (right).
Figure 5-19: Use the Layers palette to create a black layer and select the Color blending mode.

Chapter 6: Going to Hard Copy

Figure 6-1: A preview of your image appears on the left side of the Print dialog box.
Figure 6-2: If you see this warning, check the image’s orientation on the page.
Figure 6-3: You can use this dialog box to select a printer and set how many copies to print.
Figure 6-4: Select a printer, paper size, and page orientation.
Figure 6-5: This dialog box lets you set image resolution and how many thumbnails you
Figure 6-6: Contact sheets are handy for quickly checking images or catalogu- ing them.
Figure 6-7: Creating enough pictures for your whole clan is easy. (Don’t forget Mom!)
Figure 6-8: Making presents for friends and family are especially easy!
Figure 6-9: You can make your own slide show using a PDF Presentation.
Figure 6-10: Adding these special printing options to your images is easy.
Figure 6-11: The bottom of the Print dialog box offers special printing options.
Figure 6-12: Select Photoshop .EPS from the Format drop-down list to save your file as a PostScript file.

Chapter 7: Making Selections

Figure 7-1: Use these selection tools to select the portion of your image that you want to edit.
Figure 7-2: I selected the mushroom by dragging around it with the Lasso tool.
Figure 7-3: The difference between dragging a jagged (left) and anti-aliased (right) selection.
Figure 7-4: A bigger Feather value means fuzzier fungus.
Figure 7-5: Look what happens when I click on the sky above the T-Rex with the Magic Wand tool (top) and fill the selection with white (bottom).
Figure 7-6: Selecting a background with the Magic Wand tool is easy (left). After switching to the inverse selection, the duck is selected (right).
Figure 7-7: The intersecting selection is created using two overlapping selections.
Figure 7-8: You can use a boundary selection to create a wide outline or photo vignette.
Figure 7-9: Apply transformations to selection marquees without affecting pixels.

Chapter 8: Working with Layers

Figure 8-1: The Layers palette shows an image’s layers. This image has four layers including the Background.
Figure 8-2: The Layers palette is used to manipulate your image layer by layer.
Figure 8-3: Use the New Layer dialog box to set the layer’s name, blending mode, and opacity.
Figure 8-4: Drag the layer to its new position in the Layer palette.
Figure 8-5: Using the Layers palette, you can lock entire layers, or transparent or colored pixels.
Figure 8-6: The tiny chain link icon indicates that a layer is linked.
Figure 8-7: Layer sets are great for organizing images with many layers.
Figure 8-8: The new Layer Comps palette lets you take snapshots of layers’ settings and positions in the image window.
Figure 8-9: Drag the bounding box lines or tiny square handles to transform a layer.
Figure 8-10: Using the mouse, you can transform a layer in many ways.
Figure 8-11: Use the Opacity or Fill slider bars to set layer transparency.
Figure 8-12: Blending modes are grouped on the drop-down list by how they affect a layer’s pixels.
Figure 8-13: Choose one of the adjustment commands from the Create new fill or adjustment layer menu.
Figure 8-14: The adjustment layer appears in the Layers palette above the layer you originally selected.
Figure 8-15: Layer styles are a fast, automated way for you to add amazing effects to a layer.
Figure 8-16: Use the Layer Style dialog box to select a layer effect and choose settings.
Figure 8-17: After a layer style is applied to a layer, a list of styles appears under the layer in the Layers palette.

Chapter 9: Adjusting Color and Tone

Figure 9-1: This scanned image has a gray cast that needs correcting.
Figure 9-2: After applying Auto Levels, the high-lights and shadows really stand out.
Figure 9-3: After applying Auto Contrast to the image, the lights and darks are much more pronounced.
Figure 9-4: When Auto Color is applied, the entire image becomes brighter and colors are more saturated.
Figure 9-5: The Levels dialog box lets you set highlights, midtones, and shadows using input and output sliders.
Figure 9-6: The Color Balance dialog box lets you make precise corrections and interesting color mixtures.
Figure 9-7: The Variations dialog box thumbnails let you view several color corrections at the same time.
Figure 9-8: The Replace Color dialog box lets you quickly change a sampled color in an image.
Figure 9-9: The Brightness/Contrast dialog box lets you quickly adjust the brightness and contrast.
Figure 9-10: These quick adjustment commands can create dramatic results.
Figure 9-11: Set the number of levels in the Posterize dialog box, and then click OK.
Figure 9-12: Move the slider left to increase the white pixels; move the slider right to increase the black pixels.
Figure 9-13: The Shadow/Highlight dialog box lets you precisely set highlights and shadows and perform a little color correction as well.
Figure 9-14: The Shadow/ Highlight command can add subtle shading and contrast correction to an image.
Figure 9-15: When you select a gradient, the new colors preview in the image window. Try out several gradients to see the effects they create.
Figure 9-16: The Options bar lets you quickly select a brush size and hardness, the range of the dodge or burn, and the intensity (exposure) of the tool.
Figure 9-17: The burned areas are darkened while the dodged areas are lightened.
Figure 9-18: Select a brush width and hardness, whether to saturate or desaturate, and set a flow intensity.
Figure 9-19: Stroking the image with the Sponge tool set to saturate can quickly add focal points to an image.

Chapter 10: Creating Composite Images

Figure 10-1: When you paste a selection, it appears on a new layer above the currently selected layer.
Figure 10-2: An area of the berries layer is selected.
Figure 10-3: I’m about to paste the image of berries into this selection of the word “berries.”
Figure 10-4: Pasting the original selection into the text creates a berry fill that comple-ments the text.
Figure 10-5: Using the Options bar, you can set how the cloned areas will be applied.
Figure 10-6: As you create a clone, keep an eye on the source point crosshair so you know what area is being copied.
Figure 10-7: Enter a descriptive name for the selection that you’re using as a pattern.
Figure 10-8: Use the Options bar to set how your pattern will be applied.
Figure 10-9: Different blending modes and opacities create different effects.
Figure 10-10: Use the Options bar to select Healing Brush settings.
Figure 10-11: In about five minutes I removed wrinkles and blemishes from the left side of the photograph.
Figure 10-12: The Options bar includes selection buttons to help with selecting the area you want to repair.
Figure 10-13: In the picture on the left, notice the patchy area on the girl’s nose. After using the Patch tool, the image on the right is repaired.
Figure 10-14: Use the Options bar to change Blur tool or Sharpen tool settings.

Chapter 11: Using Filters

Figure 11-1: The Filter menu offers almost 100 filters to choose from.
Figure 11-2: The Filter Gallery lets you try out filter effects and set up effects layers so you can view more than one effect at a time.
Figure 11-3: A typical snapshot taken at the beach can be improved with the Unsharp Mask filter.
Figure 11-4: Experts agree that the Unsharp Mask dialog box really should be called the Supersharpen dialog box.
Figure 11-5: Adjusting the Amount and Radius values produces different sharpening results.
Figure 11-6: Use the Angle, Height, and Amount settings to create the look of embossed metal.
Figure 11-7: The original image on the left was embossed using the following settings: Angle was set to 129 degrees, Height was set to 17 pixels, and Amount was set to 141%.
Figure 11-8: This car isn’t moving yet, but it will be.
Figure 11-9: The Motion Blur filter has two settings, Angle and Distance.
Figure 11-10: The car appears to be moving, but the tires look wrong because they appear stationary.
Figure 11-11: With a Radial Blur applied to the tires, the car appears to be moving very fast.
Figure 11-12: The Lens Blur dialog box lets you create effects that mimic the shape of a camera lens opening.
Figure 11-13: The Lens Blur filter adds an interesting photographic effect.
Figure 11-14: The Photo Filter dialog box offers preset color filters.
Figure 11-15: The new Photo Filter adjustment layer appears in the Layers palette.
Figure 11-16: Using the Fade dialog box, you can set how a filter is applied to an image by changing opacity and blending modes.
Figure 11-17: Adjusting opacity and blending modes changes filter results.
Figure 11-18: The Liquify dialog box is where you can distort your image into another dimension of reality.
Figure 11-19: The new Photoshop CS Mask options.
Figure 11-20: The various effects of the Liquify command can be downright amusing.

Chapter 12: Painting 101

Figure 12-1: Use the Brush Presets list in either the Brush Presets picker on the Options bar or the Brushes palette to select a brush shape.
Figure 12-2: There are literally hundreds of brush combina-tions to choose from.
Figure 12-3: These are just a few of the options you can select in the Brushes palette.
Figure 12-4: The menu in the Brushes palette offers many brush libraries.
Figure 12-5: Use the menu in the Brush Preset picker to delete a brush.
Figure 12-6: The butterfly wing on the right has been smeared using the Smudge tool.
Figure 12-7: The Options bar lets you select brush tip size, blending modes, and stroke strength.
Figure 12-8: The Options bar offers sampling, color re-placement, blending mode, and tolerance settings.
Figure 12-9: The child in the original image on the left has a red gleam in his eye. On the right, his eyes have been retouched.
Figure 12-10: Five photos of the tree across the street. If I can put them together, they will create a view of the entire tree.
Figure 12-11: The initial Photomerge dialog box lets you select the images that will be combined.
Figure 12-12: Use this dialog box to create your photo composition.
Figure 12-13: This single image is a combination of the five photos shown in Figure 12-12.
Figure 12-14: This photo montage was creating using various family photos.

Chapter 13: Coloring Inside the Lines

Figure 13-1: Using the Brush tool with the Airbrush option, I painted inside the selected jar. (The selection outline is hidden.)
Figure 13-2: The Paint Bucket fills a continuous area of color with a different color.
Figure 13-3: The Options bar lets you set fill, blending mode, opacity, and tolerance.
Figure 13-4: Specify how you want to fill a selection by using the options in the Fill dialog box.
Figure 13-5: The Gradient picker offers 15 preset gradients.
Figure 13-6: Jar filled with five different gradient types @@md Linear, Radial, Angle, Reflected, and Diamond.
Figure 13-7: Here’s the jar filled with a linear and radial gradient and with the Foreground to Transparent option selected.
Figure 13-8: Click the gradient swatch.
Figure 13-9: The Gradient Editor gives you complete control over your gradients.
Figure 13-10: The Gradient Preview bar shows you where the opaque and transparent areas of a gradient are.
Figure 13-11: Your custom gradient is added to the gradient palette in the Gradient Editor and in the Gradient picker on the Options bar.
Figure 13-12: Use the Stroke dialog box to draw a border around a selection.
Figure 13-13: The classic double-border effect, so in demand at today’s finer jar emporiums.

Chapter 14: Changing History and Erasing Pixels

Figure 14-1: The Options bar offers three eraser modes: Brush, Pencil, and Block.
Figure 14-2: I erased the flag layer on the left side to trans-parency, revealing the crayons layer. On the right side, I erased the upper layer to reveal the white Background color.
Figure 14-3: Clicking on several white areas of the checkered flag with the Magic Eraser tool leaves transparency (shown in Photoshop with the checkerboard pattern).
Figure 14-4: Drag around the edge of an image with the Background Eraser tool to erase the background but leave the foreground intact.
Figure 14-5: Keep the cross of the background eraser cursor over the background you want to erase (top). If you inadvertently move the cross over the foreground, the foreground gets erased (bottom).
Figure 14-6: The History palette records each step, enabling you to return to a given point in time.
Figure 14-7: You can set the History palette to work in two modes: linear and non-linear.
Figure 14-8: The Options bar offers eraser options.
Figure 14-9: A tiny History Brush icon indicates the selected state or snapshot that the Eraser tool will erase to.
Figure 14-10: A double-decker bus gets its upper deck restored using the Eraser tool.
Figure 14-11: In the Fill dialog box, select History from the Use drop-down list box in the Contents area.
Figure 14-12: You can select a layer or image and fill it with a previous history state.
Figure 14-13: When the History Brush tool is selected, the Options bar offers the same settings as the Brush tool.
Figure 14-14: These three images show the History Brush tool at work.
Figure 14-15: When the Art History Brush tool is selected, the Options bar offers blending mode and opacity settings, and special brush styles.
Figure 14-16: Using the Art History Brush tool set to a 3 pixel Tight Short Style brush, 32% Opacity, an Area of 1 pixel, and 0% Tolerance, the leaf edges and veins were restored to the original history state with a dappled watercolor appearance.

Chapter 15: Using Masks and Channels

Figure 15-1: The Channels palette displays color information, saved selections, and layer masks.
Figure 15-2: This image of two girls is made up of red, green, and blue channels.
Figure 15-3: The protected areas of the image are black and the selected (editable) areas are white.
Figure 15-4: The Color Indicates: Masked Areas selection is the default. It sets an alpha channel to show the selected (editable) areas as white and the protected (unselected) areas as black.
Figure 15-5: The Block Tops channel is selected and appears in the image window.
Figure 15-6: The Block Tops channel selection is loaded into the image.
Figure 15-7: The Block Tops alpha channel is selected and the RGB channel has been made visible (but not selected). The mask overlay covers the entire image except for the block tops.
Figure 15-8: Use the Toolbox to quickly select black and white, and switch between the two colors.
Figure 15-9: The reshaped alpha channel’s mask superimposed on the blocks.
Figure 15-10: A layer mask can hide or reveal portions of a layer.
Figure 15-11: The white and black areas of a layer mask reveal and hide the layer. Gradients create fade-out effects.
Figure 15-12: When you select a layer mask, a dark border appears around the layer mask thumbnail and a layer mask icon appears to the left of the layer’s thumbnail.
Figure 15-13: Use black, white, and gray to reshape a layer mask to hide or reveal a layer.
Figure 15-14: I’m using the zebra layer as the fill for the cutout text. The layer mask hides the rest of the layer, creating the illusion of text filled with the zebra pattern.
Figure 15-15: When typing text with the Horizontal Type Mask tool, the image display automatically changes to Quick Mask mode.
Figure 15-16: A layer mask can create cutout type using a layer.

Chapter 16: Using Paths and Shapes

Figure 16-1: Work paths are temporary outlines that appear in the Paths palette.
Figure 16-2: Shapes can be drawn either directly on a layer or as a shape layer. The shape layer saves the shape’s outline in a vector mask that is linked to the layer.
Figure 16-3: The shape tools are all located on a flyout menu in the Toolbox.
Figure 16-4: Depending on the type of shape you draw the Options bar changes to provide settings.
Figure 16-5: Shapes drawn on a layer are pixel-based and can be modified with any Photoshop tool or command.
Figure 16-6: These layer shapes are saved in a vector mask and linked to a layer.
Figure 16-7: A rectan-gular work path drawn around a shape saved as a shape layer.
Figure 16-8: When you rasterize a shape layer, there are four options to choose from.
Figure 16-9: Paths are made up of line segments. Anchor points can be found at the ends of path segments.
Figure 16-10: Use these tools to create paths, modify their shapes, and add, delete, and convert anchor points.
Figure 16-11: Click the Paths button on the Options bar and select the Rubber Band setting.
Figure 16-12: Click to create straight line segments and drag to create curved line segments.
Figure 16-13: Close a freeform path by dragging the mouse over the place where you started (left). Anchor points appear automatically on the new path (right).
Figure 16-14: Click the Paths button on the Options bar and put a check in the Magnetic check box.
Figure 16-15: Click where you want to start drawing a path and move the mouse to trace around the object (left). To close the path when you’re finished, simply move the mouse over the place where you started drawing (right).
Figure 16-16: You can move segments, anchor points, and direction points to reshape a path.
Figure 16-17: Drag the handles to perform a transformation on an entire path (left) or on selected anchor points (right).
Figure 16-18: Use the Fill Path dialog box to fill the path with the Foreground color, a pattern, or imagery from a history state.
Figure 16-19: The original path is shown on the left and the filled area is shown on the right.
Figure 16-20: Select a path in the Paths palette that you want to stroke.
Figure 16-21: These are the tools you can choose from to create the stroke.
Figure 16-22: The path stroked with a custom brush stroke selected using the Brushes palette.

Chapter 17: Adding and Manipulating Type

Figure 17-1: The type tools and Options bar formatting settings.
Figure 17-2: A type layer in the Layers palette is indicated with a capital T.
Figure 17-3: Press Enter (Return on a Mac) to insert a line break.
Figure 17-4: The Character palette is used to change type character attributes.
Figure 17-5: You can quickly set type character attributes using the Character palette.
Figure 17-6: Anti-aliasing type smoothes away the jaggies.
Figure 17-7: Use the Paragraph palette to change paragraph attributes such as alignment and justification.
Figure 17-8: Warp type into a variety of interesting shapes.
Figure 17-9: Warping text is easy and fun using the Warp Text dialog box.
Figure 17-10: For this example, text will be placed on the circular path around the Earth.
Figure 17-11: As you type, the letters are placed on the path.
Figure 17-12: When type is converted into a shape, the shape is placed on a shape layer.
Figure 17-13: When a work path is created using type, the path appears in the Paths window and the editable type remains on its type layer in the Layers palette.
Figure 17-14: When you use of the Horizontal or Vertical Type Mask tool to create a selection, Photoshop automatically changes to Quick Mask mode.
Figure 17-15: A type-shaped selection can be used like any other selection.
Figure 17-16: Creating outlined type is easy using a selection made with the Horizontal Type Mask tool or Vertical Type Mask tool.
Figure 17-17: Drop shadows help to set off text from the background and make it look way cool.
Figure 17-18: Use the Drop Shadow settings in the Layer Style dialog box to set the opacity, size, spread, distance, and angle of the drop shadow.
Figure 17-19: Transparent text lets the background image partially show through the letters.

Chapter 18: Spinning Graphics for the Web

Figure 18-1: The ImageReady window with palettes and Toolbox in their default locations.
Figure 18-2: Use the Image Information menu on the status bar to find out how long it will take an image to load on the Web.
Figure 18-3: The four views of an image, one with each tab selected: Original, Optimized, 2-Up, and 4-Up.
Figure 18-4: The ImageReady Toolbox contains a few tools you won’t find in Photoshop.
Figure 18-5: In ImageReady, you can open handy mini toolbars.
Figure 18-6: Several ImageReady palettes are made just for creating specific Web content such as tables, animations, and slices.
Figure 18-7: The Color palette and Swatches palette are loaded with Web-safe colors.
Figure 18-8: When an image is dithered, it does appear to have more colors, but it can become grainy looking.
Figure 18-9: The trans-parent pixels in this anti-aliased image make a smooth transition to the background (left). When a portion of the image is magnified, the anti-aliasing becomes more apparent (right).
Figure 18-10: Use the Swatches palette menu to select Web Safe Colors.
Figure 18-11: Photoshop (top) and ImageReady (bottom) offer the same optimizing features for creating great Web graphics with a small file size.
Figure 18-12: The area at the right of Photoshop’s Save for Web dialog box (top) contains the same settings as Image-Ready’s Optimize palette (bottom).
Figure 18-13: The area at the right of Photoshop’s Save for Web dialog box (top) contains the same settings as ImageReady’s Optimize palette (bottom).
Figure 18-14: The same image saved as a JPEG with High quality (top), Medium quality (middle), and Low quality (bottom).
Figure 18-15: The new Macromedia Flash (SWF) Export dialog box lets you export images directly into Flash SWF file format.

Chapter 19: Slicing and Dicing Images

Figure 19-1: There are three different types of slices, user slices, layer-based slices, and auto slices.
Figure 19-2: Photoshop and Image-Ready automat-ically create an auto slice that contains the entire image when the Slice tool is selected.
Figure 19-3: In the Divide Slice text box, enter a specific number of slices or pixel amount per slice.
Figure 19-4: As you create user slices with the Slice tool, ImageReady automatically creates auto slices for the remaining area.
Figure 19-5: In the Slice palette, type a Web address in the URL text box to assign a URL to a slice.
Figure 19-6: Use the alignment and distribution buttons on the Options bar to line up and space slices.
Figure 19-7: The dice on the dice layer are surrounded by polygonal hotspots.
Figure 19-8: As soon as you enter a URL in the Image Map palette, a tiny hand icon appears near the layer name, indicating that the layer contains an image map.
Figure 19-9: Use the image map tools in the Toolbox to create hotspots around Web page elements. In this figure, the left die has been mapped.
Figure 19-10: Choose promote Layer Based Image Map Area from the Image Map palette menu to convert a layer-based image map to a tool-based image map.
Figure 19-11: Drag the image map boundary handles to reshape the image map area.
Figure 19-12: Click the Find All button to let ImageReady find all browsers installed on your computer.
Figure 19-13: Positioning your mouse over the tiny arrow, then pressing the mouse button lets you view a flyout menu that lists all browsers you can preview images with.
Figure 19-14: While previewing your Web page in a browser, you can see the HTML code attached to your Web page.