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If you are planning to use the Clone Source panel frequently, or at least for an extended period of time, you might want to dock it with the main panels to keep it out of your work area. Drag it into place and drop it when you see a blue highlight indicating it is linked to the other panels in the main area. n

When you use the Place command to place a 3D object in any other type of file, the 3D object becomes a Smart Object. You can still edit it and transform it, but you have to open the originating file to do so. This creates an extra few steps in the editing process. A 3D object is distinguished in the Layers panel by the 3D icon in the corner of the layer thumbnail. A Smart Object has a different icon, as you can see in Figure 25.43.

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In this comprehensive chapter on adjustment and fill layers, you ve taken a good look at the features offered by both these very useful layer types. It kicked off with a look at the advantages of adjustment layers, including the fact that they re nondestructive, as well as the fact that they can be manipulated much like normal layers. You then learned how to create an adjustment layer, how to preview color changes using the Info palette, and how to limit an adjustment effect to specific layers. You took a look at editing adjustment layers, both in terms of reediting the adjustment effect and also by manipulating the layer itself. You then explored each adjustment layer type in depth from Levels and Curves for advanced contrast and dynamic range adjustments, to Hue/Saturation and Color Balance for adjusting colors, and two new welcome additions in CS3: the Exposure and Black & White adjustment layers. You learned the nitty-gritty of creating and editing Solid Color, Gradient, and Pattern fill layers, including how to edit a gradient and define a pattern. After that, you learned how to apply layer masks and vector masks to adjustment and fill layers in order to restrict the adjustment or fill to specific areas of your image. Finally, you learned how applying blending modes to fill and adjustment layers can be used to create some advanced effects.

This displays the entire image as an overlay. Right away, you can see that the source is too big to paint into the second image. If the opacity of your overlay is too high, reduce it so that you can see through to the underlying image.

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Automating Workflow in Photoshop.................................................................................949 Batch processing multiple images ............................................................................950 Creating droplets to process images ........................................................................954 Using Scripting to Speed Up Workflow.............................................................................956 Using Photoshop s scripts ........................................................................................956 Using stack modes on multiple images to analyze images and reduce noise ............959 Scripting workflow events .......................................................................................962 Summary ..........................................................................................................................964

ust as charts and graphs can enliven a boring table of numbers, a SmartArt diagram can enliven a conceptual discussion. SmartArt helps the audience understand the interdependencies of objects or processes in a visual way, so they don t have to juggle that information mentally as you speak. Some potential uses include organizational charts, hierarchy diagrams, and ow charts.

Never wear an antistatic device when working on the monitor or inside a power supply. In fact, you should never work on a monitor or inside a power supply.

The GASB has undertaken a project to reexamine existing requirements as to reporting restrictions of net assets, designations of fund balances, and reservations of fund balances in governmental funds other than the general fund. An Exposure Draft is expected to be issued sometime in 2004.

If you set up a movie in one frame, Director must be told to halt and wait for the end of the QuickTime movie or wait for a button to tell it to move off the frame. The easiest way to tell Director to wait for the end of a movie is to specify this in Director s Tempo channel. To access the Tempo channel controls for the movie, simply double-click the Tempo channel frame directly above the movie frame. In the Tempo channel dialog box, as shown in Figure 20-11, select Wait for Cue Point and then click {End} in the Cue Point pop-up menu.

for a given constant number y, and where Re(.) and Irn(.) denote the real and imaginary parts of their arguments. Let R, = E u*u. Show that a steepest-descent algorithm for the minimization of J(w) given by is

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