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如何使用Adobe Photoshop软件制作时尚杂志封面时尚杂志封面是吸引读者眼球的重要元素之一。
而制作一款出色的时尚杂志封面，则需要精通Adobe Photoshop软件的使用技巧。
本文将为大家介绍如何借助Adobe Photoshop软件制作时尚杂志封面。
第一步：选择合适的背景图像封面背景图像对于时尚杂志的吸引力至关重要。
在选择背景图像时，应该考虑到封面主题以及目标读者群的喜好。
例如，如果封面主题是春夏流行趋势，那么选择明亮色彩和花朵图案的背景图像会更加合适。
在Adobe Photoshop中，可以使用“文件”菜单中的“打开”选项导入背景图像。
第二步：添加时尚模特时尚杂志封面少不了性感或时髦的模特形象。
在Adobe Photoshop中，可以使用“矩形选框”工具在背景图像上创建一个矩形选择区域，然后使用“编辑”菜单中的“剪切”选项将该区域剪切下来。
接下来，可以使用“文件”菜单中的“打开”选项导入模特的照片。
将模特照片粘贴到之前剪切的区域中，再使用“编辑”菜单中的“自由变换”选项进行缩放、旋转等操作，使其与背景图像融合得更加自然。
第三步：调整模特图像一张好看的模特照片需要经过一定的后期处理。
首先，可以使用“图像”菜单中的“调整”选项对图像进行亮度、对比度和色彩饱和度的调整，使其达到艳丽的效果。
接着，可以使用“滤镜”菜单中的“润饰”或“锐化”选项，突出模特的特征和细节。
此外，还可以使用“画笔”工具进行局部修饰，比如涂抹柔化模特的肌肤，使用不同颜色的画笔增加一些亮点等等。
第四步：添加标题和标语时尚杂志封面少不了引人注目的标题和标语。
在Adobe Photoshop中，可以使用“文本”工具添加标题和标语。
选择一个适合的字体和字号，并选择与封面背景相协调的颜色。
建议将标题和标语分成两行排列，以增加层次感。
此外，还可以使用“阴影”或“描边”效果使其更加突出。
第五步：修饰和调整细节最后一步是对整个封面进行修饰和调整细节。
学习使用AdobeInDesign创建专业印刷品InDesign是一款由Adobe公司开发的专业排版软件，被广泛应用于图书、杂志、报纸等印刷品的设计和制作。
通过学习和使用InDesign，设计师可以创建出具有高品质的印刷效果的专业印刷品。
本文将按类划分章节，介绍学习使用InDesign创建专业印刷品的具体内容。
第一章：入门基础在使用InDesign之前，首先需要了解软件的基本界面和操作方式。
打开InDesign后，我们会看到一个以工作区分隔的文档窗口。
可以根据个人习惯将工作区设置为合适的布局。
接下来需要熟悉软件的工具栏，其中包括选择工具、文本工具、形状工具等，这些工具可以帮助我们创建和编辑印刷品中的各种元素。
第二章：页面设置与版面设计在创建专业印刷品之前，有必要了解页面设置和版面设计的基本原则。
首先，在新建文档时，需要选择适合印刷任务的纸张尺寸和页面方向。
其次，在版面设计中，需要考虑页面的栏数、边距、页眉、页脚等元素的布局，并遵循一定的设计原则如对齐、平衡和统一等，以确保最终效果的专业性和美观性。
第三章：文本处理与样式应用印刷品中的文本通常是重要的信息传递媒介，因此在InDesign中学会对文本进行处理是必不可少的。
首先，我们可以使用文本工具来输入文本内容，对文本框的尺寸和位置进行调整。
然后，可以利用字符和段落样式来对文本进行格式化，包括字体、大小、颜色、行间距等，以保持整个印刷品的风格统一。
第四章：图片插入与处理除了文字，印刷品中通常会用到各种图片元素，如照片、插图、图标等。
InDesign提供了多种插入和处理图片的方式。
可以使用文件菜单中的“导入”功能将图片文件导入到文档中，然后使用图形框工具来创建一个用于容纳图片的框架。
在导入图片后，还可以使用调整大小、裁剪、缩放和旋转等功能来对图片进行进一步处理。
第五章：图层管理与元素布局InDesign中的图层功能非常强大，可以帮助我们管理和控制文档中的各种元素。
学习如何使用AdobeInDesign设计时尚杂志教程学习如何使用Adobe InDesign设计时尚杂志教程Adobe InDesign是一款专业的排版设计软件，被广泛应用于杂志、报纸和书籍的制作领域。
它具有强大的设计和排版功能，使得用户可以轻松实现复杂的版面设计和图文混排。
本教程将向大家介绍如何使用Adobe InDesign设计时尚杂志，以及一些设计技巧和注意事项。
在学习本教程之前，请确保你已经安装并熟悉Adobe InDesign软件的基本操作。
1. 创建新文档首先，打开Adobe InDesign软件。
点击"创建新文件"，选择适合杂志尺寸的页面尺寸和方向。
一般情况下，时尚杂志的页面尺寸较大，为了适应不同屏幕展示，也可以选择适应多种设备的页面尺寸。
在此之后，你可以选择页面的列和栅格设置，以及页眉、页脚等元素的位置。
2. 设置网格和基准线在设计杂志页面之前，我们需要设置网格和基准线，以便于对齐文本和图像。
将网格和基准线设置为合适的间距和位置，可以使整个页面的设计更加整齐美观。
3. 导入内容在开始设计之前，我们需要准备好杂志的内容，包括文章、图片和广告等。
使用Adobe InDesign的导入功能，你可以轻松地将文本和图像导入到页面中。
将你已经准备好的文章和图片拖拽到页面上，并根据需要进行调整和编辑。
4. 设计封面杂志封面是吸引读者的重要元素。
通过合理布局和精心选择的图片，可以吸引读者的眼球并引起他们的兴趣。
使用InDesign的设计工具，选择合适的字体和颜色，制作出令人印象深刻的封面。
5. 设计版面设计时尚杂志的版面需要考虑内容的呈现形式和排版布局。
在InDesign中，你可以使用文本框和图像框来布局你的内容，使用样式和排版工具来调整文字的字体、大小和行间距。
通过合理的分栏和分隔线，增加版面的层次感和美观度。
6. 图片处理时尚杂志少不了精美的图片，而InDesign提供了一些图片处理的功能。
使用AdobeCreativeSuite制作精美的设计效果Adobe Creative Suite是一款非常实用的设计软件，它包含了众多的设计工具，比如Photoshop、Illustrator、InDesign等等。
使用这些工具可以轻松地制作出许多精美的设计效果，无论是制作海报、名片、Logo，还是设计网页、App，都可以得心应手。
下面将介绍几个Adobe Creative Suite的使用技巧，教大家如何制作出精美的设计效果。
一、PhotoshopPhotoshop是Adobe Creative Suite中最常用的工具，它可以用于制作图片、调整颜色、润饰照片等等。
下面将介绍两个常用的技巧。
1、图层混合模式图层混合模式是Photoshop中非常实用的功能之一，它可以改变图层间的相互影响，从而产生特效。
比如，我们可以使用“叠加”混合模式将文字和背景图层融合在一起，从而使字体呈现出轻薄的效果。
2、调整色调曲线色调曲线是Photoshop中非常实用的功能之一，它可以调整图片的色彩。
我们可以在色调曲线中增加或减少图片的对比度，或者调整图片的色调，从而使图片更加鲜艳。
二、IllustratorIllustrator是Adobe Creative Suite中另一款非常实用的工具，它可以用于绘制矢量图形、制作图标、海报等等。
下面将介绍两个常用的技巧。
1、使用形状工具形状工具是Illustrator中非常实用的功能之一，它可以用来快速绘制各种图形，比如长方形、圆形、三角形等等。
我们可以使用形状工具将这些基础图形组合起来，形成一个新的设计。
2、使用调色板Illustrator中有一个非常实用的调色板功能，可以帮助我们快速选择颜色。
我们可以使用这个调色板来选择适合的颜色方案，从而制作出更加精美的设计效果。
三、InDesignInDesign是Adobe Creative Suite中用于制作出版物的工具，它可以用于制作杂志、报纸、书籍等等。
Adobe的创意软件Adobe是全球领先的创意软件提供商，公司的产品涵盖了图像处理、排版设计、视频编辑和数字营销等多个领域。
这些创意软件在广告、设计、媒体和创意产业中广泛应用，为用户提供了强大的工具和创造力的发挥空间。
本文将对Adobe的创意软件进行介绍和分析，以及为什么这些软件在市场上如此成功。
一、Adobe创意软件的种类和功能1. Adobe Photoshop（Adobe PS）Adobe Photoshop是Adobe公司旗下的图像处理软件，被广泛应用于平面设计、网页设计、摄影等领域。
它提供了丰富的图像处理工具和滤镜效果，如调整色彩、修复照片、添加特效等，使用户能够快速高效地编辑和优化图像。
2. Adobe Illustrator（Adobe AI）Adobe Illustrator是一款专业的矢量图形编辑软件，主要用于创作、编辑和排版矢量图形。
它具有强大的绘图工具和精准的路径编辑功能，可用于创建图标、插图、标识等各种设计作品。
3. Adobe InDesign（Adobe ID）Adobe InDesign是一款专业的排版设计软件，主要用于制作杂志、报纸、书籍等印刷品。
它提供了丰富的版面设计工具和文本处理功能，支持多页面布局和高级排版效果，使用户能够制作出精美的排版作品。
4. Adobe Premiere Pro（Adobe PR）Adobe Premiere Pro是一款专业的视频编辑软件，被广泛应用于影视制作、广告制作等领域。
它具有强大的视频编辑和剪辑功能，支持多轨道编辑、特效添加和色彩校正等操作，使用户能够轻松地制作出高质量的视频作品。
5. Adobe After Effects（Adobe AE）Adobe After Effects是一款专业的动态图形和视觉效果编辑软件，主要用于电影制作、广告制作等领域。
它提供了丰富的动画效果和合成工具，支持多层次合成和精细的特效制作，为用户创造了无限的创意空间。
adobe学习计划一、介绍Adobe是一个全球知名的数字媒体和数字营销解决方案提供商。
其产品包括Photoshop、Illustrator、InDesign、Premiere Pro等各种专业的设计和创意软件。
无论是从事设计、摄影、视频编辑、网页制作、数字营销等领域的人士，都可能需要掌握Adobe的相关软件。
因此，学习Adobe软件对于提升专业能力和创意水平非常重要。
二、学习目标1. 掌握Adobe Creative Cloud各款软件的基本操作和核心功能；2. 学习如何运用Adobe软件进行设计、编辑和制作；3. 提高自身的创意思维和设计能力；4. 获取Adobe认证，成为Adobe软件的专业用户。
三、学习内容1. Photoshop学习Photoshop是一款广泛应用于图像处理、设计和编辑的软件，学习Photoshop可以帮助我们进行图像的修饰、合成、创意设计等工作。
学习内容包括：基本操作、图层和蒙版、调整图像、修饰照片、合成设计等。
2. Illustrator学习Illustrator是一款矢量绘图软件，用于绘制矢量图形，设计标志、图标、插图等。
学习内容包括：线条和形状工具、文字设计、路径编辑、颜色和填充、图形效果等。
3. InDesign学习InDesign是一款专业的页面设计和排版软件，用于创建宣传册、杂志、书籍等印刷品。
学习内容包括：页面布局、文本和图像处理、样式和格式、印前输出等。
4. Premiere Pro学习Premiere Pro是一款专业的视频编辑软件，用于剪辑、调色、特效和音频处理。
学习内容包括：视频剪辑、音频处理、特效制作、输出和导出等。
5. 其他相关软件除了以上四款软件外，Adobe还有许多其他相关的软件，例如After Effects、Audition、Dreamweaver等，学习这些软件也会对我们的工作和创意产生积极影响。
四、学习方法1. 在线视频教程目前有许多在线学习平台提供Adobe软件的教学视频，例如Coursera、Udemy、Lynda 等，我们可以选择适合自己的课程进行学习。
Adobe公司简介1982年11月，依靠从Hambrecht & Quist风险基金得到的250万美元投资，温纳克与他在施乐的上司查尔斯·格斯切克（Charles Geschke）共同成立了Adobe公司。
“Adobe”名称来自于温纳克家门口的一条小溪的名字，总部设在加利福尼亚州的圣何塞市。
凭借当初创建的PostScript，Adobe公司在创建后的几年间飞速发展，而该公司的另外两个主要产品——Photoshop和Acrobat则更是为公司赢得了更丰厚的利润，Photoshop 第一版是在1990年推出，到1996年推出第四版时，已经成为电脑平面设计的代名词，而Acrobat在电子出版领域内，则成为仁不让的NO.1，PDF便携文档格式（Adobe Portable Document Format）曾一度占据了整个市场90%的份额。
在这三个坚固保垒的支持下，Adobe 在多个领域内强势出击，都取得了不俗的成绩。
Illustrator已成为矢量绘图软件的工业标准，Pagemaker（以及随后推出的INDESIGN）是图文排版软件的霸主，荣获多次大奖的非线性视频编辑软件Premiere则受到专业用户与业余用户共同的拥戴，After Effect更是视频动画制作的首选……凭借这些功能超强、便用简便的软件，Adobe在全球软件产业中翻云覆雨，全年净产值超过12亿元，成为美国第二大个人电脑软件公司，仅次于盖茨的Microsoft。
如今Adobe借助其世界领先的专门针对普通用户、创意人士和企业的各种数码成像、设计和文档技术平台，推动用户和企业实现更好的信息交流。
今天，几乎每一幅我们所看到的图像（无论是在Web 上，在各种大大小小的显示屏上，还是转换的印刷材料上），都是通过 Adobe 软件创建或修改的。
当初，Adobe 的创始人 Chuck Geschke 和 John Warnock一致认为：排版和图形艺术将不断改变人们创作和处理信息的方式。
如何利用Adobe Photoshop软件制作创意的杂志封面在现代社会中，杂志作为一种重要的传媒工具，扮演着非常重要的角色。
作为一本杂志的外封，封面的设计不仅要吸引读者的眼球，还要准确地传达出刊物的风格和主题。
如何能够利用Adobe Photoshop软件制作一个独特而富有创意的杂志封面呢？本文将为您详细介绍。
首先，杂志封面的设计需要有独特的主题和风格。
在进行设计之前，我们需要对杂志的目标受众以及杂志的内容类型进行充分的了解。
如果是针对年轻人的时尚杂志，可以选择多彩的、鲜明的颜色，并加入一些具有年轻态的元素，比如流行的时尚单品；而如果是商业杂志，可以选择更为简洁、大气的风格，并使用一些高质感的图片和字体。
其次，制作创意的杂志封面需要熟练掌握Adobe Photoshop软件的基本操作。
例如，我们可以使用软件中的各种工具对图片进行裁剪、调整和修饰，使其更加符合封面的主题。
同时，还可以利用软件中的图层和蒙版功能，使得封面上的各个元素可以随意组合和调整，创造出更加独特的效果。
另外，为了增加杂志封面的视觉冲击力，我们还可以尝试使用特殊效果和滤镜。
例如，可以为封面中的主要图片添加一些特殊的光影效果，增加层次感和立体感。
在这个过程中，需要注意适度使用这些效果，以免过度渲染影响阅读体验。
此外，滤镜功能也可以用来调整整体的色调和色彩，使得封面更加鲜艳、生动。
除了基本的图片编辑之外，杂志封面的设计还可以加入一些文本元素，来进一步增强视觉效果。
这可以包括主题标题、封面故事摘要、作者名字等等。
在进行文本设计时，我们需要选择适合封面风格的字体，并根据需要进行大小、颜色和间距的调整。
同时，可以尝试运用一些特殊的文字效果，比如渐变填充、描边或者阴影等等，以增加文本的吸引力。
在设计过程中，需要注意封面的整体布局和平衡。
合理安排各个元素的位置和大小，让封面看起来舒适而协调。
在这个过程中，可以尝试不同的布局方式，比如居中对齐、左右排列或者斜向排列等等，来创造出不同的视觉效果。
如何利用Adobe Photoshop软件制作时尚杂志封面时尚杂志封面是吸引读者注意力、展示品牌形象和表达时尚潮流的重要媒介。
而Adobe Photoshop作为业界领先的图像处理软件，可以帮助我们轻松制作出精美的封面设计。
本文将介绍如何利用Adobe Photoshop软件制作时尚杂志封面。
一、选择合适的素材制作一张独特而吸引人的封面首先需要选择合适的素材。
可以使用高清晰度的图片，这有助于保持图像的清晰度和细节。
在选择图片时，建议选取与时尚相关的元素，例如时尚模特、服装、配饰等。
同时，要确保素材与杂志的整体风格和主题相协调。
二、调整图像色彩和对比度在Adobe Photoshop中，使用图像调整工具可以轻松地对图像进行色彩和对比度的调整。
可以通过调整明暗度、饱和度和色调来增强图像的冲击力和吸引力。
如果图像中的颜色不够鲜艳或不够柔和，可以使用调整图像颜色平衡的功能进行调整。
三、加入文字和排版时尚杂志封面少不了文字的应用，文字可以增添封面的信息量和艺术感。
在Adobe Photoshop中，可以利用文本工具添加标题、品牌名称和其他相关文字。
选择适当的字体和字号，并将文字放置在合适的位置，以提高可读性和视觉效果。
同时，还可以对文字进行修饰，例如改变文字的颜色和样式，添加阴影或效果来增强视觉冲击力。
四、使用滤镜和特效为了增加封面的艺术感和独特性，可以通过使用滤镜和特效来进行一些创意处理。
Adobe Photoshop提供了各种各样的滤镜和特效，如模糊、颜色调整、纹理等。
可以选择适当的特效来增强图像的视觉效果，并使封面更加吸引人。
但要注意，特效的使用需适度，不可过度使用，以免影响封面的可读性和主题的表达。
五、修饰和细节处理在制作封面时，细节处理将起到重要的作用。
通过利用修饰工具，可以修复图像中出现的瑕疵或不完美之处，如去除皮肤上的痘痘、增加光线效果、调整细节位置等。
细节处理将使封面更加专业和精致，为读者呈现出令人赞叹的效果。
Recenter creativity in your 3D pipeline.Creativity is your most valuable asset as a 3D artist or designer. Your unique ideas, perspective, and style are what make your design work so valuable to your employer, colleagues, and customers. But making space to focus on high-value creative work can be tough when you’re faced with complex project demands and tight deadlines.Getting more time to develop top-shelf creative work has weighty implications for your business’s success. “If 3D designers had more time to focus on creativity, quality would increase tenfold,” says Wes McDermott, head of Worldwide Substance 3D Evangelism, 3D and Immersive at Adobe Substance 3D. Whether your company directly monetizes the content or products you create or sets itself apart from competitors with a unique brand identity and creative approach, delivering state-of-the-art 3D projects can spell the difference between getting noticed and being left behind. The good news is that with powerful, task-based 3D tools and connected workflows to support day-to-day 3D asset production needs, your team can iron out process wrinkles so you can focus on ideation and iteration. In this guide, we’ll explore five steps you can take to make your 3D pipeline more efficient and give your team’s creativity more time to shine.Table of contentsMore time, increased creativity, greater business impact 4 Step 1. Automate repetitive tasks 6 Step 2. Use 3D asset libraries to accelerate creativity 7 Step 3. Explore new ways to integrate your pipeline 8 Step 4. Simplify your creative collaboration approach 10 Step 5. Invest in non-destructive workflows that support iteration 11 Small changes can make a big impact 12More time. Increased creativity.Greater business impact.Many teams struggle with the same 3D pipeline pain points—a lack of standardization and integration across tools, time-intensive file compatibility issues, creative tools that don’t offer enough precision to get quality results, and repetitive tasks that take time and energy away from higher-value work. If your 3D pipeline doesn’t have the right capabilities or requires a lot of steps to achieve the creative results your team needs, these shortcomings can impact delivery timelines, work quality, and ultimately, business performance.Artists and designers working in 3D need a high-performing pipeline that automates repetitive tasks, minimizes production roadblocks, and speeds up time to delivery. Adding precision tools to support specific parts of your pipeline can have a huge impact on efficiency at every step. “That's the goal of all tools—the software should do the heavy lifting and let the artists just focus on creativity,” says McDermott. “I just want to be able to focus on my creativity and not fight software. The software is there to take care of a bunch of the tedious tasks that are part of the 3D process and let me focus on bringing my vision to life.”When designers don’t have to spend time wrestling with common workflow issues, McDermott says that productivity and business both get a major boost. “The right tools in the pipeline contribute directly to maximizing output,” he says. “Focus not only on whether a tool is good for creativity but also good for productivity because you’re able to just focus on the things you need to get done instead of fighting 3D workflow issues that arise, which can be constant.”The business impact for verticals like game design, VFX, and motion design is crystal clear—these brands are directly monetizing creative output, and a smoother 3D pipeline has a direct impact on your end products. In verticals where creativity is crucial but the lines between output and ROI are less obvious—such as product design, consumer packaged goods, and ecommerce—powerful 3D apps that free up time for creativity can still significantly impact the bottom line by giving your team a competitive edge. Working smarter within your 3D pipeline isn’t just good for your business. Focused creative time also impacts employee satisfaction. “Creative time makes the work day less stressful and improves mental health—you just feel better,” McDermott says. “Ample time lets you focus on things that are more invigorating to your mind as a creative, and refreshes your creativity instead of draining it.”When evaluating a multi-app, complex 3D pipeline for things to improve, sometimes it can be difficult to know where to start. Let’s dig into a few common areas where creative teams encounter challenges during 3D asset creation, and the steps you can take to address them.Step 1. Automate repetitive tasks.Creating photorealistic 3D assets means getting a lot of technical details just right.“If you’re building production-ready content, you need time to make sure that your topology is good, that texel density is aligned, and pay attention to highly detailed work,” McDermott says. “There are all kinds of technical requirements that you need to have in place to make sure that the end product looks high quality.”The fact that 3D design takes a substantial amount of time makes a strong casefor automation. Automating crucial but arduous tasks like UV unwrapping, object interactions, and material application can save a lot of time in your 3D design pipeline.“Auto UV unwrapping is a huge time-saver,” says McDermott. “We use automations in a number of design tools to create and clean up topology.”Automating file-based tasks can also save design teams enormous amounts of time. Automation toolkits allow designers to fully automate rule-based map generation tasks for large sets of assets, as well as build and customize task automations. “With automations, you can quickly create clean topology UVs and have full control over how those UVs are going to be laid out and how they're going to work,” says McDermott. “When it comes to creating your own materials, automation also lets you assign materials and easily create your own textures.”Step 2. Use 3D asset libraries to accelerate creativity.Asset libraries can also save your team time and help you focus on high-value design work. Whether your team builds its own internal library of reusable 3D assets or you invest in third-party asset libraries, strategically using existing assets can help your team work smarter so everyone can invest creative effort into the projects and tasks that matter most.The first step is to invest in assembling an internal library of reusable assets that can be shared across the entire creative team so you get the most value out of net-new assets your team is already making. Not only can a company-wide asset library help save your team time—it can also provide visual consistency across related projects. For example, product designers prototyping a new show car concept could save all of their bespoke 3D materials for the interior and exterior design elements to an internal library at the end of a project. The next time they’re working on a new concept, they can go back and reuse or modify existing textures instead of having to start from scratch.Bringing in outside 3D assets is another great way to drive significant time savings. Ready-to-use models, textures, lights, and backgrounds mean that designers can spend less time custom-creating supporting design elements, and spend more time building hero assets, developing custom textures, and refining 3D renders to get exactly the right look.Step 3. Explore new ways to integrate your pipeline.Integration between 3D tools ensures compatibility across your tech stack and makes workflows faster and smoother. The right integrations can save massive amounts of time and dramatically reduce the learning curve for designers adopting new tools.When tools aren’t integrated, switching between different apps for different parts throughout your pipeline can add unnecessary time and frustration. For instance, different 3D applications might use different units of measurement that cause significant issues and delays. “If information isn’t converted correctly or if the scale of the objects isn’t right, then you might run into issues. Let’s say you have an object built at a certain size, and then you take it into a different application and it’s suddenly really tiny. Now you’ve got to rescale everything, and that’s always a huge time expense,” says McDermott.McDermott points out that texturing discrepancies are another liability of working with unintegrated tools in your pipeline. “If you’re texturing in one program and you want to render it in another program, there’s often a discrepancy. You might import a file and think, ‘Why did the texture look great in the first program, but now that I’ve broughtit over, it doesn’t look so good?’ Maybe the roughness is off, or it just looks strange,” says McDermott. “Switching between different apps means there are going to be discrepancies. These incompatibilities can add up and create some problems.”Adding powerful tools that integrate smoothly into your existing 3D pipeline means your team can use the best tools to support creative excellence. “I’ve always used many different 3D apps,” says McDermott. “For example, I’ve used one specialized tool for modeling, and then another tool for animation, and then another tool because it’s really good at doing UVs. So you might be juggling a lot of different tools, but if you integrate them, the work goes much faster and better. In the end, you want to make sure that you get the job done efficiently, and you hit that quality bar. Sometimes it’s a little harder to juggle a bunch of different software, but if that software you’re opening is going to do a better job, it’s worth doing.”Integrated tools that simplify the import and export process, support diverse file formats, and standardize elements can erase pain points from a 3D workflow. “Using a standardized material across integrated applications means you know what you’re going to get,” says McDermott. “That material is going to look the same when you open it in the next app, and that’s a real benefit.”Step 4. Simplify your creative collaboration approach.Working within multiple tools as a solo 3D creator can be a challenge. When you add other creative collaborators into the mix, it can be even more difficult to manage file locations, versions, and settings. And when inevitable change requests come in from stakeholders, a decentralized workflow can make design updates hard to execute in a timely fashion.“Let’s say that you’ve created a model and you’ve sent it over to another designer to be textured or rendered in another application, but then you want to make some changes to the model and need to get it back,” McDermott says. “To propagate updates back through different disconnected software, and then try to get the asset back together again, is always problematic.”Having your entire team work within a centralized and connected 3D ecosystem can minimize these collaboration pain points. Using a shared set of tools and specifications means that moving files between programs won’t cause major issues. Storing files in a centralized location lets people access what they need, when they need it. And when working with programs that can seamlessly handle changes from one part of the pipeline to the next, collaboration is a breeze.“When tools are connected, teams are able to seamlessly send information back and forth,” says McDermott. “A designer can work on something and get it to the next stage and next application and retain a history of the work.” This kind of continuity is essential for smooth handoffs between collaborators, and invaluable for the person doing the next step in the workflow. “If you’re working on a scene with multiple people at the same time, for example, you can send data back and forth between different applications uninterrupted—without losing fidelity or workflow history,” he says.Step 5. Invest in non-destructive workflows that support iteration.No matter what industry you work in, being able to quickly explore new design variations and concepts is critical to creative success. Increasing iterations at every phase of the 3D pipeline can help you discover great new ideas faster—which means you can launch innovative content and products ahead of other market players, honing your business’s competitive edge.3D design tools and processes that make changes fast and easy are invaluable. When going back into files to make changes or updates or to create variations on a theme, the right tools can save your creative team from time-intensive rework.AI-powered, non-destructive design workflows open up creative possibilities. “Non-destructive workflows let you change parameters, or expose the parameters of an asset you’ve created,” says McDermott. “Exposing parameters means another person can see and alter those asset parameters, and then customize it the way they want.” Instead of having to create multiple versions of models or textures, designers can simply adjust a few settings to switch up their final look.In addition to non-destructive workflows, the right automations can make iteration in 3D a breeze. “With an automation toolkit, you can take procedural material and randomize the parameters, and kick out like 50 versions,” says McDermott. This can be a huge time-saver for background or decorative elements that benefit from some subtle variation but don’t have highly specific creative requirements.Small changes can make a big impact.Every design team can benefit from more free time to pursue creative excellence. With a few targeted changes to your 3D pipeline, your business can reduce low-value, time-consuming tasks and give people more time to deliver stellar creative results. Automating repetitive tasks like UV unwrapping can be an immediate time-saver and boost creative quality. Asset libraries can provide a foundation for iteration and fill in creative gaps quickly. Integrations reduce import and export issues and standardize project elements so assets can move smoothly through your 3D pipeline. And creative teams can collaborate and iterate more effortlessly when tools support seamless file handoffs and non-destructive design workflows.These pipeline improvements can add up to serious time savings. For McDermott, getting time back to focus on creativity means more great ideas make it out into the physical world. “When you start a project, you have this feeling of ‘Okay, I have this idea that I want to share with other people.’ I think the project is successful if the core spark of the idea got out at the end,” says McDermott. “If I can see my original idea in the project reflected in the work that's there, then I feel it’s a good accomplishment.”Adobe can help.Smart creative apps and an ever-growing library of production-quality assets combine in the Adobe Substance 3D Collection to make 3D design more approachable than ever. Easy to use and impossible to outgrow, these tools are transforming workflows for designers of all backgrounds and across industries, allowing them to create stunning content at warp speed.We can also help you find a solution to fit your business.Request more information to get started.。
IN thIS ISSueAbout thecover“The cover of a magazine should givea pre-feeling of the contents that arefollowing,” says guest designer GerwinSchmidt. By reflecting the movement andS D10 Simple Photoshop SecretsThe artists in this story share even moretips and tricks on the Photoshop page of AdobeBridge Home, accessible from anyAdobe® Creative Suite® 3 application. 123A W N I T HWOnline videos and music: peppy by day, soothing at night.“W e W A N TP e r S O N Wh Oe X P e r I e NC e ST h eST O F e e LA N eM O T IOC O N N e C T Iv I T y.”-K O I C h I rO T AN A K A,C r e A T I v eD I r eC T O rP r O J e C T OrThe World UNIQLOCK allows visitors tolink their personal blogs to the site and set their own local-time UNIQLOCKS.Site visitors can access the personal blogs of more “P EO P L E WA N T T O T A L K . A N d T h T O h E A R f R O m W h O T h E Y c A N T O .”-K O I c h I R O T A c R E A T I V E d I R P R O J E c T O RS O N E“T he drama of the lettering mesmerized me for 20 years.”Richard Liptonfont & function:the art and craft of typographypenmanship book created by one George Bickham. This discovery was the start of a crusade that would last decades.“The book’s engraved script renderings became a model for everything I could not accomplish as a calligrapher,” says Lipton. “The drama of the lettering mesmerized me for 20 years, until I decided to try and replicate the spirit of these unparalleled engravings as a typeface.”The resulting font, respectfully and rightfully called Bickham, came out in 1996. It was a bighit. However, it didn’t meet all of its designer’s expectations.“When Bickham was first released as a multiple master font , many compromises were made,”Lipton says. He would have to wait almost another decade before Bickham would reach its potential—which was when OpenType® entered the picture.Technology for Tradition’s Sake “With OpenType and its support for a widely expanded character set, restrictions were no longer an issue,” says Lipton. In a twist, it was thisThere’s one obvious reason why so many designers turn to Bickham Script® Pro for their script needs: elegance. Its swooping ornamental lines waltz with fluid, effortless virtuosity across the page.But there’s a less obvious, perhaps morefundamental quality that sets Bickham Script Pro apart. There’s something humanistic, even organic about it, far more in keeping with the flow of ink being guided by steady, skilled fingers than a digital typeface. Appearing handwritten is the goal of all script typefaces, of course, but many of them stillseem like machine-made, robotic approximations.Bickham Script Pro, on the other hand, feels very, very real.A Calligraphic CourseThe fact that Bickham Script Pro captures the feel of a pen on paper isn’t particularly surprising, once you consider that its creator, well-known and respected type designer Richard Lipton , worked as a calligrapher in his early years. It was during that nascent time in his professional life, while he was in his twenties, that he first got a copy of The Universal Penman , an influential 18th centuryBy Kevin Peasleecutting-edge technology that would allow him to more fully achieve the 18th century writing and engraving artistry of George Bickham.“I had very specific ideas as to what I wanted toadd to Bickham Script Pro.” And what exactly did he add? For starters, intelligence, variation, choice, precision, and, yes, even more humanity.The updated font had the incredibly deep character set Lipton had hoped for, with more than 20 alternates per lower-case letter. But perhaps more importantly, OpenType also allowed him to have ligatures and glyphs automatically change depending on context. For example, glyph exits and entrances could subtly transform to ensure complete fluidity and precision between letters and even between words.And with the ligature substitution intelligence provided by OpenType, Lipton was better ableto channel the artistic letter variations of the old masters he looked up to. Same-letter pairs could vary, for example, eliminating the perfect, machine-like repetition that too clearly says “made on a computer.”So with Bickham Script Pro, Lipton was finally able to take his typeface to where he’d wanted it to be all along—to a level that more accurately reflected the brilliance and artistry found inside The Universal Penman. “My goal for Bickham had been to be true to the 18th century penmen who dedicated so much of their lives to their endeavors,” he says,“and, of course, to create the most dramatic andelegant formal script I could to honor their amazingtalent.”Lipton deserves the accolades for this quantumleap, of course. But Lipton is the first toacknowledge that he had help. OpenTypetechnology, in specific, was essential to thetransformation.“Bickham Script Pro would not be the successfuldesign it is without its built-in technology,” Liptonsays. “It was the only path to making the fonteverything it could be.”From Obscurity to UbiquityAnd the “everything it could be” is vast, whichin turn has resulted in its broad use in all kindsof formats, from elegant menus to irony-ladenonline banners. Although Lipton has peace ofmind knowing that his font met the lofty ideals ofhis favorite masters, perhaps his final satisfactioncomes from its ubiquity.“Seeing it in use everywhere I go makes me feel allthe hard design work was worth it.”Kevin Peaslee is a creative director at Axis41 and awriter with almost two decades of experience.“M y goal was to be true to the 18th century penmen who dedicated so much of their lives to their endeavors.”Richard LiptonFrom elegant menus toirony-laden designs,Bickham is everywhere.You’re on an airplane and you’ve got three hours to kill.You’ve already seen the mediocre movie that’s playing.And without Internet access, you can’t watch any streaming videos from your laptop. What will you do for entertainment? Play another round of solitaire on your computer? Read every page of the SkyMall catalog?Soon, your options will expand. In April 2007, Adobe previewed its new Adobe® Media Player software. This customizable, cross-platform player supports both downloaded and streamed media. It letsviewers watch their favorite shows, virtually anytime, anywhere. And it helps content businesses create new ways to deliver high-quality content and advertising.BUILT-IN CREATIVE OPPORTUNITIESFor audiences, it’s a whole new way to enjoy video content. For creatives, it’s a whole new way toconnect with viewers. The opportunities for branding, advertising, and promotion are built right in to the Adobe Media Player—and they can even be synchronized with the video’s content.The player offers a variety of customizationopportunities right within the application, like product placement using a hotspot. Other examples include program or network-specific logos, banners, overlay “bugs” and in-line video ads—all of which can be easily incorporated into the main video content. “Advertising in this new format can be as bold or subtle as you want to make it,” says Jen Taylor, Group Product Manger of Adobe Media Player.scoop:EXcITING NEWs FRoM ADoBE“Advertising in this newformat can be as bold orsubtle as you want to make it.”Jen Taylor,Group Product Manager,Adobe Media PlayerDYNAMIC, CUSTOMIZABLE ADVERTISING for customization, combined with new ways to bringintegration with Adobe Creative Suite 3 products—DOWNLOAD THE BETA RELEASEBuzz HAPPenin’sADOBE DESIGN ACHIEVEMENTAWARDS: CALL FOR ENTRIESThis global competition celebrates the world’s most talented creative artsand technology students, from graphic design and photography to digitalDiscover and download great add-ons for your favorite Adobe software products. We’ve collected some top customer picks from Adobe Exchange—all available now as free or inexpensive downloads. INSTALL AND ENJOYKeep on multitasking. This script renders in the background whileADObE® fLASh®panorama playerCreate 360 degree panoramicsplendor— just by copyingfiles into Flash.Download“vErY, vErY cOOL. NO quIckTImEc ONTrOL TO LOAD, JuST pLAIN fLASh.”—ADANkEr04, OcTObEr 16, 2007ADObE ExchANgE rEvIEW7891011121314151617181920212223242526272829303132333435SPOTLIGHTThese three simple tips make it easierto bring flat art to animated life.2. Use the timeline technique. In the animation palette, go to Document Settings and set the Duration and Frame Rate for the number of seconds to hold for each frame. Select the frames you want to animate and choose “Make Frames from Layers.” Then, just select the space bar key to play the animation.Watch the video tutorial.Create animations in Adobe Flash Once you’ve created a basic motion tween using one of these methods, you can change its shape, color, scale, and more.Watch the video tutorial.These days, static art and design needn’t stay flat on a page. Whether it’s turning a series of digital images into a simple GIF animation or creating a complex multimedia experience that combines still imagery, motion, and sound, new technology is making the process easier than ever before. And with these quick tips, you can start getting your assets in motion.Import Adobe Illustrator 2. Import native Adobe Illustrator files into your Flash document. Simply save your document as a regular Illustrator file, go to Adobe Flash, and select File > Import > Import to Stage. Then choose your Illustrator file and specify exactly which Illustrator layers and objects should be imported.Watch the video tutorial.Create animated GIFs inSET YOUR ART IN MOTIONTIP 2TIP 3MORE MOTION TIPS Discover more tutorials and tips in Adobe。
