Hi Dana, Now, after testing I see your problem. BUT: It seems that I have found workaround, at least it works on my Mac Pro with two monitors connected. When you put Palettes (Layer, Properties, Ref manager) to the second monitor (external in your case) you have to leave small gaps between Palettes itself ans between palettes and screen area edges on the external monitor (see External monitor screenshot) In this case on my System the position of Palettes seems to be stable (they don't move to main monitor above Drawing area window). Please try this workaround and post here if it will help you. Helo Dana, If you still subscribed to this topic (I hope), here is my report about my new tests. I managed to get adapter to connect external display to MacBook Pro.
Items may be added to the layout either by dragging a view component from the palette and dropping it at the desired position on the layout, or by clicking on a widget in the palette and then clicking at the location on the layout where it is to be positioned. Tool palettes can be customized to suit your needs. For more information on working with tool palettes, see 'Tool Palettes' in the AutoCAD Help. For information about adding render materials to a drawing from a tool palette, see Adding Materials to Drawings. Re: Tool Bars and Palette Locations!!!! I think we still need to come up with a better solution since it does not seem to work in a side by side way. The up/down screens does make it harder to work, unless I come up with a way to raise the screen up on a riser above my MacBook screen.
Palettes Bruce has a second monitor set up on his computer just so he can open all ofPhotoshop's palettes on it and free up his primary monitor's preciousspace. There's little doubt that palettes are both incredibly useful andincredibly annoying at times.
Fortunately, Photoshop has some built-in buthidden features that make working with palettes a much happier experience. For instance, palettes are 'sticky'if you move them near theside of the monitor or near another palette, they'll 'snap-to'align to that side or palette. (Even better, hold down the Shift key while youdrag a palette to force it to the side of the screen.) This (if nothing else)helps you keep a neat and tidy screen on which to work. TIP Make the Palettes Go Away. If you only have one monitor on which tostore both your image and Photoshop's plethora of palettes, you shouldremember two keyboard shortcuts.
First, pressing Tab makes the palettesdisappear (or reappear, if they're already hidden). We find this absolutelyinvaluable, and use it daily. Second, pressing Shift-Tab makes all palettesexcept the Tool palette disappear (or reappear). We find this only slightlybetter than completely useless; we would prefer that the keystroke hid all thepalettes except the Info palette. TIP Making Palettes Smaller. Another way to maximize your screen realestate is by collapsing one or more of your open palettes.
If you double-clickon the palette's name tab, the palette collapses to just the title bar andname (see ). Or if you click in the zoom box of a palette (thecheckbox in the upper-right corner of the palette), the palette reduces in sizeto only a few key elements. For instance, if you click in the zoom box of theLayers palette, you can still use the Opacity sliders and Mode popup menu (butthe Layer tiles and icons get hidden). Collapsing palettes Mix and Match Palettes. There's one more way to save space onyour computer screen: mix and match your palettes. Palettes in Photoshop have acurious attributeyou can drag one on top of another and they become one(see ). Then if you want, you can drag them apart again by clickingand dragging the palette's tab heading.
(In fact, these kinds of palettesare called 'tabbed palettes.' ) Mixing and matching palettes For instance, David always keeps his Layers, Channels, and Paths palettestogether on one palette. When he wants to work with one of these, he can clickon that palette's tab heading. Or better yet, he uses a keystroke to makeit active (see 'Actions' in Chapter 14, Essential ImageTechniques, for more on how to define your own keyboard shortcuts). Bruce, on the other hand, always keeps his Layers and Channels palettesseparate, even when he's working on a single-monitor system.
Neither of usever mixes the Info palette with another palette, because we want it open allthe time. Photoshop offers one more way to combine palettes: by docking them.
Docking apalette means that one palette is attached to the bottom of another one. Dockedpalettes always move together, and when you hide one they both disappear. Todock one palette to another, drag it over the other palette's bottom edge;don't let go of the mouse button until you see the bottom edge of thepalette become highlighted. TIP In-and-Out Palettes. You can store palettes in the Options bar aswell: when your screen resolution is above 800 pixels wide, the Options barcontains a 'palette well,' onto which you can drag palettes. Then, touse one of these palettes, just click on its tab. When you press Enter orReturn, or as soon as you start doing anything else (like use a tool or a menu),the palette minimizes into the well again.
This behavior is perfect for theSwatches and Colors palettes, but is inappropriate for palettes you need open alot, like the Info or Layers palettes. TIP Reset Palette Positions. Every now and again, your palettes might getreally messed upplaced partly or entirely off your screen, and so on.Don't panic; that's what Reset Palette Locations (in the Workspacesub-menu, in the Window menu) is for. In earlier versions, this feature washidden as a button labeled 'Reset Palette Locations to Default' in thePreferences dialog box. Saving Workspaces If you have a favorite way you like your palettes to be arranged on yourscreen, and your co-worker is forever moving them, don't go berserk andthrow your carrot sticks at him. Instead, use the Workspace feature to save yourpalette setup and then recall it whenever necessary.
It's easy to save aworkspace: just arrange the palettes exactly the way you want them, and thenchoose Save Workspace from the Workspace submenu (under the Window menu; see). Workspaces Later, when you want to recall your carefully customized creation, you canselect it from the Workspace submenu.
Workspaces are useful even if only oneperson is using the computer, too. For instance, David has one workspace forwhen he works on Web graphics (which has the Swatches palette and the Stylespalette open) and another for print images (which has those palettesclosed).
TIP Save Info Palette Configurations. If you're like us, you probablyuse different info palette setups for different kinds of work. For example, whenBruce works on RGB files destined for CMYK output, he sets one readout to RGBand the other to CMYK. But if he's working on RGB files for RGB output onan inkjet or film recorder, he sets the Info palette to read RGB and Lab. Whenyou save a workspace, it records not only palette locations, but also the Infopalette configuration, so you can use workspaces to switch easily betweendifferent Info palette setups.
Layers Palette In every version since 3.0 (the first time that the layers feature wasintroduced), the Layers palette has become increasingly important to how peopleuse Photoshop. With such a crucial palette, there have to be at least a few goodtips around here. TIP Creating a New Layer. Layers are the best thing since sliced bread,and we're creating new ones all the time. But if you're still making anew layer by clicking on the New Layer button in the Layers palette, you'vegot some learning to do: Just click Command-Shift-N (or Command-Option-Shift-N,if you don't want to see the New Layer dialog box). If you're tryingto duplicate the current layer, just press Command-J (if you have pixelsselected when you press this, only those pixels will copy to a new layer). TIP Creating Layer Sets.
The more layers you have in your document, themore difficult it is to manage them. Fortunately, Photoshop now offers layer'sets' in which you can group contiguous layers (layers that are nextto each other). Layer sets are so easy to use that they really don'trequire a great deal of explanation. Here are the basics, though. To create a layer set, click on the New Layer Set button in the Layerspalette (see ). Layer sets.
To add a layer to a set, just drag it on top of the set. Or, to create anew layer inside the set automatically, select the set or any layer within theset (in the Layers palette) and press the New Layer button.
You can remove alayer from a set simply by dragging it out. You can move layer sets in the same way you move layers: just drag themaround in the palette. You can also copy a whole set of layers to a differentdocument by dragging the layer set over. If you have more than one layer set, it's helpful to color codethem: just double-click on the layer set's name and pick a color in theLayer Set Properties dialog box. You should probably name the set, too, whileyou're there (the default 'Set 1' doesn't help identifywhat's in it).Watch out, though: if you drag a color-coded layer out of theset, it still retains its color-coding!. If you want to move all the layers within a layer set at the same time,select the layer set in the Layers palette. This is easier and faster thanlinking the layers together.
You can add a layer mask to the layer set (see Chapter 13, Selectionsfor more on masks) and it'll apply to every layer in the set.Similarly, locking a set locks every layer within the set. Layer sets act almost like a single layer, so when you show or hide theset, all the layers in that set appear or disappear. When you delete a layer set, Photoshop lets you choose to delete the set and the layers inside it or just the set itself (leaving the layersintact).
Unfortunately, you can't apply a layer effect (see Chapter 14, Essential Image Techniques) to a set or use a set as a clipping group(see Chapter 13, Selections). TIP Layer Sets and Blending Modes. If you had your coffee this morning,you'll notice that you can change the blending mode of a layer set.Normally, the blending mode is set to Pass Through, which means, 'let eachlayer's blending mode speak for itself.'
In this mode, layers insidethe set look the same as they do if they were outside the set. However, if youchange the set's blending mode, a curious thing happens: Photoshop firstcomposites the layers in the set together as though they were a single layer(following the blending modes you've specified for each layer), and then itcomposites that 'single layer' together with the rest of your imageusing the layer set's blending mode.
In this case, layers may appear verydifferent whether they're inside or outside that set. Similarly, when you change the opacity of the set, Photoshop first compositesthe layers in the set together (using their individual Opacity settings) andthen applies this global Opacity setting to the result. Info Palette In a battle of the palettes, we don't know which Photoshop palette wouldwin the 'most important' prize, but we do know which would win in the'most telling' category: the Info palette. We almost never close thispalette. It just provides us with too much critical information. At its most basic task, as a densitometer, it tells us the gray values andRGB or CMYK values in our image.
But there's much more. When you'reworking in RGB, the Info palette shows you how pixels will translate into CMYKor Grayscale. When working in Levels or Curves, it displays before-and-aftervalues (see Chapter 6, Tonal Correction). New in Photoshop 7 is the ProofColor option, which shows the numbers that would result from the conversionyou've specified in Proof Setup, which may be different from the oneyou've specified in Color Settings (see Chapter 5, Color Settings).The Proof Color numbers appear in italics, to provide a clue that you'relooking at a different set of numbers than the ones you'd get from a modechange. But wait, there's more! When you rotate a selection, the Info palettedisplays what angle you're at. And when you scale, it shows percentages.
Ifyou've selected a color that is out of the CMYK gamut (depending on yoursetup; see Chapter 5, Color Settings), a gamut alarm appears on the Infopalette. TIP Finding Opacity. When you have transparency showing ( e.g., onlayers that have transparency when no background is showing), the Info palettecan give you an opacity ('Op') reading. However, while Photoshop woulddisplay this automatically in earlier versions, now you have to do a littleextra work: you must click on one of the little black eyedroppers in the Infopalette and select Opacity (see ). The Info palette Switch Units. While we typically work in pixel measurements, we do onoccasion need to see 'real world' physical measurements such as inchesor centimeters.
Instead of traversing the menus to open the Units dialog box (onthe Preferences submenu under the File menu), we find it's usually fasterto select from the Info palette's popout menus. Just click on the XY cursoricon (see ). Another option: double-clicking in one of the rulersopens the Units Preferences dialog box. Note that you can also do this byControl-clicking (on the Mac) or Right-button-clicking (in Windows) on one ofthe rulers. (Press Command-R if the rulers aren't visible.) Changing units Color Palettes The Color Picker and the Color palette both fit into one category, so wealmost always group them together into one palette on our screen and switchbetween them as necessary.
Or better yet, we just put them in the Optionsbar's palette well. Most novice Photoshop users select a foreground or background color byclicking once on the icons in the Tool palette and choosing from the Colordialog box. Many pros, however, have abandoned this technique, and focus insteadon these color palettes. Here are a few tips to make this technique more.ah. TIP Switching Color Bars.
Instead of clicking on the foreground colorswatch in the Tool palette, you might consider typing values into the Colorpalette. Are the fields labeled 'RGB' when you want to type in'CMYK' or something else?
Just choose a different mode from the popoutmenu on the palette. If you like choosing colors visually rather thannumerically, you can use the color bar at the bottom of the palette (no, theColor Bar is not just another place to meet people). While the spectrum ofcolors that appear here usually covers the RGB gamut, you can switch to adifferent spectrum by Shift-clicking on the area. Click once, and you switch toCMYK; again, and you get a gradient in grayscale; a third time, and you see agradient from your foreground color to your background color. Shift-clickingagain takes you back to RGB. TIP Editing the Color Swatches.
You've probably ignored all thoseswatches on the Swatches palette because they never seem to include colors thathave anything to do with your images. Don't ignore. You can add,delete, and edit those little color swatches on the Swatches palette. Table 2-2shows you how.
If you're looking for Web-safe colors, or other usefulcolors, check out the popout menu at the top of the palette. You can't actually edit a color that's already there. Instead, youcan click on the swatch (to make it the current foreground color), edit theforeground color, then Shift-click back on the swatch (which replaces it withthe current foreground color). Table 2-2 Editing the Swatches palette To do this. Add foreground color Click any empty swatch Delete a color Command-click Replace a color with foreground color Shift-click The File Browser If you're like us, you've got way too many images floating aroundon various disks, and finding the right image at the right time can be a hassle.Fortunately, Photoshop 7 has made this process a giant step easier with the FileBrowser window, which acts like an Open dialog box on steroids (see ).
You can browse through the images on your disk, create folders, moveimages in and out of folders, rename files, or even delete images from disk. The File Browser You can also tell the File Browser to rotate images.
In this case, the imageon disk isn't actually changed. Instead, the File Browser itself remembersto rotate the image as soon as you open it inside Photoshop. You can select morethan one image at a time in the File Browser window by Shift-clicking (forcontiguous selections) or Command-clicking (for selections that aren't nextto each other). TIP Rank and File. You can change a file's name by clicking on it inthe File Browser (or select the image and press Enter). This actually changesthe file name on disk. You can also change a file's Rank by clicking in theRank area (which is only visible when you have the File Browser set to'Large with Rank' view).
Rank is simply an additional way of orderingimages. For instance, if you take five snapshots of a model, you can rank themin the order of preference for easy reference later. Then, to view all the'A' ranked images, you could select Rank from the Sort By popup menuat the bottom of the File Browser window (see ). Note that you can jump from one file name field to the next by typing Tab (orback to the previous file name field with Shift-Tab). Similarly, if you'reediting a Rank field, you can jump the next or previous image's Rank fieldwith Tab or Shift-Tab. View By Rank Renaming a Folder.
Most digital cameras assign names like P0001924.JPGto each image. Is that useful to anyone? If you have a folder full of thesekinds of files, the File Browser can rename them all. First, make sure nothumbnails are selected in the File Browser. Then, choose Batch Rename from theFile Browser's popup menu.
Photoshop displays the Batch Rename dialog box,which gives you a number of options for naming files (see ). Carefulwith this one; you can't undo it after clicking OK. Batch Rename Jump to File by Name. If your folder has dozens of images in it,it's a hassle to use the scroll bars in the File Browser. Instead, justclick on any image in the File Browser window and then type the first fewletters of the name of the image you're looking for. You can also use thearrow keys to move around this window. Extended File Info.
Perhaps our favorite File Browser feature is theextended file information in the lower-left corner of the window. Here, the FileBrowser displays whatever information it can cull from the file.
At a minimum,it shows you the file's creation date, file format, and size. However, ifthe capture device or software application that created the image saved moreinformation in the EXIF (exchangeable image file) format, then Photoshop candisplay it here, too. This is particularly useful for people who use digitalcameras, which typically save a plethora of data, including the date and timethe picture was snapped, the exposure setting, and focal length. TIP Exporting the Cache. The first time you use the File Browser to view afolder of files, you'll notice that it takes some time to gatherinformation and build a thumbnail for each image.
The next time you browse thatfolder, the images show up almost instantaneously. Photoshop savesthe thumbnails in a cachealong with file information, ranking, androtation setting. The cache is saved in a compressed and proprietary format onyour local hard drive. We thought this was all just fine and dandy until our colleague DekeMcClelland pointed out two problems. First, if your images are on a networkserver, having rank and rotation information saved on your local hard drivedoesn't help anyone else who needs to see those images. Second, the cachereferences a specific folder name, so if you change the name of the folder, allthe thumbnails, ranking, and so on, are lost.
Fortunately, Photoshop lets you save a folder's cache file within thefolder itself. To do this, select Export Cache from the File Browser'spopout menu (see ). When the exported cache files (which are calledAdobePS7.tb0 and AdobePS7.md0) are present in a folder, Photoshop uses theminstead of creating new cache files.
The File Browser popout menu If you later write the folder full of images to a CD, Photoshop can even readthe cache off the CD. However, any subsequent changes you make to the rankingsor image rotation are only stored in your local cache (not on the CD, as it isread-only). TIP Opening the Composite. Do you have a large.TIF or.PSD file with alot of layers, but you only want to open a flattened version? No problem: holddown Option and Shift while double-clicking on the image in the File Browser.This works in the Open dialog box, too. Note that for.PSD files, this onlyworks when the file was saved with a composite image. If, when you saved thefile, you had turned off the Always Maximize Compatibility for Photoshop (PSD)Files option in the Preferences dialog box, you won't be able to open thecomposite because there will be no composite to open (see'Preferences,' later in this chapter).
Tool Bars And Palette Locations Chicago
TIP Expanded File Browser. To maximize the thumbnail view on the rightside of the File Browser and hide the navigation view, click on the ExpandedView button at the bottom of the File Browser windowthat's the littlebutton with the double-headed arrow. Or, note that you can also just expand theFile Browser window to any size you want and then move the borders between eachsection of the window by dragging them. For example, if you want more space todisplay the additional file information, you can just click-and-drag the borderarea between it and the thumbnail preview.