Photoshop in a Nutshell, Second Edition A Desktop Quick Reference By Donnie O'Quinn
January 1900
Pages: 658

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Colophon

Our look is the result of reader comments, our own experimentation, and feedback from distribution channels. Distinctive covers complement our distinctive approach to technical topics, breathing personality and life into potentially dry subjects. The animal featured on the cover of Photoshop in a Nutshell, Second Edition, while resembling an owl, does not exist. According to Alison Pirie of the Museum of Comparative Zoology at Harvard University, this bird is entirely a product of the artist's creation. Owls are easily distinguished from other birds by their forward-facing eyes, lack of a neck, and large heads. Their hearing range approximates that of a human, though their directional hearing is much more sensitive. Some owls have tufts of feathers on their heads that resemble ears, but are actually decorative. Despite popular belief, owls are not actually blind in daylight, and, while they cannot see in complete darkness, their eye structure allows them to see with very little light. There are two families and approximately 180 species of these birds of prey distributed throughout the world, with the exception of Antarctica. Most species of owl are nocturnal hunters, feeding entirely on live animals, ranging in size from insects to hares. Jeffrey Liggett was the production editor for Photoshop in a Nutshell, Second Edition; Sheryl Avruch was the production manager. Robert Romano and Rhon Porter created the illustrations using Adobe Photoshop 5.0 and Macromedia Freehand 8.0. Mike Sierra provided FrameMaker technical support. Editorial and production services were provided by TIPS Technical Publishing-copyediting by Carol Bowers, composition and indexing by Alan Pringle and Sarah O'Keefe of Scriptorium Publishing Services, Inc., proofreading by Paulette Miley, and project management by Robert Kern. Edie Freedman designed the cover of this book, using a 19th-century engraving from the Dover Pictorial Archive. The cover layout was produced with Quark XPress 3.32 using the ITC Garamond font. Whenever possible, our books use RepKover?, a durable and flexible lay-flat binding. If the page count exceeds RepKover's limit, perfect binding is used. The inside layout was designed by Nancy Priest and implemented in FrameMaker 5.5 by Mike Sierra. The text and heading fonts are ITC Gaamond Light and Garamond Book. This colophon was written by Nancy Kotary.

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