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9A0-150 - Adobe(R) Photoshop CS5 ACE - Dump Information

Vendor : ADOBE
Exam Code : 9A0-150
Exam Name : Adobe(R) Photoshop CS5 ACE
Questions and Answers : 164 Q & A
Updated On : February 15, 2019
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9A0-150 Questions and Answers

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9A0-150 Adobe(R) Photoshop CS5 ACE

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9A0-150 exam Dumps Source : Adobe(R) Photoshop CS5 ACE

Test Code : 9A0-150
Test Name : Adobe(R) Photoshop CS5 ACE
Vendor Name : ADOBE
Q&A : 164 Real Questions

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    Adobe has up to date a number of products from its inventive Suite 5. Adobe Photoshop CS5 12.0.2 is a trojan horse-fixing update which resolves a few crashes, efficiency considerations and even protection vulnerabilities. The digital camera uncooked 6.3 plugin turned into additionally released bringing support for a couple of new cameras.

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    The major message at this year's Adobe Max Conference was that in 2019, everyone can—and should—be more creative. And why not? Powerful new features in the CC family can nurture anyone's creativity. InDesign CC 2019, Adobe's acclaimed page composition program fits right in with this strategy, advancing the capability of design software, especially when it comes to the user experience. Adobe is reimagining InDesign to accelerate workflows, liberate creativity, and encourage exploration—all while motivating us to embrace immersive new media. Big changes in Adobe fonts, automatic layout adjustment, and a smart new Properties panel are just a few of the specific updates that make InDesign feel refreshed and attuned to the current design zeitgeist.

    Pricing and Getting Started

    InDesign is available only by subscription to Adobe Creative Cloud, either as a single app, for $20.99 per month, or as part of the entire design suite, for $52.99 per month. Adobe's CC suite includes every arrow in Adobe's professional design software quiver, including Photoshop, Premiere Pro, Illustrator, Dreamweaver, and more. For comparison, Microsoft Publisher (Windows-only) comes with Office 365 subscriptions starting at $6.99 per month; QuarkXPress costs $849 (or $399 as a competitive upgrade); VivaDesigner starts at $139 for a permanent license with no subscription; and Xara Designer Pro X costs $299 as a one-shot or $5.95 per month as a subscription.

    You can install InDesign on up to two computers simultaneously. Mac and Windows versions interoperate, with Windows 7 SP1 and macOS 10.13 or later supported. Both platforms require at least 4GB RAM (with 16GB recommended) and a 32-bit video card.

    Even though InDesign is widely considered the ace advanced page-design tool, there are other notable page-layout applications in the arena. For PC, Mac OS, and Linux, VivaDesigner from Germany offers an integrated word processor and a browser-based platform option. QuarkXPress presents many similar capabilities, the differentiator being that it does not force you into a subscription. On the PC you have Corel Draw 2019 and Xara Designer Pro X, which touts WYSIWYG web design and an onboard image editor.

    The Path to InDesign

    In the dawn of desktop publishing, there was Aldus PageMaker (InDesign's predecessor after Adobe purchased Aldus in 1994) and Quark Xpress, which offered more robust tools catering to a growing professional user base. Adobe resisted Quark's acquisition attempts and forged through a PageMaker rewrite, and in 1999, introduced InDesign—the first Mac OS-native desktop publishing software.

    Since then, designers and production artists have been using it to create a spectrum of print design deliverables—books, brochures, newspapers, and magazines—and more recently to produce ebooks, interactive PDFs, and other content for digital destinations.

    InDesign's forte is assembling, designing, laying out, typesetting, and preflighting complex multipage layouts. The program's project-specific workspaces, such as Interactive PDF, Advanced, or Digital Publishing, simplify your workflow as you begin.

    Choose one of InDesign's preset workspaces, or make and save one of your own.

    A good example of a project for which InDesign is eminently suited would be a user manual that requires a foreword with Arabic page numerals, chapter divisions with Roman letter page numbering, a variety of diagrams, and a comprehensive index. After the design phase, in advance of printing or publishing, a comprehensive preflight panel helps troubleshoot the file, making certain there are no missing fonts, unlinked or low-resolution images, color inconsistencies, overset text, or other issues.

    Typography Triumphs With Adobe Fonts

    A pioneer of digital type for the Macintosh (having created PostScript), Adobe was early to the font scene with the 1988 launch of its must-have, tabloid-sized quarterly magazine and font catalog, Font&Function, wherein this question was posed: "Can a designer who loves good type, good design, and good taste find happiness on a desktop?" Today it's easy to answer in the affirmative. Back then, designers would need to call the distributor to find the nearest dealer, phone in the order to the dealer, wait eagerly by the mailbox for their font to arrive on a set of floppy disks, before finally answering that, yes, fonts worked on the desktop.

    Three decades later, working with type has just become more exciting, with the newly named Adobe Fonts (formerly TypeKit). Within InDesign, subscribers now have unlimited access to the entire Adobe font library in both screen and downloadable desktop formats. Added to that are the updated Character Panel's real-time visual font browsing (seeing your highlighted text displayed in the actual font) and improved search. This means that when you engage the pull-down font menu, you see the fonts installed on your computer—as well as, if you like, the more than 14,000 fonts in the Adobe library. Now we can sort and filter font attributes, classifications, starred favorites, or recently used categories to find—or discover—just what we have in mind.

    There is even more InDesign font fun with newly compatible SVG OpenType Color Fonts. These new full-color glyphs may seem a bit gimmicky to the professional designer and illustrator, but there is no denying that people are creating some interesting and beautiful illustrative type.

    A note of caution: Take care to make sure you are using OpenType SVG (vector) fonts rather than bitmap color fonts, because in the latter each glyph is a raster image (as opposed to regular fonts being vector-based), so file sizes can get large. Also, InDesign warns users of font limitations with these fonts. Outlining and exporting to PDF aren't yet possible, for example.

    Flex Your Layout Muscles

    Have you ever had a client inform you—on round four or five—that they need to change the page size or orientation of your document? Of course you have! With the latest InDesign, it doesn't have to be the time-consuming grunt work that it used to be, thanks to the new Adjust Layout feature.

    So, what's the difference between InDesign's new Adjust Layout and the Liquid Layout and Alternate Layouts tools introduced in CS6? Liquid Layout facilitates the process when you are tasked with designing alternative layouts to handle multiple page sizes (such as for a range of devices) by allowing you to create and apply specific rules (centering, scaling, and guide- and object-based) about the mechanics of how those changes adapt to various page situations. This can be semi- or fully automatic.

    While Alternate Layouts can be used in conjunction with Liquid Layout, the former feature is primarily geared to digital or print publication projects that require different layouts within the document. Both systems reduce the manual work required to lay out every page in a document a second (or third, or fourth) time.

    Adjust Layouts is the new utensil in this drawer of adaptive and responsive page-design tools, and you reach for it when you need to amend page properties (such as size, bleeds, and margins) of a document—after text and images are already in place.

    You no longer need to live through yesterday's madness of page-by-page manual adjustment via the Document Setup or Margins and Columns pulldown. Today, you have in-app options presented just by accessing that Document Setup menu and clicking Adjust Layout. There you can change global page, margin, and bleed measurements—and even the font size. You can also find another Adjust Layout option in the Margins and Columns dialog box to further assist with your reconfiguration requirements.

    Of course, the discriminating designer can expect to make a few trials and perform tweaks, but the new Adjust Layout feature can save you time and agita the next time you need to adjust the page or spread layout of an entire document.

    Adjust Layout semi-automates the process of reformatting a publication in a different size or orientation.

    You'll find another keen new feature in the Frame Options panel. Clicking on the Content-Aware Fit option after you have placed an image into an existing frame tells InDesign to guess the important part of the picture and resize the photo accordingly.

    After placing an image into a frame, click the Content-Aware Fit option to have InDesign guess what's important to show. The orange arrow shows the new content-aware option in the Framing dialog panel. Pleasing Properties Panel

    The additional convenience of InDesign's new Properties Panel decidedly supports Adobe's mission to accelerate users' workflows and improve the app's ease of use. This new context-smart panel gathers and displays your most-often-used controls, along with relevant settings for your current task. For the object you have selected (shape, text block, or linked image), the panel shows two sections of information. First, there are the Transformation and Appearance controls and Settings (similar to the Appearance panel in sister app, Illustrator). Next there are the Dynamic controls, which appear based on the context of what you are doing at the time of selection.

    When you have nothing selected, the Properties Panel displays page-specific information concerning guides, units, and related preferences.

    Three representative states of the new Properties Panel: (A) with nothing selected, (B) with a text frame selected, and (C) with a rectangle path selected. New PDF Options

    Adobe invented the Portable Document Format (PDF) in 1993, and with its free Adobe Acrobat Reader, transformed ease of communication between applications and platforms. Now with the ability to import PDF edits and comments directly into the program, working with PDFs becomes even more convenient in InDesign. There's no more back-and-forth between apps or split screens. Furthermore, you can track and manage the subsequent feedback and comments of any marked-up PDF right from InDesign.

    You now have a variety of options for exporting still and interactive PDFs.

    My experience trying out this new feature was a bit clunky, however. The copying and pasting process is finicky. Also, when a comment is just a sticky note rather than a Strike or Insert directive, clicking on the comment icon takes you to the page in question, but does not indicate where on the page the actual comment was made.

    There are a few important requirements to note: First, the PDF being commented upon must be made from the current version of InDesign; and second, the PDF comments can only be imported into the original InDesign file from which the PDF was made.

    Since its introduction in CS5, InDesign's dynamic PDF form-making capability continues to bloom. In addition to specifying fields such as text blocks, radio buttons, and check boxes, InDesign CC 2019 now supports form fields with customizable typeface control when you're exporting an InDesign file to an interactive PDF form—without the need to tweak the form in Acrobat.

    Blazing New Trails

    Though undisputed as the trailblazer of page and publication design, Adobe's distinguished and long-time champ InDesign doesn't rest on past and current achievements. Adobe is advancing the cutting edge of how we work and what we create. This, built on an already strong base of tools makes InDesign our top recommendation in the page-design category and a PCMag Editors' Choice.

    Adobe InDesign CC


    Bottom Line: InDesign maintains its relevance, giving the commercial creative of 2019 an edge in satisfying ever more-demanding client requests. Despite minor quibbles, InDesign is a must-have for any professional designer.

    How QuarkXPress became a mere afterthought in publishing | killexams.com real questions and Pass4sure dumps

    Grep support for find/replace

    This may seem really nerdy, but for productions that have people who write AppleScripts to deal with issues, having a powerful Unix regular expression text tool like grep solves a lot of problems. The above apostrophe find/replace would be done with the grep pattern “l’.”, meaning “match l’ and any following character.” If you have an entire phonebook of mistyped phone numbers that appear at the end of the line, it's dead simple to fix with grep:

    Previewing the effects of my grep regular expression in the Patterns application. The "$" means "end of line" in grep. Enlarge / Previewing the effects of my grep regular expression in the Patterns application. The "$" means "end of line" in grep. The ability to open QuarkXPress files

    This bit of reverse engineering didn’t work on later Quark documents, but most companies debating the switch were probably still on Quark 3 or 4. Output from those could be converted by InDesign. This ensured companies would lose a lot less time when migrating to Adobe's program.

    Mac OS X support

    Adobe knew this was a biggie, and it was way ahead with OS X support for InDesign.

    Anti-aliasing of on-screen text

    Considering this was the early 2000s, you got a much better feel for a printed page on a 1280x1024 screen with InDesign's anti-aliasing.

    More text wrapping features and manually editable runarounds

    The ability to tightly hone finicky runarounds was a big deal.

    Nested style sheets

    The value of this one also can't be overstated. It used a set of user-created rules to follow for things like formatted lists so you could do back-of-book content like indexes without manually setting each element:

    All of the above is handled by one nested style sheet. If you made your living doing stuff like travel guides, this one feature alone was worth a year's salary and your firstborn.

    Overprint preview and separations preview: Previewing postscript overprints in InDesign CS—this would have been done by an expensive proof from your prepress house with QuarkXPress. Previewing postscript overprints in InDesign CS—this would have been done by an expensive proof from your prepress house with QuarkXPress.

    Since that could potentially put you over the ink limit for your paper—which causes smearing and can potentially break the paper on Web presses—InDesign CS also had an ink limit warning:

    This was the beauty of InDesign CS: it gave you tons of creative tools, plus the technical tools to make sure you were within spec when trying those creative things. The stuff like nested stylesheets and grep gave you formulas to deal with repetitive tasks so you could spend more time being creative.

    I know it seems excessive to cover this much of InDesign in an article about QuarkXPress—I probably look like an Adobe shill at this point—but it’s important to understand just how far ahead the competition was. This is the main reason Quark lost its dominant position in the print industry. To sum up how InDesign was received by big clients and how thoroughly it shamed QuarkXPress in every way, here is a lengthy quote from a former colleague of mine Denise "Ace" Williams who spent five years managing production for weekly newspapers that used Quark:

    Quark 5 and OS9 was what we were used to, but it was pretty miserable. The things that stick out:

  • Restarting your computer and losing your unsaved work over software freezes was a regular part of your day. Like, many times a day.
  • We had all these crazy workarounds to achieve certain effects like drop shadows or change-and-repeat. It was all pretty rudimentary and hard to standardize across many designers in a department.
  • Shapes were pretty much a non-issue, so we had to do everything supplementary in Illustrator. Text and image display were awful. We printed to see what we were doing.
  • We were, of course, still importing images directly into boxes by browsing for files from Quark. [Quark only got drag and drop with version 8. Let me reiterate—8 as in “eight.” That’s not a typo.]
  • Those things are all quantifiable productivity sinks that should have been addressed in Quark 6, but Quark was so comfortable in its position of power that it missed its chance. It put out a mediocre release that forced everybody to upgrade just so they could have a few overdue meager enhancements like compatibility with OS X (for real, that was the big sell, as if it was a treat) and, I think, drag and drop image placement from a finder window. Maybe a drop shadow? The thing is, there could have been more, but nobody remembers stuff that doesn't impact their daily workflow. I think everyone who cared felt like they'd been disrespected by that release.

    And then InDesign CS2 was released in 2004 or so, and I remember being at an AAN (Association of Alternative Newsmedia) conference in a room full of production managers from all over North America at a session comparing Quark 6 to the new InDesign. InDesign had so many beautiful, necessary features that it really felt like Adobe had locked users (like us, our people) in a room for a year until they came up with all the right ideas: stability, autosaves, shapes and paths, real image and type representation, drag-and-drop, customizable keyboard shortcuts, effects, repeats. All our habits had been supported and standardized and simplified.

    We all actually got emotional. The room was nuts. The Quark reps were humiliated. It was so obvious that all this stuff was going to take the friction out of our departments, which sometimes moved up to 200 ads a day. I remember this PM from Brooklyn sitting beside me who grabbed my arm partway through the demo, and we actually held each other while we listened. CRAZY.

    The thing is, the effort and risk of changing a whole company to a new piece of software is so great that that release still wouldn't have swayed us if Quark had actually done its job with Quark 6 and made a competitive update. But it didn't, and the time, job happiness, and financial implications of switching to CS2 were super crystal clear. Everybody did it.

    I did it for the Santa Barbara Independent, and it was a months-long process of testing, file conversion preparation, and training to make sure that our conversion week wouldn't implode when it happened. But once you've switched, you're done. As Quark should have known in the first place, it's almost impossible to get people to go back again without a super compelling reason. Maybe they implemented all those awesome things in a later version, but we would never know.

    That last line is really the clincher. Having lost its users who only begrudgingly endured it to begin with, Quark would never win them back with a few nice features because of the effort it takes to migrate publications.

    The other factors in InDesign’s rise: Price and bundling

    When I reviewed InDesign CS, I was also testing the waters to see if we would migrate our relatively simpler fashion magazine from QuarkXPress to InDesign. As if the feature set alone wasn’t enough to snag us, take a look at the prices back then:

    InDesign CS: $699.00 QuarkXPress 6: $945.00 QuarkXPress 6 Passport: $1795.00

    Adding insult to injury, InDesign CS shipped with all the language features of QuarkXPress Passport. And things got even worse for Quark when, in 2003, you could get InDesign as part of the newly introduced Creative Suite Bundle, which as a publisher or graphic designer, you would have probably bought anyway for Photoshop and Illustrator. You were basically getting InDesign for free—it was a Trojan horse in the bundle box, and I think it really sealed the deal for people on the fence about the switch. The fall of Quark could just as easily read “the very smart business dealings of Adobe.”

    A steady path to ruin

    In the face of all this innovation and competitive pricing from Adobe, Quark blindly continued to charge too much for upgrades, pretending like nothing had changed. The company offered more meager upgrades at too-high prices and still charged a ridiculous amount for a multi-language version. For our mag, there was no Canadian English version of QuarkXPress ever. When I reviewed InDesign CS1, it also didn’t have one, but this support was eventually added—Adobe fought to win over every user with early versions of InDesign, and it showed. It took Quark until version 7 to add Opentype, Unicode support, PDF-X, and transparency. To repeat that: it took until 2006 for XPress to finally do transparency—without overprints or tricks that meant trips to a PostScript laser printer to see.

    To be fair, QuarkXPress did have areas of strength. It had a lead on InDesign in terms of Web support and output. While InDesign stormed ahead with features that appealed to designers and art directors, Quark made a go at including Web features in XPress. The convergence of media was a no-brainer, and I knew of one art director who used Quark for both his magazine output and the Web version of his magazine.

    But it was a kind of nuts-and-bolts addition that seemed hard to love for people who loved print. The Web at that time was not the sexy CSS and live-type beast it is now. Instead, InDesign succeeded at getting people excited by the improved and creative print design that you could do, not the fact that you could spit it out for the lesser medium that you begrudgingly knew would eventually put you out of business. I’m sure there were many designers that were excited by the Web, and I had enough time to learn to code and do some interactive Flash stuff. But if you’ve ever lovingly designed a gate-fold double 10-inch LP or leafed through the exquisite, multi-plate and custom-paper pages of IDEA Magazine, it’s hard to get excited by the scratchy window of a jewel-cased CD. The Web was even less attractive in the early 2000s. So giving us features for the Web was a bit like handing an oil painter a box of Corel Painter. Telling them “this is the future” doesn’t make it suck any less compared to what you had before.

    Quark also clearly avoided features that treaded the same ground as InDesign, which the company probably thought would confirm its status as the more full-featured program. So Quark 8’s new tools focused on trying to tie press workflows to user workflows to eliminate the need for preflighting, but it was a complicated process that, if you tried to use on a regular basis, would have distracted you by false positives while you should just be doing layouts with decent tools.

    InDesign Creative Cloud: Echoes of Quark

    All this love for InDesign could be read as a ringing endorsement for the current versions of Adobe’s flagship layout program, but that’s definitely not the case. InDesign is not perfect, and Adobe’s abysmal Creative Cloud license policy has really shown the company's true colors when it comes to exploiting monopoly.

    With my main magazine contract, we tried to make the switch from InDesign CS5 to CS6 because we, like everyone else, wanted to avoid hooking up to the great wallet-milking machine that is the Creative Cloud rental model. Quickly, it became clear that this couldn’t happen. The application crashed a ton when linking Incopy text, a problem reported in CS5.5. But Adobe apparently couldn’t have been bothered to fix it, and I’m sure it’s probably getting plenty of attention now that Adobe holds the keys to InDesign Creative Cloud documents. Sound familiar? A leading company gets too comfortable and stops paying attention. The shoe is apparently on the other foot now. Like the XPress days of yore, our publication is using InDesign (CS5) to avoid a company's cash-grab. Adding insult to injury, today's InDesign still lacks an alien that can zap my text boxes with flair:

    Those last QuarkXPress holdouts don’t seem so shortsighted these days. Unless Adobe changes its path of user neglect and profit at all costs, some of us could be joining forces with the aliens yet again. Hopefully, QuarkXPress’ demise is one big lesson that all software publishers, no matter how dominant, have internalized: listen to your users and respect them.

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    ADOBE 9A0-150 Exam (Adobe(R) Photoshop CS5 ACE) Detailed Information


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