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My graphic/web designer left me with an Adobe Illustrator file of my website. She said it would be easy to extract the images out as PNGs so I can use them in my HTML. But I can't figure this out too easily. The images seem to be many vector drawings. I can separate them from the surrounding art and select all the pieces. But then how do I save that selection as a PNG file? Btw.: I am using Adobe Illustrator CS6.
I'm collecting late medieval and early renaissance artwork for a personal online project. In doing that, I've accumulated a number of early-internet black and white images which I know originally come from full-color paintings -- because I've seen some of those paintings in the past. Neither Google Images nor Tineye seem to be able to find color versions of b&w images, nor are text-based searches including the artist's name or work's name (in those few cases I know either) working. I'd really appreciate any suggestions as to how to use the b&w versions I have to find the color originals! An example? Here's one. I've seen this online in the form of a subtly-textured but wildly colorful painting dozens of times in the past, but can't use this sketch version to find that again. Same with the others. The sketch itself is attributed to Heinrich Aldegrever, and titled 'Bildnis eines Jungen Mannes':
What tools are available for (easily) managing drawings similar to the software architectures published by Amazon, such as this one. I'm looking for something like OmniGraffle or Visio, but suitable for Isometric.
I'm a developer trying to learn more and practice better graphic design. One of the tools I love to use is Shaun Chapman's http://0to255.com as it easily let's you pick good variations on a base color for use in highlights, borders, etc. I've always been interested in how the range of colors that is output is created. From the about page on 0to255.com: Simply pick the color that you want to start with and 0to255 gives you a range of colors from black to white using an interval optimized for web design. Can anybody give me a clue what this interval would be or some guidelines? I'd love to know just for personal growth how these are calculated so I can get some practice picking good color variations manually instead of relying on a tool that I don't quite understand the inner workings of.
Let's say I have a layer that is originally white, but there's an effect that makes it gray. When I use the eyedropper tool on it, the color that's picked up is gray. How do I make the color that is picked up white, which is the original color of the layer sans effects? Is this even possible? Thanks!
I am using two fonts, STSong and STHeiti. I want to know if these fonts support ligatures, such as f + i becoming one character, or at least having two characters nearby. I made a ConTeXt document, but some words, such as "off" and "fish" are appearing like "of f" and "f ish". It is possible that my code is in error though. I also tried viewing the fonts in OpenOffice.org, but this seems an unreliable way to check, because OpenOffice.org seems to use font-substitution whenever I type a Unicode character with a font that does not contain that character. Is there a way to determine if these fonts contain ligatures?
I am looking for some tool that would allow me to export the all the artboards from Illustrator to PDF (can also be any common image file) that would automatically create: labels with colors used (preferably RGB) labels with font sizes, pointed to a given label when the font has been used
I've a label (which is a bunch of text and image objects) that's been tiled across a sheet manually. Is it possible to edit one copy of the label and have the changes apply to the rest of the copies? I've seen it done in CS5 by double clicking until it reaches a text layer/object but CS4 doesn't seem to behave the same way with double clicks.
The Roboto spec book shows "Black Small Caps" but it's not included in the font package. Fallback is using Black in uppercase - not ideal.
This is my basic layer setup: Textlayer Shape Background I want to mask the shape-layer so the parts where the text in the shape is transparent. Rasterizing the shape and deleting the text-part is not an option. Setting the color of the text to red is also not an option, because the background can be a picture. I just can't figure out how to do this. All tutorials for masks have different goals than mine. How can I do this?
I have a square image that I am looking to turn into a landscape sized image by adding solid black borders to the left and right of the image (optionally with a fade to white type gradient). I know this is a really simple thing to do, but I don't know where to start. I don't have any image software on my PC, other than Picasa. I tried looking at PicMonkey online but it didn't seem to do what I wanted. Can someone give me some simple steps to accomplish this?
Any designer worth their salt will talk about the importance of the grid, and rightfully so. However, as I've continued to practice my trade, I've found that the baseline grid in particular doesn't always seem practical to me. For example, I work with a lot of marketing sheets that have bulleted lists. My first inclination is to space everything evenly and keep the baseline grid, as so: But a lot of times, we come to the conclusion that even though the bullets separate the items, the even spacing between lines and between list items makes it harder to separate the points visually. So we end up with something like this: Each list item is better distinguished, but now the baseline grid is gone and the whole thing feels a little messier. On a smaller level, here's another example: Keeping a proper baseline grid makes a two-lined title look like separate things, but changing the spacing to correct that harms the flow (if some people only had a one-lined title). It's possible that I could just still be inexperienced enough to not know how to have my cake and eat it too here. But I suspect that this could be a scenario where design rules have to be flexible to address different priorities. But I'll ask regardless: Which is more important - maintaining a baseline grid in a situation like this, or compromising the grid to achieve gains in readability?
In InDesign CS5 I could draw a text box, drag it on page, and see purple lines that helped me align. Where did they go in CS6? I don't see them as I drag text boxes. Ideas?
In Photoshop I have a layer A which is placed onto another layer B using a multiple blend. The result looks good. Now, I wish to hide layer B so that layer A can be saved out as a semi-transparent PNG and used on a web page which has B as a background. The alignment may not be perfect, so I don't wish to include the background in this PNG. The problem, of course, is that as soon as I hide B layer A returns to it's original colours since there's no longer anything to multiply with. What I need is a way of fixing the result of the blend - the colour shifts that A was subjected to - such that I can remove B. Does anyone have an idea? Thanks, Tim
Could somebody tell me if this text is written in Comic sans MS? It looks like that. It is a quote from a famous Québec premier (René Lévesque) which is engraved on a monument in Québec city, Canada. http://www.flickr.com/photos/capitalenationale/3797412919/
What software are designers using to create great presentation slides? E.g. Adding (configurable) drop shadows on text Creating custom slide backgrounds, e.g radial gradients Adding noise or patterns to fills Do people create their slides in Photoshop? Is it not a huge pain?
I can't quite figure this one out. I am not copying a custom piece of work, I am copying something that is available in nature, bones. I am also not tracing it, I am drawing by hand using them as a reference for accuracy. So, is that considered copyright infringement? Does it depend on how similar my drawings are to the ones I visually copied? So if I look at a medical website or book and see a knee bone, then I draw one on paper or in a graphics editing tool by looking, with my eyes, at the referenced image, is that going to get me in trouble somehow? I mean, surely I don't have to go find my own skeleton to draw from... right??
I'm new to graphics, and had to make a small poster for a competition. I created it in Inkscape, but found out they need a .ai file. I tried opening the SVG in Illustrator, and it just does not look the same. I don't know how I can fix this! Here's what it looks like in Inkscape: And in Illustrator: I know nothing about Illustrator, so I don't know if there is a simple fix for this. For reference, here is the file as well in SVG format. Thanks, I really appreciate your help!
I am using Photoshop CS5 and am encountering an odd issue: I have simply layer A sitting on top of layer B. When I select layer B, layer A becomes invisible. The visable/non-visable icon (the eye) on the layers tab is not toggled, nor are the positions of the layers switching (they arnt covering each other anyway). There are no filters set for either layer. Simply, when layer A is not selected, it goes invisible. This is reversible if I click on the area where layer A should be - it then returns. Tried restarting PS but it still occurs. Does anyone know if there is a setting to stop this? Thanks
I'm on Adobe Creative Cloud, so I have the latest InDesign, and I'm attempting to design a poster for my choir's next concert. Traditionally, I've done this in Photoshop, in two separate files, however I've recently started using InDesign after converting to it to create wedding albums through Blurb. I've created an A4 document, and created an alternate-layout for it in A5. I've then lined them up side-by-side, and I've added a black frame to the A4 page, to act as the black background for my page (by the way, feel free to advise on better ways to do this). My assumption is that I've failed to understand how this works, as I was hoping that I'd magically get a black frame on the A5 version, and that I could use liquid layout to get this to automatically scale (along with all other elements), in order to create the two versions simultaneously. All help/advice would be greatly appreciated!
It is to be used for background on a website. I like it exactly the way it is except that the image quality is not good enough. Looking for quality that will look good on a Retina screen. Must be able to license to use it (free or paid) for a commercial website. I did of course already search Flickr, Google and some stock image sites. Primarily searched for "wooden floor", "wooden texture" and "wooden background". Anyone knows where to find a high resolution one like it? Like one commenter mentioned, the image shown has been copied three times which is OK for the new image too - that way I can minimize the filesize the users browser has to download through the CSS background repeat-x method. UPDATE: Found what I needed - please see my own answer below.
How does one algorithmically calculate a set of N colors that are both contrasting and aesthetically pleasing? For example, we want to plot an unknown number of lines on a graph that still looks good. I'm not certain on how to quantify aesthetically pleasing, but not clashing with a given palette might be a starting point (e.g the graph borders and an associated logo are Colors A, B, and C).
The standard mac shortcut (Command+?) for opening the menu item search field doesn't work. As Beibei mentioned - This is about cueing the cursor to the "Search" box of the help menu, not invoking the Adobe help system.
Is there a way to force Photostop to never put anything on a sub-pixel or size anything to a sub pixel level? I'll move layers around or resize them and I'm always getting the positions at 234.2 or 340.5 and this is not a good thing when doing game art. I need stuff to be pixel perfect. I try snapping everything to a grid, but this doesn't help in all cases. It seems once something is at 340.5, snapping to the grid never gets rid of the fraction. I'm constantly forced to go in and hand edit all the value. I'm using CS3, but would happily upgrade to CS6 if this was fixed.
In Adobe Illustrator there is the feature of using 'Outline View'. It shows you the wireframes of your objects so you can see that they are properly aligned. When I use 'Pixel Preview' I can see what the result is going to be if I export it to bitmap. So when a line of 1 px of width is not positioned at an exact pixel, there will be a blurry line. I use the checkbox 'Align to pixel grid' in the Transform panel to repair this. But, here comes my surprise, when I change to 'Outline View' my lines are not properly aligned anymore. How can I use this function without messing up the outline view in Adobe Illustrator??
I'm in the process of designing a program invite and thought I could experiment something similar to the London Olympics ticket. I am more interested in knowing how I can go about designing the blue shapes (polygons and triangles) part. Is it just different blue shapes with gradients stacked against each other? Are there any other effects to be added to get similar desired results? (larger version linked)
How do I change a google map into something similar to the map in the 1st poster? How do I change it to blue and also include shadows? Please help! Regards, sammydude
Could some experienced graphic designer suggest what tools to use- what software, to do this- make a picture of some money bills, which are curved and floating around randomly, with some background texture- golden coins maybe. Can you do this with Adobe Photoshop Elements (the cheaper version of Adobe Photoshop)?
I'm a designer, not a marketer, and not a writer (at least not professionally). A lot of the work I do involves working with material in a field that can be above my head. Because of that, I'm content to take the text that's given to me and do what I can to make it look great on the page – tighten the kerning to get an orphan on the previous line, adjust size and leading to get it all on the page, play with gutter widths, and so on. But sometimes, it's tough to avoid the rivers or repetitive words or even orphans sometimes without altering the copy itself. When it's my work I have no trouble doing this, but when it's someone else's work (particularly when they know more than I do and might care less about such issues as I do), it's harder to make a case to change wording simply because it doesn't look ideal when on the page. Is it a designer's place to try to alter wording on the mere basis that it doesn't look quite right on the page? With apologies to David Carson fans, I believe that form follows function, not the other way around, so the answer would seem to be no. But tweaking just a few things can often make a big difference! As sort of a side question, would altering text thus be a last resort? I do not like to hyphenate anything, but would it be better to do so than alter copy?
There is a quote that "bad design never killed anyone," but I know that what we do is less trivial than that. What designs have you seen cause real change or have a real influence? Specific context behind the question: Lord willing, I'll be giving a presentation to my wife's school for Career Day this week. I want to talk about what design is (which could be another question here, I might post later), but since I learn by example, I want to give some examples about how design makes a difference. To answer the "what have you tried" question: One of my favorite examples is the butterfly ballot from the USA's 2000 election...a poor ballot design probably shifted the course of my country for at least four years. but that's probably a little too partisan. Partisan concerns also knock out the comparison of health care charts - a great conversation piece about how design can be used to streamline or obfuscate data. I love propaganda design and respect its unique place in history, but kids might not connect with that. I could talk about the iPod and iPhone, but some of that drifts into industrial design and I think that's a bit tired of an example anyways. I'm thinking about comparing two pieces of paper, one that has a bad font, tight leading and kerning, and is right-aligned, and one that is set a little more properly, and asking them to compare. But that's just a boring sheet of paper.
I’m trying to take a friend’s pencil-and-paper design and recreate it in Illustrator for use in a poster we are creating together. She’s proficient (away from the computer) and it’s my job to get her ideas into the computer. But sadly I’m a novice at Illustrator (and Photoshop), though I’ve been using Fireworks intermittently for years. I’m using CS5 (Illustrator 15.0.2, Photoshop 12.0.4) on Windows 8 Enterprise RTM, and a Wacom intuos 4. Here’s a fragment of the scan of the artwork I am trying to recreate (note that the hard edge is an artefact of my cropping the scan, not the artwork itself). And here are a few of my attempts to recreate it using the brushes in Illustrator. As you can see the results look nothing like the original :-( That leaves me with three questions, though the first is the one I most need help with. Question 1 Can anyone explain the steps I’d need to take to recreate in Illustrator the pencil hatching from the original paper based artwork, or point me to a comprehensive tutorial covering the required techniques? This seems to be straightforward in other answers (e.g. Scott's answer here) but is not working for me. Question 2 Perhaps I should instead abandon trying to recreate the pencil stroke hatching with an Illustrator brush and use Live Trace? I’ve not done that partly because I want to understand how to do it as a brush, and partly as I would not then have as much flexibility in creating different foreground text and background hatching combinations. Should I swap to Live Trace? Question 3 Should I give up on vectors and try recreating the artwork in Photoshop? (E.g. as Ryan suggests here.) (N.B. I've also posted this question to the Adobe Forums here. I hope such cross-posting is OK.)
I love the new open source font by Adobe, Source Sans Pro. But I am not sure what will happen if I use the font in a website, and the font isn't installed on the visitor's machine?
I have just learned (thanks to tutorial at http://buttner-jenkins.blogspot.com/2010/04/gimp-tut-text-along-path.html) how to create a text along path. When I followed these instructions, though, using Nimbus Roman No9 Latin, to render my text in an arc, the text ended up with jaggies at all of the edges. I'm wondering if there's some kind of automated way to smooth away these jaggies. Thanks.
http://doityourself.edublogs.org/files/2008/10/club-med-illusion-ad.jpg I'm trying to achieve the same effect, but I can't even get close to what I need. What I basically need is to merge face/body in to the object in a way that it won't stand out, yet would be recognisable. If someone could explain, give a tip or just link me something, that would be much appreciated. Thanks in advance. Andrew.
I have 4 layers (A, B, C, D) which I wish to blend by the following formula (A xor B) plus (C xor D). Is it possible to accomplish this in Photoshop? I am a newbie and found that layer can only control it's blending with all underlying ones.
We have a professionally designed floor plan in PDF form for an event we are running currently. It is similar to a CAD drawing. We have booths (rectangular squares) drawn on it. I have a colleague who is in the process of building a phone app and possibly a web app both of which we would like to contain an interactive floor plan which will ultimately be an image with a big image map drawn over it in HTML. To achieve this he needs the x/y coordinates of each booth or x1/y1 and x2/y2. I am a web dev by trade so please bear with me! Is there a way to extract this data programmatically using Illustrator/Photoshop? I know you can write scripts to run in both but I would have no idea where to start. He could do this manually but the floor plans change frequently hence we would need a quick/automatic way of doing this.
Is there a type of fold for one-sheet flyers where the last thing a reader reaches while working through it in a natural way is a full-page spread, and where sections of that full page spread are not seen before it is reached? Trying to think about how that could work is giving me a headache... and I'm starting to run out of paper to test-fold :) The closest I've found so far is (from the book Forms Folds and Sizes) the '6 page barrel fold'. It gives everything except the very back panel before reaching the centrefold, which is close enough, but 1/3 of the centrefold becomes visible in isolation after the first opening. The problem is that one of the brown centrefold panels is shown on its own at step 2 separated from the others - I'm hoping for a fold where the whole centrefold is introduced as one unit, as late as possible in the reader's progression through the folds. Is this possible? Taking a classic 'Closed gate' fold (which introduces the centrefold too early)... ...and turning it around would theoretically solve the problem... ...but unfortunately, in some very unscientific testing on colleagues, I find that while about 50-60% read through like that, about 20-25% read it like this... ...and about 20-25% read it like this: ...which would result in content being read out of sequence and the natural flow being broken. How they read these seemed to hinge on how much the leaflet happened to fall open while they turned it over in their hands. Edit-- The reason why reading order is key is that the content is a series of information panels, which together build up a complete picture, and go progressively deeper into a topic. So, if they are read out of sequence, it might not be obviously wrong to a reader as panels cover separate topics, but it would make less sense because the reader will be trying to understand a detailed topic before they've understood more basic foundational info. If that's hard to visualise, imagine something like the structure used in The Oatmeal, where a series of points are made that are factually independent, but together progressively flesh out an overall picture. Now imagine you were producing a leaflet version - you don't want to distract from the flow of the content, and you want to be sure it's read in the right order else the message can be weakened or muddied. And the reason the centrefold needs to be last or nearly last is, that's how the content is - the final point is a difficult multi-faceted point that needs the extra space and needs the prior background to have been already read.
I am working on redesigning my website and iterating through fivesecondtests. The overall feedback is improving but no matter what I change, several people have mentionned that my designs look "dated". "Not modern". "Use modern fonts". What are "modern fonts"? Technically, Calibri, Cambria, etc. are "modern fonts", but I hardly ever see those online. What fonts are considered "modern" in the context of web design? What are the characteristics of a "modern design"? Conversely what are the tell tale signs of a "dated" design? For reference, here is the latest iteration of my design. Does it still look "dated"? If so, what elements give that impression? I think I am starting to get a better idea of what "modern web design" is: No or light gradients Sans serif typefaces Light drop shadows Good page hierarchy / directing visitor's attention Is there anything else that makes a design look "modern"? I have implemented the most of the recommendations in the answers, and I feel it has improved the design a lot. (Never mind the logo - will figure that one out later) Am I still stuck in the past? Or am I finally getting somewhere? Implementing all recommendations, this is what I get: It's obviously much better, but is it up to modern standards yet? If not, can it get there without changing massively the layout? The learning process never ends, does it? Assume that the central menu has a lava effect and that hopefully I can get a decent photo of myself shot to replace that one. Looking at the various versions, I can see the design improving by leaps and bounds. Not sure how much further it needs to improve to reach professional standards, but it's certainly moving in the right direction. Thanks a lot to all of you. I am impressed by the quality of the advice and how specific and actionable most recommendations have been so far.
In PowerPoint, Visio, and many other programs, there's a "rectangle selection" mode which allows selecting a group of objects by drawing a rectangle with the mouse. All objects which are fully contained within that rectangle are included in the selection. Objects which are not fully contained within the rectangle are not selected. Does Photoshop CS6 have a similar feature for selecting a group of vector shapes spread across multiple shape layers? I know how to use the Direct Selection tool to select a single vector shape, but not how to select multiple shapes based on their position on the page. I tried Googling on "cs6 multi-select shapes" and many other similar queries and got nothing useful, but I'm sure there's an easy solution that I've overlooked.
Here are a few screenshots of a web-based crisis mapping software, basically built for both governors and people. The design is somehow combined by ideas from different people, so we are interested to know your ideas, pros and cons of the design choices made there. What are the pros and cons of the chosen Color Scheme and the Layout? Please consider that at the design goals, it should looks clear and nice yet informative for decision makers, also still nice and easy to explore for a regular person.
Having finally signed up to creative cloud, which seems incredibly good value, I started to wander how the artwork Adobe use to promote their products is actually made... Its quite 3D, and looks very slick (see http://webcache.googleusercontent.com/search?q=cache:4TQFdMFdN40J:www.adobe.com/uk/products/creativesuite.html+&cd=1&hl=en&ct=clnk) I am specifically referring to the 3D "Rods" that seem to be bursting out from a point. Would I be correct in thinking that (ironically) these are not made in any of the creative suite applications? I know PS and AI have basic 3D capability, but these look to be beyond those capabilities to me....
I was recently working on a website design and I naturally based my work on the content supplied by my customer. I knew from the beginning that the site will be accessible in different languages but didn't think it would be a big issue. Finally, it appears that while the majority of the site looks OK in other languages (like longer paragraphs of text, or menu items), some parts are not displaying well at all. This is due to the different length of words/phrases between the different translations. I would like to know how you generally handle such cases. Is using different font sizes a viable option? What can be done early in the project to avoid such problems?
When i use the straighten of PS, i cant find a way to just get it to straighten one layer at a time, itseems to straighten the entire canvas, is there a way i can get it to work on just one layer ? just to clarify by the straighten tool i mean draw a line with the ruler and then click straighten in the toolbar allong the top. Im using cs5 but its a pretty common feature so im sure its similar in most versions.
I'm about to branch off into the freelance world. I'm starting an LLC and I'd like some input on what I should title myself as the owner. For example "creative specialist" or "creative technician" or something like that. My services would be: Website design / development Graphic design: icon design, templates, web graphics, business cards / brochures / letterheads / etc. Writing: content writing/copywriting, technical writing, editing / proofreading / copyediting Photography, photo editing Does anybody have any ideas on some general terms that would apply to this type of business?
I am going crazy trying to figure out this very simple thing. I want a drawing tool (like pen or pencil or paintbrush) that can just paint pixels directly as pixels. Thus if the size of the tip is 1px, and I click once, I get a 1px square. If I click and drag 5px, I get a 1px x 5px line. No smearing, no vectors, no curve fitting or stylizing or texturizing or anything like that. How do I do it?
How can the above shape be created in Photoshop? It is the shape of an anvil, a logo commonly used by universities.
Does anyone know a good vector drawing application? I tried Inkscape, but it is not a real vector design app. Technically it's an SVG editor, and as such doesn't support anything that SVG doesn't support. I'm missing these features in Inkscape/SVG (and I don't care about SVG anyway, I just want to draw on screen/paper, not web): Support for multiple pages, so I can design and print booklets / practice sheets / etc. Center a text in any shape/group that doesn't stray or stretch when the shape size is changed. Word-wrap is required. (Read carefully -- this is impossible to do with Text-flow!) Can easily create arrows with any size arrowhead and any color. Have 'anchors' on shapes so other shapes (typically lines) move when the shape in question is moved/scaled. (known Inkscape bug/shortcoming with very awkward workaround) Text-in-shape Example: Anchors Example:
Whenever I add a color overlay layer style to an object in photoshop, it goes over top of any gradient overlay I have. Is there any way to change this order?
this seems to be a CS6 bug to me - i couldn't find any solution yet: when resizing an image, i'm getting a half-transparent 1px border around it. very annoying :( i already tried flattening before resizing - still the same problem. any idea how to avoid this? thanks
How can i reverse Gif image with out affecting animation of the image and save it. I used Flip Tool and reversed image then after save it. Then i lost the animation effect of the image.
When I File > Export using Artboards from Illustrator the (OSX)file dialogue is always pointing at the directory where the Illustrator document is located. If I need to export to a different directory I have to navigate through the filesystem to find it. The next time I export Illustrator has forgotten this directory and I have to do this all over again. When I am exporting, previewing a webpage that uses the artwork, tweaking and re-exporting repeatedly this is a massive speed bump. I'm sure the answer is painfully simple but what is it?
I have to slice website design to HTML/CSS. Main navigation menu looks like below: I am beginner webdeveloper and I don't know how to slice this design into compatible and cross-browser code. How these parallelogram shaped items should be sliced? There are also hover and selected states so I would probably use CSS sprites for that, but main problem for me are these parallelograms Any help and advice is much appreciated. Thanks in advance.
I have written a word using a fat font like Impact, and I have an image of roses. Instead of adding a color to this word, I want to "color" it in Inkscape using my roses image.
Illustrator has the 'Transform Each' dialog, but it only allows you to scale multiple objects by specifying a percentage. Is there any way to specify the size in pixels? More specifically, imagine I have 10 rectangles on my canvas, and I want them all to be of a specific height. The bar order and position on the canvas matters, so I can't do the 'vertical align to top and then resize group height' trick - they need to be resized in place.
The following link: http://www.microsoft.com/en-us/server-cloud/windows-server/buy.aspx and possibly all other links in MS site does not render text smoothly in Chrome and Firefox. Why so? IE7: Firefox 16.0.1: Chrome 22.0.1229.94 m:
In Adobe Photoshop I am able to select multiple layers at once with Shift+Click. How can I do that in GIMP?
I'm trying to supply the printer with a 2-page saddle up print job - which I'm assuming is a 2 page spread stapled in the middle and folded. The document is a 22 page booklet, The 1st page is the cover and the 22nd page is the back of the booklet. My problem is there is blank pages on page 1 and 4 - I do not understand why this is happening?
I'm stuck with this little thing, which should be extremely easy but I simply cannot achieve it the way I want it. Working with Photoshop CS5, I have a PSD with several layers, most of them being text layers with pattern style applied on them. One of this text layer needs a black pattern but currently uses a white one and as I'm kinda lazy, I thought I could just use the "negative" adjustment on Photoshop instead of spending some time making the proper pattern. So I went this way : I duplicated the layer. I made a new adjustment layer and chose "negative". I ticked "Clipping mask" so that the "negative" isn't applied to all my layers. And... it doesn't work at all. Like nothing changes. I tried switching the mask color (alt-click on the clipped mask) but nothing either. What am I missing here ?
I have some color swatches from a local car dealer that are about 8.5" by 11" and the paint samples are metallics. Is there a way to scan these metallic color paint samples sheets, then use a large sample brush to get the metallic "texture" and be able to add it to my color swatches? That way if I want to do a metallic blue, red, silver, green, or whatever label background fill... I can use the bucket fill or maybe save it as a brush or texture? Using CS4 Photoshop.
I thought I read somewhere that there was a way to adjust the brush opacity interactively in CS6 (13) in the same way you adjust brush size and hardness (ie: Alt+Right-click and drag). In fact, the CS6 UI seems to support this, because it now shows a readout for Size, Hardness AND Opacity. Of course, you can adjust brush opacity with the slider, and by typing the number directly on the keyboard, and in Prefs you can disable Hardness vertical HUD movement which then replaces it with Opacity. But I want all three axes. Anyone know the trick? workaround? prayer?
Every once in awhile I make forms (applications and whatnot) in InDesign, and, as it often is with ID, there is more than one way to get it done. I have a few techniques that I use, but I often float from one to another without being sure which is the best. And, as I often find on sites like these, I don't have all of the answers! I'm sure people here do form design; what do you find to be the best way? I'm thinking about ease of doing in the first place, ease of aligning lines to each other and to margins, ease of editing later, ease of Acrobat making it fillable, and perhaps semantic considerations? Some of my techniques are: Drawing a straight line, drawing a line then pasting it inline into the text frame, underscores, underlines (with tabs, non-breaking spaces, alignment tricks), table cells.
In working on a redesigned website for my university program I feel like I've got a pretty solid foundation. The purpose of the website is to be both informational but, also, to be "fun" and "inviting." So, we have used some Google Web Fonts for typography and we've done some work with headings, line hight, and line length. Now, we would like to add some visual elements to make the pages more attractive but that don't detract from the content. What are some effective methods for adding visual interest? One suggestion was a "water mark" type image but I have issues with that because it could cause problems with older browsers.
I am sorry about asking such a newbie question but I am wondering if Adobe Indesign has any easy method of making the box that is on the top of the page that I posted below (With the numbers on top and bottom and text inside of it). I have to make a page similar to this.
I just installed Creative Suite 6 on my computer. I was working on some artwork for a client in Illustrator and having a hard time getting the right colors. I noticed they were all very dull. So I did some testing, and sure enough, Illustrator is not displaying my colors correctly. The screenshot below shows the color that I picked (bright neon green) and the square to the right is how it is displaying. I tried the same thing in Photoshop and it works just fine. What's going on here? I never experienced anything like this in CS3. Is there some sort of setup that I need to do with my colors? Thanks. Screenshot:
I have a rather long list of global brands (about 2000) for which I would like to download a brand logo. I was wondering if there is a way to automate this process, since I know that this list will get longer in the future. I am thinking about something along the lines of a Web service that I could call to get the logo of a given brand, or at least a large archive of logos that I can download. So far the only solution I have found involves manually searching for each brand on one of the sites hosting brand logos: brandsoftheworld.com, logotypes101.com, gmkfreelogos.com. But none of them provide any form of "bulk download" option.
I am trying to replicate the gold bevel effect used on Jay-Z's "Watch the Throne" album (see pic) in Photoshop. Any ideas?
When one try to make/publish a photo album the most common layout is the one with one photo per page. What other layouts are proven to be successful, especially considering that we intent to print on some pages small photo reports of 3-6 photos linked between them. PS: "photo report" = several photos linked together which try to tell a short story
Got two images, one of an old sheet of paper with jagged edges. The other is a photo of beach. How can I merge them together, so that the beach image will take the shape of the other picture, i.e. with jagged edges? I got indesign cs5.5, illustrator cs5. The photoshop I got is old 2003 version. Can I use any of these?
Does anyone know of a Photoshop action, or set of actions to produce a defuse, bump, normal and reflection map for use in 3d rendering software? It seems like quite a simple thing and I have searched google but couldn't seem to find one. I'd be realy surprised if one didn't exist.
The text "We are Mozilla" on this page: http://www.mozilla.org/en-US/ seems to have something of a "white" drop shadow effect that makes it seem embedded onto the page, somewhat. How can we recreate that effect in GIMP/inkscape preferably? Even photoshop/illustrator technique would do.
I'm confused on how to use the header tags properly so, I need help for this. Since, it is a very important part of web development.
How do you exactly create a very responsive web design? Do you create application for your website to be responsive when using mobile and/or tablets?
How can I take a screenshot of a web page on a MacBook Pro with Retina Display (rMBP) that: Is at a reproducible size Looks sharp on Retina displays Without any browser chrome / accouterments showing Without having to do any manual cropping or other post-production In the past I've used Awesome Screenshot, but that browser extension has unfortunately fallen out of date. On my rMBP, it completely fouls up under Safari and captures low res shots in Google Chrome. (As of now Awesome Screenshot is at v. 1.3.7 for Safari and 3.3.7 for Chrome.) I ask because I have to take several shots, and update them periodically, so I need a straightforward workflow.
We have have facing pages with a border ether side, however our printer wants it in single pages. When we change it to single pages for pdf printing, we lose our alternating borders. (Border on the left for the left hand page, and right for the right hand). Am I doing this wrong? any help would be much appriciated
Is there an utility for converting all black-white and grayscale images from certain folder to the same images with adjusted alpha channel? For example, for pixel (r:50, g:50, b:50, a:0) I would like to get (r:50, g:50, b:50, a:50) and (r:50, g:50, b:50, a:205) (inverse). Of course, this conversion is suitable only for image formats with alpha channel support (not JPG). Or how can I do it with photoshop? Background: I am a programmer and I am finding a way to do it without coding if it's possible.
Is it possible to pick only black-white and grayscale images for photoshop (or another graphical program) batch-processing, even if they are have colored mode (24 or 32 bit). Thus, all pixels bypass is required. I need in it for conversion of every image to same image with adjust alpha channel. See my another question for detail.
How could I add gradients along an object/path (not following the path, but using it as a base, like inner glow) ? Sample:
I'm very new at graphic design, so my apologies if this is a very basic question :) I have access to Adobe Photoshop CS 5.1. I have a series of grids that are currently flat on the 2d cartesian plane, and I actually have 2 layers (not in the photoshop sense, 2 actual layers) of grids to display. So, to display them, I want to "tilt" them in all 3 dimensions, so that I can illustrate relationships between them. Hopefully this makes sense. My question is very simple: how! I am having a tough time figuring out how to do this while keeping it clean. Thanks in advance!
I need to create a two-color poster for my choir's Christmas concert. I'm choosing the colors red and gold, and will liaise with the printer when it comes to printing about what specifically they will be to work best. While I'm fine with a nice big, red background, and with adding gold text, I'm really struggling with how to add vectors with transparent background and faded foreground. I have a nice EPS stock image I bought a while ago with some musical notes on, but it's on a cream background with dark-brown staff-lines and musical notes. I've managed to fiddle with it in various ways in Photoshop (which I know pretty well) and Illustrator (which I don't know at all), but I cannot work out how to do it. What I'd love to do is just place a file in my InDesign document, and then change the stroke/fill color and the transparency. All advice would be greatly appreciated! I have the full Creative Cloud, so can work with most Adobe apps, if required.
I've created a rectangle, and I want to cut some text out of it, so that the text will appear as the background pattern. I expected to be able to achieve this by selecting the rectangle and the text, using Pathfinder > Minus Front - however this hasn't worked. I've tried searching for the solution everywhere and can't find an answer. Can anyone tell me where I'm going wrong? How do I cut out / minus / subtract text from a shape / object in Adobe Illustrator?
I have a set of images of up to 20mb each, and I want to reduce the file size without losing quality. How can I do it?
I like to make a moving blur on a picture using GIMP (on Ubuntu). What kind of effects should I use? I already use blur but it doesn't give the moving blur. Note: I'm beginner in graphic design
I have a question similar to “Writing text with character variations”: I would like to create a casual hand-written-style font, that reproduces the natural variety between occurrences of the same glyph that one find in handwritten text. Contextual alternatives are good, but from what I understand they are mostly appropriate for letters linking together than for a script where all letters are separated by whitespace. One of the answers to the above-linked question says (emphasis is mine): While you'd normally have only a few letters with a contextual alternate, it's theoretically possible to have several forms per letter. But I don't believe you can really randomise their appearance, only cycle through them (so, if you had three forms of 'a', they'd be used in sequence and start repeating in 'the black cat sat on the mat') Well, it doesn’t seem to be true, because I found some mentions of an OpenType feature called randomize, which can apparently do that. For example, on this TeX package webpage: Knuth’s original fonts generated different shapes at random. This isn't actually possible in an OpenType font; rather, the font contains several variants of each glyph, and uses the OpenType randomize function to select a variant for each invocation. So: is there a mechanism for random selection of glyph variants in OpenType, and how does it work? A link to adequate online documentation or quote from the spec would be invaluable. Also: do you think this goal makes sense, i.e. it would improve the quality of the typeset text much to include multiple randomly-select glyph variants?
What I need: A 3000px by 1340px PNG that vertically graduates from 100% opacity black to 0% opacity black. My problem: Banding occurs. Example: What I've tried: Virtually every solution to be found online. I've tried adding noise, blurs, installing actions that are supposed to work but don't, changing the the color and dither settings, converting from 16 bit to 8 bit and NONE of these solutions work for me. Note: I'm already aware of this question: Is it really impossible to have gradient without banding? My question: Would anyone be kind enough to confirm that they can actually create what I've described and tell me how to achieve it? Even a link to a non-Photoshop solution will work e.g. an online gradient generator, Illustrator, Fireworks.
Many standard computer fonts don’t have text (aka “old-style”, "hanging") figures, like these: Also, basic software like Microsoft Office don’t use them by default, even when selecting a font that actually includes them. So, my own practice is: I tend to use them in running text, if only because it gives somewhat of a more “distinguished” look I don’t use them in tables or large batches of numbers (like, scientific numbers with units) But I wonder: what is the typical advice regarding text vs. lining figures?
I've created an icon in Illustrator for an iPhone app. When the icon is in the size for the iPhone, parts of the graphic fuzzy. How can I improve the details on the icon? My icon is a clock, and it looks fine except for the hands.
What does it mean and how do I get a darker shade of a given color. For example if I have the color R = 53, G = 140, B = 205 or H = 204, S = 74, B = 80, or #358CCD What value do I change in Adobe Illustrator CS5 or Above Photoshop so that I get a more darker/solid/bold look of the same color?
What is a service where I can perform side by side comparison of all fonts? Not just fonts on my computer, as most services seem to offer.
In the project I am working on, I need to draw a line across the image and split all paths below that in Inkscape. I know Illustrator has Object > Path > Divide Objects Below. Does Inkscape have a version of this command?
An institution I know has chosen the following colors for its theme: It is used as a banner at bottom of web pages, and the first green is used as the main “institutional” color. I wonder: does that color palette belong to some well-know “category”, or is there any evident principle that lead to its choice? I know there are recommended ways to pick three or four colors (opposing or related hues; triads and tetrads; that sort of stuff), but this doesn't seem to be the case here. How do you pick six colors? Is there any other systematic ways to do so?
I’m trying to come up with a logo for a small venture of mine, and I was wondering: at what sizes are logos typically displayed? I mean, I know in theory branding artwork should be redesigned for every display size: this is exemplified, in an extreme case, by the design of favicons. However, there is a strong incentive to use the exact same logo at various sizes, if only to reinforce the power of the brand. So, given the uses of a logo I can think of the top of my head (website, business cards, letterhead), what sizes does a logo need to be displayed at? In other words, can I cover them all (except for the favicon case above) with a single logo, or would you need (in general) many logotypes for various resolutions.
Imagine a logo that uses only a few characters from a font… or more exactly, the vector outlines of a few characters (between 2 and 4) from a font. What are the licensing requirements for commercial use of such a work? This differs from the more general case in that I'm not really using it for typesetting text, but rather the outlines of a few characters. But, legally speaking, is that in any way different?
I am specially preparing some PDFs for use on E-ink devices. I have noticed that the appearance of the text on these screens is not exactly the same as the appearance on a book, or the appearance on a computer screen. Are there any strategies for selecting fonts which will appear good and improve readability on these devices? If I must select a font from a specific collection, what features should I look for in that font that indicates that it will be most suitable for use on E-ink? Are there any special fonts specifically designed for use on such displays? Is there any research showing that any particular font provides the best or improved readability on E-ink?
So I have this PSD with several transparent layers. As I need to hand out the file for a professional printing, I export it through Photoshop (CS5) using the usual PDF/X-4:2008 PDF 1.4 profile to retain the transparency. But the written PDF doesn't have any transparency : when I open it under Adobe Reader (with the transparency rendering option set to on), it has a white background when I open it under Photoshop, it also has that white background which means the transparency is not kept So I guess there's something wrong with the layers as the profile used is the correct one, but I don't know what. Any hint ?
I'm experiencing a very weird problem in Illustrator with a Pantone color. I have a document open with a logo in it that is Pantone 280 C, blue. I copy the logo into a new Illustrator document and it looks purple. But they're both Pantone 280 C. I ran a bunch of tests, and here's what I know: Both colors are Pantone 280 C. But the CMYK builds are different. Very odd. If I draw a shape in each of the documents and fill it with Pantone 280 C, one is blue and the other is purple. The Pantone swatches themselves look different. Both documents are in CMYK. Why are the colors different?
What font size and family is recommended for a web site's content to make it more readable for the readers or visitors?
It took me a lot of time to create a graphic in GIMP, and now I need to make some variations of the same graphic that actually only require the change of the FG color twice in the process. The GIMP "raw" files are created as XCF. If I look inside (using Emacs), while it's a binary file, I can distinctly see a text command, like (fgcolor (color-rgba 0.000000 0.000000 0.000000 1.000000)) It would appear to me that GIMP stores - in its own binary format - a list of commands that it "replays" when the XCF is opened(?). Maybe not - anyway my point is to have an editable list of "commands" (or similar) that could be text-editable, this way I would just change the two FG lines and a copy of the file to get the variations. I need to repeat that process 10+ times, and such a text approach - Perl scriptable for instance - would save a lot of time. Is it possible? Are there other ways to do this that do not require to open the XCF and repeat the whole long process while changing only the FG?
I've made a webpage with an image next to text, set as the same color I thought I had used for the image. However when I looked at the webpage on Safari (on Mac) I noticed that the actual color of the text and image were different (this was not the case in Chrome or Firefox). I have since read about how you should save web images using the sRGB color scheme. However I need the text color (set to a HEX value by CSS) to be exactly the same as the actual image color displayed. However when choosing the color for the image I seem only to see the full range - i.e. not just the sRGB colors that are actually available to me. It then converts the color to the equivalent/available sRGB color. Is there anyway in Photoshop (or Pixelmator) to only use sRGB safe colors in the color palette?
I'm looking for an experienced mobile UI designer to lead the vision and design for our iphone and android applications. What characteristics, experience or requirements would a mid-to-senior level mobile app UI designer have to have?
In my InDesign document, figure captions are bold when they appear in the body of the document, and non-bold when they appear in the list of figures. But when I need to italicize text in a figure caption, this results in bold text in the list of figures. How can I have bold italic text in the figure caption and non-bold italic text in the list of figures? Here's my setup: InDesign CS5 The paragraph style for figure captions sets the font style to bold The list of figures is an automatically-generated table of contents. The paragraph style for TOC entries has a font style of regular. Styles I'm using Paragraph styles Figure Caption: Font family: Helvetica. Font style: Bold. List of Figures: Font family: Helvetica. Font style: Regular. Character styles Oblique: Font style: Oblique. Bold + Oblique: Font style: Bold Oblique. Except where I state otherwise, text uses a character style of [None]. Desired result This is what I want to have: Caption: Figure 7. Excerpt from Routes I Know List of figures: Figure 7. Excerpt from Routes I Know..................31 First Try I used the Oblique character style to italicize the text in the caption. So the Figure Caption paragraph style makes the text bold, and the Oblique character style makes (part of) the text italic. The resulting text is italic, but not bold. Caption: Figure 7. Excerpt from Routes I Know List of figures: Figure 7. Excerpt from Routes I Know..................31 Second try I used the Bold + Oblique character style on the text in the caption. Both the bold and italic apply to the list of figures. Caption: Figure 7. Excerpt from Routes I Know List of figures: Figure 7. Excerpt from Routes I Know..................31 EDIT: Added more info about the paragraph styles I'm using

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