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Is there a way to draw as sharp as possible (pixel-perfect) diagonal lines Photoshop? I want to create an "X" close button but I can't get it to look good in smaller pixel dimensions such as (16x16).
In Illustrator, I have a file that I have placed however I've modified the dimensions of the file and using the 'links' panel I've set the size to the file dimensions. However the bounding box of the object, is still the old outdated dimensions. How can I reset the bounding box to the actual size of the object?
I have a diagram with many colour-coded lines and a key to which colour means what: red line = electricity cable; blue line = gas pipe etc. This is inaccessible for colour-blind people. I would like to stroke the lines with different patterns of shapes. There are lots of options for this in Illustrator, see this page, but they are limited to dashes with either square or rounded ends. I have a lot of lines and there isn't going to be enough variation. I'd like to be able to stroke with say, triangles, diamonds, pentagons etc. Excel can do this with lines on graphs. Is there a way to do this in Illustrator? (CS5)
When I create rounded rectangles in Photoshop, I can mask images over those rounded rectangles to give them rounded corners. When I'm making websites however, I'm not sure how to give images rounded corners. I don't know how to use vector masks on website, do you think it's the right solution? Please, if anyone can provide me with a tutorial or anything I will be very thankful. Online example:
I applied a simple photoshop filter to a drawing I made a while ago. Now I need to apply the same filter to a different drawing, but I can't remember which filter it was. I've tried every filter, and neither comes even close to what I did. If you know which filter is this, please let me know.
I don't have any real experience with 3D software (except for 1995's Raydream Designer). I realize there are plenty of fine options out there, but I am looking for something tremendously simple: For starters, I want only to take a vector image (any vector format is ok) of some text and simply "render" the text viewed at an angle with perspective, then save as a vector image so that I can easily import it into any graphic design software. I don't need effects, particles, motion, etc. I just want to render things at an angle. Is there a software that fits the bill?
I have an icon with the dimensions 24px × 23px. The canvas is 24px × 24px: There is 1 transparent pixel at the top of the icon. After I use the rectangular marquee tool to copy and paste the icon to another psd document I get the icon as 24px × 23px. But i need it to be 24px × 24px. How do I copy the dimensions with the transparent pixel to a new document?
I have created a Photoshop action which: Duplicates the current image. Merges all visible layers. Removes hidden layers. Rearranges parts of image. Adds the layer to a group. Displays user interface to "Duplicate Layer Group" back to the original image. (Using action "Insert Menu Item...") Closes the image without saving. This is working but I would like to automatically duplicate the layer group back to the original image without having to select it from a drop-down box. See Video: http://youtu.be/VFRj33zHIlY Is there a way to do this? perhaps by adding a script or something?
I am working on a page someone else created as a master page, and want to add a text box to the page. I created the box and placed my text in it, but the text is not visible. If I drag the text box off the page and then drag it back on, the text is visible for less than a second then disappears again. Any thoughts?
I came across this fascinating youtube video. It zooms and pans around various landscape scenes, with flying text coming in and out of focus. Does anyone know what software they used for this? I'm naive in this area, so any suggestions or ideas will be deeply appreciated.
What is the difference between the two layer thumbnail types pictured: Vs. How do I bring about the second, if the first is currently appearing whenever I create a new Shape Layer, for example? Thank you in advance.
I am trying to make a cursor with transparency using Photoshop CS5. When I make a .cur file from an image, I can see extra white space with the icon Something like this: I don't want the outer white space. I just want the guitar to be the cursor, but here the cursor is the full image. Out of curiosity, I just dragged an default computers .cur file, and in PS it looks like this: What grid is this? How can I enable this? Is this grid important to make .cur files?
I have no idea what they call this so I'm not having much success with searching. But lets start with an example at this site: Any idea how to make the choppy sea like wave they're using? I had limited success in Maya but I could work on it more, however I was wondering if there was a quicker alternative? After effects maybe. I had a play with trapcode but didn't have the results I was after. Maybe there isn't a quicker way to do it in which I'll use maya though ^^
I'm looking for a tool\extension that lets me draw a grid in Adobe Flash. I do not mean a solution via ActionScript, and drawing a few thousand cells manually with lines or rectangles, even with grid snapping, isn't an answer either. What I want is a tool that creates a grid, mesh, table - whatever - when you select it in the toolbox and drag the mouse. Adobe Illustrator has this functionality built-in and it's called Rectangular Grid Tool: http://www.adobepress.com/articles/article.asp?p=599358&seqNum=6 Does anyone know a way to achieve the same in Flash?
I want to make a website, but I have too many important elements for that. I tried to simplify the structure, but it became boring to look at and tiresome to navigate. Is there a rule or tip for finding the balance? Is there a maximum of meaningful elements on a page, in general?
I've been tasked with making a powerpoint theme for the company I work for and one of the requirements is that it uses a font that comes standard with most computers. What are some of the built-in sans serif fonts that graphic designers respect and use more frequently?
I have been recording custom actions to perform various automations, though I am starting to require greater control which would be better implemented using some form of scripting (if this can indeed be done). I have seen "ExtendScript" has been mentioned in several places, though I cannot find that option in Photoshop. It is important that I can easily share such scripts with other Photoshop users so that they can also benefit from them. For example, I would like to allow people to download the action scripts from my blog with relative ease. I am creating my actions using Photoshop CS4 which allows users with newer versions to utilise them. The same would need to be so for my custom scripts.
I have all my Illustrator and Photoshop toolbars scattered throughout my desktop, and I simply want all of my menus, toolbars, and files to be within one window. This is often super annoying because the toolbars don't pop up when my files are open depending on what desktop I am on.
I am using ScriptUI for the first time and would like to create a custom palette with several text boxes and buttons that can be conveniently docked into the Photoshop UI. Can this be accomplished using a script?
Is there a way to force an existing .pdf file to launch full-screen and auto-advance (prefereably with transitions) without owning Adobe Acrobat?
If I have selected another layer and a path is incomplete, so it just looks like a path, how do I "re-activate" it so I can continue to add anchor points? Also, can a path only be manipulated (e.g. Rotated) once it has first been converted to a selection? Lastly, if I have made multiple paths on the same layer, how does one select/edit just one of them? Thanks very much in advance for any help.
CS5: I created a standalone path by mistake, instead of creating a new shape layer. What's the correct method of turning this into a new shape layer? I tried converting to a selection, but I then seemed unable to fill the selection as I normally would, and I'm not sure how/if this would create a new layer from the path. Thank you.
In this fiddle there's a markup and style I'm doing for a website: http://jsfiddle.net/UvJmP/ I am trying to represent data in this way: D2's table data is contained in D1 D3's table data is contained in D2 If we were to think of D1 as an entity, it would be said that each D1 has a D2, and each D2 has a D3. In a hierarchy, these would be "sub-tables." Is there a better way to represent a hierarchy of subtables than the stair arrangement I have right now?
ERROR: type should be string, got "\nhttps://grandst.com/\nI'm really attracted to that kind of vintage look. Does anyone know any similar type fonts that I can play around with? Is there a good practice to go about understanding what fonts I see in general? A firefox plugin? A free program?\nThanks in advance for any help you can offer.\n"
I would like to know how scaling down images affects the quality. When scaling images up, they get pixelated and it's clear to see that the quality decreases, but when scaling down I sometimes notice the quality getting worse and sometimes I don't. Background To be more precise we are developing a digital magazine and will have to use thumbnails of the cover throughout our application. I am wondering whether the designer (who we haven't hired yet) should export the cover to all the different thumbnails sizes we are going to need or whether it is ok to export it at it's native resolution (1024 x 768) and then just use a program which will automatically resize it to all the thumbnail sizes we will need. I have noticed in other magazines on the iPad the thumbnail covers often have "jaggy" fonts and would like to avoid exactly that. So my question is: What kind of images are save to down size without noticeable quality loss and what kind of images should I export to the desired size? Questions regarding retina support Another question I am having is regarding making the magazine "retina ready". I understand that it's best to design as much as possible using the vector tools in indesign or create icons and logos as vector graphics in illustrator, this way nothing else needs to be done for it to look good on both retina and non retina displays. For raster images it is best to create two PDFs one with all the images at retina resolution (142PPI) and one at non retina resolution (72PPI). I know I can setup InDesign to automatically downscale images to those resolution on export. For photos, which are only available at high resolution this seems to make the most sense and the only way. My question is in what cases would a designer create images as raster graphics instead of vector graphics? I assume this would be for very complex graphics. But could someone give me a couple of examples or images which would not be suitable to be created as vectors? In the case of images that have to be created as raster images, do I have to create two versions from scratch or can I just create a retina version and then scale that one down to non retina? From my background with iOS development I know most designers create two versions of each asset from scratch. Especially for the icons. Could someone please explain the reason for this and when it is necessary and when not? Please let me know if I am understanding this correctly or whether I got something completely wrong. Greetings, Kim
I have a circular image that I want to print over a cone. That is, over a circle with a wedge cut out, and then assembled into a cone. However, if I just print my image and then cut the wedge, not only that part will be removed, but also the proportions will be messed up, and straight lines become curved. I would like to do some processing to my image so when printed and assembled, the image will look as designed, when looked straight from the front (the tip of the cone pointing at the observer). Optimally, the processing should wrap the image in the wedge so I can have some freedom when assembling the cone. Are there any tools that do this for me? or any processing I can do to achieve this effect? I actually want to do this over a shallow cone (the wedge cut goes around some 5 degrees), but knowing a general solution for sharper cones would be optimal. (I have no idea how to tag this, so please feel free to retag this question)
I've got a fixed layout page and the client has asked for it to have "shades of blue". What colour would you recommend for the background, page wrapper background, text, dropdown menu and the buttons on the side?
I've been googling this subject and also searched in this forum, all I found were posts about removing semi transparent pixels, ie. not what I have a problem with. Basically, I've added a layer to my image that has the same size as the image. Then I add something to the layer, way smaller than the entire image. Now I want a quick way to "auto crop" the layer so that the layer only spans over the pixels that actually contain something. In GIMP I choose Layer -> Auto crop layer. But there doesn't seem to exist such an action in Photoshop. Does anyone know where I can find this tool? EDIT : Ok this is pretty much the scenario. I have an image that consists of a lot of layers. On a certain part of that image I want to create a magnifying effect. So temporarily I flattened the image copied a circled area undid the flattening pasted the copied circle on to a new layer now I want to use: Filter -> Distort -> Spherize to give it a magnified effect. However, the spherize effect affects the entire size of the layer and not only where the content of the layer is. This makes the circle that I pasted not the centre of the sphere but rather the lower right corner of the sphere, resulting in a totally different effect than wanted. I hope this clears the issue up.
I got a word document translated into Polish which I am supposed to put into an idesign file. The indesign file already exists in English and the font used is Corporate SBQ. When I copy paste the polish version from word, all the polish consontants with the diacritics give me a pink square- I suppose that means that indesign doesn't recognise them. I tried the glyphs window, but some of the characters are not there. I cannot copy paste from another document, I still get a pink square. Is there a specific font which works for Polish? Is there any other way to do this? I tried the spell check, but most of the words which have this pink block do not appear as misspelled. What am I doing wrong?
I have a font that I want to be marginally thinner. I've typed out the word and then added a white outline around it. What I want to do is delete the outline, whilst maintaining the thinner font. How can I do this?
I need to create an image screen with a low file size. I'm using Photoshop with a 72 dpi, and 300dpi for designing. My problem is that the entire size of the image increased when I went to save my design. Is it possible to decrease it with these details (72dpi / 300dpi)?
It's an age-old complaint: up to and including CS6, InDesign supports footnotes, but not endnotes. Documents, books, reports etc aren't going to stop needing endnotes because Adobe don't support them. Even on Adobe's official blog, this is described as a "sad story". There are a lot of hacks and workarounds out there (plus lots of noise and frustration). I've included a few choice links (an Adobe blog describing a manual method, and two Peter Kahrel scripts that can automate it under certain circumstances) at the end of this question. My question is: is there anything approaching a smooth, pain-free way to get endnotes in Indesign CS6 (or earlier) that supports as many of the following as possible: ( I'm not expecting there to be any workaround that does all of these, though if possible, that would be great. I'd drop a 200 rep bounty for anyone who can give a neat workflow that can do all of these. For the specific problem that prompted me to ask, I'm particularly interested in 1, 6 and 8: I can't find any way in the suggestions I can find to get all three of these in one method. But a workflow that's robust for most of these that I can then fight with to force in the awkward cases would be fine ) Updates reference numbers in the document and in the endnote section automatically or by a straightforward process when you add a new endnote in the middle of a document Interactive cross-links in electronic PDFs and, if possible, e-books (so that clicking/prodding the appropriate number in the text takes you straight to the appropriate endnote, and clicking/prodding on the reference number in the endnote takes you back to the position in the main text) Works smoothly with character and paragraph styles, so you have complete control over the styles of the following elements, and can update their styles as one: The number in the text (character style). The reference number in the endnote (character style). The paragraph style of the endnote itself. Works with and without text from Microsoft Word (also welcome are separate workflows for placed Word docs that have Word endnotes, and documents created in InDesign or pasted in as plain text with endnotes then added) Isn't unreliable, flakey or prone to crashes when used with InDesign books (documents made of multiple linked documents) Supports, or, can cope with the existence of (i.e. doesn't break if you're maintaining these awkward cases manually alongside the conventional stuff) the following: Re-used endnotes (one endnote, multiple references in the text - e.g. in a scientific article, a paper used to support several claims) Ranges (e.g. there might be an endnote 3 which is only referenced in the text with a range like "2-4", where endnotes 2, 3 and 4 are supporting evidence for one paragraph) Doesn't need too much painstaking manual work. Imagine as a use case a book with 250 endnotes across 6 chapters with different contributing authors, ideally in different .indd files, and endnotes at the end of the book. Edits are coming in right up to the print date along the lines of, "I found a supporting reference for paragraph 16, chapter 2. Please add a new endnote that says the following...". Plays nicely with footnotes. E.g. imagine that, in our book, a chapter of endnotes (numbered) at the end are used for references in a references section, and on-page footnotes (alphabetical) are used for clarifications and asides. InDesign answers would be best, but answers along the lines of "Ditch Adobe InDesign and use [genuine alternative, and not MS Word!]" are welcome. Adobe have had enough time to do something properly about this! Ideally also, not "Simply spend weeks or months learning to code using the document layout programming language LaTeX!", though I might listen to a very compelling argument to that effect... GREP voodoo and script snippets are absolutely welcome. A quick guide to some existing InDesign endnote resources: Adobe's semi-official guide to InDesign Endnotes (a blog post). It describes a method using numbered cross-references. Flexible, but involves quite a lot of manual work and doesn't update numbers in the text as new notes are added. A script by Peter Kahrel that converts endnotes from documents placed from Word. Note that the script freaks out in cases like those in 6 above (I've not tested it thoroughly because I need those awkward cases, so I just get the error message "The number of endnote references does not match the number of endnotes"). Answers explaining how to work this script into a rounded workflow are welcome. Another script by Peter Kahrel that converts InDesign footnotes to endnotes (basically moving them to the end and aggregating their numbering). It does so to all footnotes automatically, so doesn't work in documents that also have footnotes. I've also not tested it thoroughly (in my case, I need separate footnotes), and I can't see any way it could update numbers in the text automatically. Again, answers that involve this script as part of a workflow are welcome. Edit: Finally, here's an article that introduces all three of the above links, plus the commercial plugin mentioned in my comment below with some elaboration. Closest thing to an answer I've found in my research.
I have a board ful of logos for a creds presentation which has a load of vector logos which are complex shapes. I want to turn then completely monochromatic to a particular shade of dark sepia/grey whilst preserving the tonal detail in the gradients Is there an easy way to do this? can someone give me a pointer please? There are a lot of them and doing them one by one will be very tedious :-)
I'm trying to make something similar to this in Inkscape: I tried making a path then using object to path. But that didn't work. So then I tried using the pen tool from clipboard... Still didn't work right. Is there a better or faster way then making separate objects?
My brother is an illustrator. He owns an A4 scanner, and it seems A2 scanners are too expensive for him. And he makes most of his creation in A2 format now. Is there a simple program to scan a grand format with a little scanner and then assemble the whole image?
I have a spreadsheet with a TON of content that I need to import to layers via Illustrator. I have several columns that need to be imported for some business cards. So for instance name, email, phone, title. Is there a way to import this spreadsheet into illustrator so that I can have one layer for each row via setting up some variables in the Illustrator file? If not, this is going to take a VERY long time. I have about 100 I need to do. EDIT I initially posted this question in a general manner, using an example of business cards. Some folks came up with a great answer to this question, which was to use InDesign instead of Illustrator. Which in the example of creating business cards would have been the proper way to go. Trying to simplify my query obviously returned the wrong answers, so I'll state the more complex example of what I'm trying to do: I am creating slides for a video based on data from a spreadsheet. The guys doing the video need the file in illustrator, and they need the data from the spreadsheet on a separate layer per data set. So that's why I have to use illustrator, and why I have to do it the way that I'm trying. I got about 75% of the way there by creating variables and data sets using Illustrator. I did a sample test of 5 data sets (Like I said I have about 100 in total), and I was able to create a new layer and paste the data set. But unfortunately, the way the AI actions work, I cannot select the new layer created, so it pastes everything on one layer. In addition to this issue, I would first have to create an XML file, because the data sets cannot be imported from a spreadsheet. I haven't looked into this, but this would be another process in itself. So that's where I'm at. Thanks for your help!
I am trying to make that type of poster for my science project but i can't find any tutorials related to it. http://www.imdb.com/title/tt1790885/ Thanks.
I have finished the development of an app. Now I have to worry about the icon ;-) To align with the built-in app, I want the gradient of the my icon background looks like the built-in Camera app, i.e. a light source form the top. 　　 How can I clone the gradient in Photoshop? For example, can I take RGB values from a few reference points (top, middle, button) of the Camera icon to deine the gradient of my icon?
I can imagine a very special red color in my mind but I can't find its color code in Photoshop or any other online color dictionary. Is there any tool that for example I say: "Hey show me all possible red colors exist in nature slowly so I can compare result with my taste to choose one"?
When adjusting a selection in photoshop, the reference point is always set to the center: Regardless what I change it to, the next selection will always reset it to the center. Is there any way to set it to the top most left corner by default, so that every new selection starts with the reference point set there? Edit: I don't think this makes any difference, but just in case, I use CS5.
I'll like to use a symbol font character (upper right in the image, Glyph 5081). How can I copy the character from the Font Book and paste to another app? UPDATE: I can find the character at left, but not the one at right:
Is there a shortcut for switching tabs in Fireworks CS6? In case it's important, I´m using a mac with a Spanish keyboard.
I don't know if its the new OS (Windows 7) or the new monitor I just got here but I'm having a lot of trouble reading the files in the CONTENT section of Bridge. Is there a way to change the font? Right now it looks to be defaulting on a very narrow, small font. Zooming in and out helps a little but not much. If I zoom all the way out so only one file is displayed in the content at a time with a very long scroll bar its probably 11 pt Arial Narrow for the folder/file name.
Simple question: what's the convention (or, if there's disagreement, guiding principles) for where to place reference, footnote and endnote numbers that apply to a clause leading up to a punctuation mark such as a comma or full stop/period? E.g. in this example, should it be like [1] and [2], or like [a] and [b]? Lorem ipsum dolor sit amet[1], consectetur adipisicing elit,[a] sed do eiusmod tempor incididunt ut labore et dolore magna aliqua[2]. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat.[b] Before the punctuation looks seriously ugly, but after can make there seem to be a disconnect between the reference and what it refers to.
Just curious what peoples tips and tricks are for exporting mobile assets for apps with Fireworks quickly, efficiently and crisply? For multiple device sizes. Also, do you recommend keeping an asset library in one file?
I was checking guidance on where to put footnote or endnote reference characters relative to punctuation and found a really clear answer for everything except an ellipsis. It's pretty unlikely and rare that you might want to footnote or endnote the end of a snippet of text that ends in an ellipsis, which is probably why I can't find any information on it. But it's possible. Supposing there was such a case, should it be like this: However, there might be other reasons for such varied evidence. One study has even found strong evidence of conflicts of interest emerging in some cases...[3] It is beyond the scope of this paper to speculate on whether that is what happened here. ...or like this... However, there might be other reasons for such varied evidence. One study has even found strong evidence of conflicts of interest emerging in some cases[3]... It is beyond the scope of this paper to speculate on whether that is what happened here. Case for the former (note reference character after the ellipsis): It's consistent with commas, full stops/periods, etc, and strictly follows the Chicago Manual rule "note reference numbers in the text should follow any punctuation marks except the dash". (although I believe the Chicago manual has some less-than-usual guidance on ellipsis being widely spaced) Case for the latter (note reference character before the ellipsis): The other way looks horrible without serious kerning. Also, to me, an ellipsis feels more like a dash than a comma or full stop/period... (not sure how to qualify that)
I am using a pre-made vector shape (below), and I would like to fill all of the triangular paths it contains with a certain colour. I am not sure how to do this. Any advice would be much appreciated.
I'm resizing and have changed the doc setup to be A3 from A4. I then selected all elements (none locked) and grouped them. Then, when attempting to hold shift and drag them to fill the page, two images do not move in place with everything else. They stay where they were . In addition to that, the selection outline goes right down past the page to where my mouse can't control the bottom end once I've released the dotted selection box after dragging it. This means I have to move it up to find the bottom of the selection outline again, but even then, it does not allow me to move it back closer to its actual contents, it just squashes the contents. Am I missing something. Sorry I'm trying to get something print ready for a client and this is a bit challenging. I will be online to answer questions you may have. Thank you.
I am new to Photoshop. I need to make a mockup for a website. First I've drawn a rectangle 1-pixel and with pen tool a brush setting 1-pixel, but the pen tool line has more than 1-pixel and what settings do I have to change so that both elements have the same stroke? Here are two screenshots: On the shape layer the pencil has the same wrong stroke. So it has to do with the shape layer. But to do a pen tool stroke you have to add a effect stroke. The rectangle is always the same because you cant place it on the shape layer. Here are some of the other tools I used: Line Pixel Widths
I found a really creative resume when I was surfing the web this morning, and it uses some awesome sans-serif typefaces, but I don't know the fonts. Has anyone seen them before? (WhatTheFont was no help)
I am an app developer. Most of the time I will build the apps' user interface by myself, thus resulting in functional but not appealing apps :-( Like this -> one (link to AppStore) For a few projects, I was out-of-idea (probably out-of-skill) and then I became open-minded. I let the designer go with what he considers good. I take the work fully and built the app. Like this -> one (link to AppStore) However, most of time things do not go extreme. For a project or two: I had some sort of art direction in mind I talked to the designer about what I wanted The design came back with a draft I was not satisfied and asked for another version After two iterations ... didn't work out I paid the fee for the draft and I gave up (and the project was dead) Now there is dribbble and I see great design works. Every time I hit the Hire me button, I hesitate. I am so worried that I pay but do not get what I pay for. So, what's correct way to convey with designers. In software, requirements are clearly laid down with a screen flow storyboard, plus functional requirements of how each UI element work. How can I tell a designer what to design if what I want is something I cannot imagine? I almost wanted to write to a designer, "Can you build a UI for my app like that artwork on http://dribbble.com/__?" But I worried that could be offensive. Let's use a real example. I have just finished -> this app (link to AppStore) But I don't think it's good looking enough. If I am going to talk to a designer, what should I write to let him know: I want my app to look good I wish the design is minimalism The numbers and alphabets should be in font that is available on iPhone, not bitmaps (as I want to let users change fonts) I wish the design is good for both keypad layouts (one fewer keys, one more) Thanks for reading a long question.
What icon would best convey "Make a new post"? Can't think of any, considering just spelling out "Make a new post" instead.
I am writing a technical documentation in LaTeX which will also include code listings and in-text keywords set in Monospace. After reading this post i chose a combination of CharterBT for text and Computer Modern Sans Serif Bold for headings. Charter: Computer Modern Sans Bold: However I do not like the default monospaced font of LaTeX, mainly because it looks way to fancy or old to me. Which monospaced font is complementary to the fonts I am using? Note that I can not use any font that is not available in my LaTex distribution.
I have an image (below) of two hands over a black circle. All three are currently separate paths with a fill but no stroke, all on the same layer. How do I delete the shape of the hands from the black circle, so that afterwards I can delete the hands themselves, and just have the circle, with the shape of the hands cut out of it?
I just upgraded from CS4 to CS6 and am having an issue pasting objects between files in InDesign. Seems like the issue is with the styles. I'm copying a basic graphics frame but it is losing the image and rounded corners while applying a stroke to the frame. Shouldn't the characteristics of the copied object carry across? Anyone know how to overwrite or force InDesign to paste objects 'as is' regardless of what styles a file may have?
I have a SVG file with viewBox="-155.7 -99 510 510". I believe this offset the paths in Mac OS X preview by -155.7 -99. when I open the SVG in Illustrator, the paths are not offset at all. how do I export this svg such that: viewBox="0 0 510 510" and all the paths have added off set of -155.7 -99 I have tried changing the position of the artboard but the origin of viewbox is never 0,0.
I am using a image, and I would like to draw 9 patch for that image. I am not sure in which format i have to save this. Any advice would be much appreciated.
I'm a beginner in this field and I have to buy this clip from shutter-stock. This clip comes with some pre-rendered patterns and has an alpha-matte version. My question: I want to use different pattern for the ripped paper, how can I achieve that? Can the alpha-matte version used for this purpose? if no, what is it used for?
I am interested in taking the gray shapes and creating a uniform border around it; an outline with a white interior. I want to do this by scaling the original shapes and intersecting them eventually. But as you can see with the black shape in the back layer, the curves are not uniform. How do I scale this shape uniformly? Or if there is a more excellent way, do tell!
I have encountered a problem, or at least an annoyance, with the way that "Layer Comps" work with linked layers. I understand the reason for the design choice and I am not claiming it to be a bug, but I still don't know how to efficiently work around it. I have a number of layers that I want to position in different arrangements such as making a collage. I create a Layer Comp including Position for each of these arrangements. Later, I add a layer mask, or I make some corrections to one of the layers using masked adjustment layers, an Overlay layer (dodge and burn), or something else that needs to remain aligned to the original layer. I clip and link these layers to keep them together. The problem arises when I then recall one of the existing Layer Comps: these adjustment layers are not moved along with their master layer. Likewise the mask on the layer itself is also misaligned when any of the preexisting Layer Comps are loaded despite being linked to the image layer. This results in me either manually realigning all the masks and Overlay layers or (usually) scrapping the Layer Comps and starting over. There are two aspects to this question: For an existing PSD with a considerable number of Layer Comps that I do not want to have to recreate is there a clean method to add a layer mask, masked adjustment layer, or other aligned layer to one of the collage elements? When creating a new document and wishing to avoid this problem is there a better method than defensively making every layer (element) a Smart Object? I find that this considerably increases the size of the file and I wish to avoid that if I can.
I am trying to follow along this tutorial: http://www.computerarts.co.uk/tutorials/create-abstract-liquid-effect But the oil droplets in water photo the artist provides as an example does not seem available for download anywhere. Does anyone have any recommendations for a site that has similar "oil in water" effects?
Are there any better ways of vectorizing photos than Illustrator's Trace? I don't have one of them Wacom boards so I can't really do this by hand.
I made a couple of vector shapes in AI and I get this strange thin border appearing around them. I can't get rid of it. Any suggestions? Zoomed in:
I am following a tutorial and trying to mask a shape layer to another shape layer that is multiple layers down. (or has multiple layers between these two.) In Photoshop cs6 Essentially I want the white box to be masked to show only to the inside of the black box. Can someone explain what I'm doing wrong here?
I've some some great usage of photos lately, especially in website headers that are light, easy on the eye, and don't attract too much attention. How can I create this same effect on my photos in photoshop cs6? Examples here: http://dribbble.com/shots/374899-Men-s-Retreat-Flyer?list=searches&tag=rugged http://dribbble.com/shots/791728-Built?list=searches&tag=rugged
I found a nice social icon set as font: http://www.tajfa.com/projects/rondo/ What I now want is to remove the circular borders around them, but when I open them with Fontlab Studio 5 I only see a blank set. Is there a way to remove it or do you know of alternative sets?
I'm in the process of producing QR-codes for use on product packaging. The codes are generated in batch and the resulting files are typically 25x25 px PNG files. Of course, such a small image would normally be way too low res to use in print, i.e. a 1x1 inch image would need to be 300x300 px in order to print in 300 DPI. When it comes to simple images such as QR-codes (I guess this would also apply to bar codes without the digits) I realized that the actual resolution of the image is not really relevant, as I can easily resize the image to any size I prefer using nearest-neighbor resizing option in Photoshop. In a way, the resulting 250x250 px image won't contain any more information in terms of "QR pixels" than the 25x25 px version, apart from the obvious fact that the file will be larger in size. Also, when resizing to a width not evenly divisible by 25 (e.g. 70x70) the resulting QR pixels will not all be the exact same width. This has got me thinking I can simply place the 25x25 px PNG in my InDesign layout, which will in turn be exported to PDF and sent to print. This seems to work out fine when I print the file on my printer, but on screen the image sometimes looks blurred (as you would expect with it being magnified). I have found that the blurring effect stems from the anti-aliasing setting in my PDF viewer, so there is obviously no information about resizing/anti-aliasing embedded in the PDF file, while the printer will resize the image without anti-aliasing (i.e. using nearest neighbor). Finally, the question: Is there any obvious downside to using this method? Is it safe to assume that the 25x25 px image in my PDF document will be upscaled without anti-aliasing when I send it to the printing office? Would I be better off just manually upscaling it or converting it to a true vector format? Bonus question: is there a better term for what I am referring to as vector-like in the title/question, that is the concept of a bitmap/raster image being upscaled without loss of quality?
I have been designing for almost 5 years now. I have noticed something very strange in my development lifespan. My appreciation for my works decreases substantially over time. Especially in my UX works for applications, where I work almost 10 hours a day (writing code) and where I am confronted with the interface all the time. When I layout the user interface in Illustrator for example, I am very satisfied with how it looks, but after a couple months of development and seeing it over and over again, I always find something that I could improve and I kind of end up in this vicious cycle which does not seem to have an end. This is a huge problem for me because my own products do not seem to be worthy to be launched in my eyes. I also have to say that I am a perfectionist, so of course that plays a key role. Does anybody experience the same thing? How do I put an end to this cycle?
I am currently working on a GUI and iconset in Illustrator which will be exported (using a plug-in) to XAML. While GUI elements can be exported by placing them in a new file, this becomes a lot of work with iconsets. Which I want to avoid. So I am looking for a streamlined workflow to export multiple groups/artboards/layers (similar to Export for Web & Devices) for XAML (the plug-in does not support "use artboards").
There is a classical way of removing background in Inkscape using Bezier curves. This is often quite lengthy process. Is it possible to remove the background of an object based on background color (e.g. to tell only to remove yellow background)? Or some clever method that is able to detect what is object and what is background? If so, could you describe the tools that are available in Inkscape?
I came across this on the internet. Does anyone know what font it is or, as the title says, suggest anything similar? I dont mind learning a bit more photshop if needs be, as I think that's where I'm lacking:
I'm going to be making images that include hundreds of lines of text of varying lengths, each of which will have the same "background", with the exception of the length of the background, which will need to be relative to the length of the text. I want to not have to manually fit text to a box each time. The second twist is that I want the background to be reduced opacity, but I want the text to be 100% opacity. So the text will always be the same size and solid white, over a (say) 80% opacity orange background. The "padding" (inset?) on all four sides of the text the text will be constant relative to the text. All that will change is the overall width of the text string, consistent with the overall width of the "box". I have reviewed these two answers How to fit text box size to text? and Change Background Color of Text Box in Illustrator CS5 which would seem to address this but don't quite. I am using Illustrator CS6.
I'm working on a program that requires a dark interface, because it's mostly used in dark rooms. After some thought I decided to add a light version too and let the user swap them, but both still have the same requirement: They need to be very kind to the eye, because we are talking about many hours inside a dark environment. What are good colors (both light and dark) to avoid eye fatigue/strain?
Does anyone know any other fonts similar to Helvetica Neue (free for commercial use)? I'm working on a big website project where 'Helvetica Neue' is used heavily. I need a font that looks almost the same, is free for personal and commercial use, and looks good even when used with copytext (e.g. fontsize for copytext = 11px, for headlines = 16px). Also there should be a condensed-font style included (if possible).
I am trying to follow a set of instructions and am looking to copy and paste a vector mask to a gradient layer. For some reason when I simply do cmd c and cmd v to the gradient layer nothing is happening. Here are my instructions: Method 1: Color Overlay on Gradient Layer Create a Gradient Layer. Choose light grey and dark grey color stops. You can fine tune it later. Create a vector mask of the button Copy the vector mask and paste it on the gradient layer (Select the vector mask > Ctrl + C > Select the gradient layer > Ctrl + V) Click Layer > Vector Mask > Current Path. Go to Blending Options and apply Color Overlay with blend mode Color. Now you can try out colors just by changing this color.
Today I came across a blog post on daring fireball about a new font: Courier Prime. From the font preview, I found that the : and . are a bit oversized. Then I checked the Courier font in Mac Font Book app. The : and . also appear oversized (including the fullstop beneath the ? (question mark), comparing to the other characters. Is it my eyes' problem or is there a story behind?
I've got a simple drawing in Illustrator consisting of multiple rectangles. I will need to handle that in code later one and saved the document as SVG. The rectangles come out as <rect /> nodes in SVG format. Is there a clean way to convert the rectangles from primitive types to a path in Illustrator ? If so, how ? So far my hacky solution was to use Object > Path > Simplify and because I was dealing with simple boxes with no transformations applied I've also ticked the Straight Lines. This worked well for boxes (kept the same number of vertices and look) Is there a cleaner/less hacky way to convert a primitive to a path in Illustrator ?
I'm working on a document in which I need each new object to be the same opacity as the last created. It seems that the only thing that carries over to the next new object is the stroke and fill of the last. Thus, each time I start drawing a new object, I have to reset the opacity... Yes, I could just select all necessary objects and set their opacity at once, but it's important that I see what's going on in below layers while each new path is being drawn, so having a default opacity for new objects would be extremely helpful in this scenario. Is there any such thing?
So here's a good question: one problem that often comes up is a client asks for a site, but they have no content (specifically images) and so leave it up to the designer to find appropriate images to use. The first thing a lot of people will do (including myself sadly until recently: is go and find stock images of smiling business people that all look like models, or worse pictures of handshakes, little icons hugging a globe) and these all lead to generic looking websites that reveal zero about the company or brand you're trying to represent, and might even damage the brand by making it seem unpersonable and lifeless. So here's the question: what might be some good(general) guidelines for choosing images for client work when they don't provide any: thoughts?
I was looking at the resume in this question, and I noticed the skills bar chart. I've seen this on several designers' resumes and was wondering if it is a new fad, if it's something that I should consider adding to my resume/website, etc. Wouldn't this get you less clients if you forget or didn't have the room to add every single piece of software that you know and your skill level of said software? I can understand adding fundamental software like Photoshop and Illustrator, but what about all the little programs that I don't use very often, but I still know how to use? If I were to list all those, the resume would be like 3 pages long. Is this a useful graphic to add?
I'm designing my first poster for a promoter for a local bar and.. well.. I don't know what size to make the poster! What is the standard size for an event poster (such as one for a band) in North America? Is it 11" x 17" ?
I have a full Latin alphanumeric font made and am attempting to add Cyrillic characters to the mix. I am using OSX Glyphs.app. I am able to make the Cyrillic characters and export the font as an .OTF. I can boot in to Illustrator or any other application and access the Cyrillic characters without fault. However, when I try to convert my font to web safe fonts via http://www.fontsquirrel.com/fontface/generator, All characters other than my Cyrillic characters work properly. For example: I have tried using И, И, and И to no effect. On the left is Cyrillic Ii and on the right is Latin N. The font has been saved with Cyrillic Ii merely being a mirrored N. All of this works fine in apps, but fails on web. Can anyone think of a reason for this?
Background on color perception: Due to the nature of the human eye and visual processing by the brain, there's an optical illusion that the same color will look different depending on the background. It is known as the contrast effect, illustrated below — center rectangles are identical: Source: Wikimedia An illustration (and report) by NASA makes the effect of the background's color even more obvious: Source: NASA Color Usage Research Lab (Note how the two upper-most colors in the second image appear the same, but are actually completely different.) What about web design? My question pertains to web design, specifically in this case, the color of link text on different backgrounds. For a given color of text, how can one find the complementary color to make it appear the same on a certain background? Let's take a look at an example for this question: Consider my example below, with yellow text #FFF000 on the following backgrounds: white #FFFFFF, black #000000, and grey #555555. As expected, doesn't look the same at all. (View and download .PSD file here.) How can we make it look the same on all three? Clearly, the text on the white background needs to be a darker yellow, and the one on the grey needs hue/tone adjustments. (The surrounding text will also affect it — but that's likely harder to account for.) Can this perfect color somehow be calculated, based on the Hex, RGB or another system? That's where the crux of this question lies, as it would be much more efficient than manually approximating.
I would like to make a simple line pattern rotated at 30 degrees, but no matter what I try I can't make it repeat itself without the lines being cut. Is this possible to do?
I have a rectangular shape that has a colour overlay and drop shadow in a layer. Now, I want to create a new layer containing only a rasterized version of the effect from the current layer. To put it simply: Layer 1: Shape + shape-drop-shadow; (Create new Layer 2) Layer 2: shape-drop-shadow; Meaning, I'm not looking for how to copy effects between layers, but rather the actual result of the effect of one layer to a new layer.
I have been seeing these blurred backgrounds all over the place, so I would like to know the exact steps how to reproduce something like this . What I can imagine, is that they first blurred an image/gradient with a gaussian blur. But there has to be something more to it, right ? +) How do I correctly use a gradient instead of a picture?
I'm looking for a 3d Converter which can handle the following file types: Import iges step sat Export dwg gdl
I am experiencing significant color banding when I use the Color Dodge blend mode with a very dark colored gradient layer style. I have even tried enabling dithering on the gradient layer style, with rather poor results. Here is what it looks like: Here is a small PSD demonstrating what I'm experiencing. This is my first time using the Color Dodge blend mode. It's my guess this either has something to do with this particular blend mode (I'm not familiar with how it works) or the gradient I'm using (which is extremely dark, possibly to the point that it creates precision issues). How can I eliminate this color banding problem? Is there another configuration I can use that will get me nearly the same colors, but without the color banding?
I saw an amazing animated gif And I thought I should give it a go. I tried laying out several friends' pictures in movie maker and power director and though I sort of have a video where it is animated up to an extent, it is not as fluid, it feels more like a slideshow no matter how much I tweak the time/tween. I thought, may be I need to fine control it and opened up Photoshop and added layer mask to go from image to image...though this is a lot better, I still don't have this fluidity. I am not sure this is the right place to ask this question, but do any of you know how this method can be achieved? I think it's a great pic!
I am currently working on a magazine using Adobe InDesign CS6. On each page I have a head with the name of the section in it, and applied the paragraph style "Header" to the text element. Naturally some of my sections are more than one page long, and because of this, the same header will occur multiple times. Example of a spread where the header occurs twice: Resulting ToC: My problem is, though, that the header will also occur multiple times in the TOC. Is there a way to skip headers which are similar to the previous one? Not running headers, because I do not use the header on the page itself. Instead I have subheaders.
I'm not sure whether I should be asking this kind of question here, but... When I'm working in Photoshop (CS5 currently, have had it with previous versions as well), when I've zoomed in on the file and have the hand tool selected, Photoshop sometimes zooms out as I drag with the hand tool. It zooms to 'fit screen' size, and zooms back in when i release the mouse button. It does so at random times, and at those times I'm not pressing any buttons other than the left mouse button. It's really driving me nuts, does any of you know if this is fixable?
Photoshop CS5: If I only wish to select the black portion of the below image (to create a layer mask with it), how would I do so? It was generated by clicking "Make Selection" from a vector shape that's made up of several paths (each of the triangles, then the rectangle that encloses them). Thank you in advance! As a related follow-up, how do I add to a selection? i.e. If I make one selection, how do I keep adding more parts to it? Necessary to use paths?
I just drew a 1px line with a 1px drop shadow in Photoshop, yet parts of it are really off. Please see the image below.... Is Photoshop just not able to hand things well at the 1 pixel level? I was hoping it could produce shapes more exactly than this. Thank you.
I am somewhat new to PS and have upgraded to CS6, and I am having issues when I save a file. The shapes I have created (with the pen tool) and added specific gradients to, change colors. When I reopen the fill all the shapes have changed to the two colors that are currently on the foreground and background. Hence all the gradients are just those two colors and all the work matching and adding colors has been lost. What am I doing or not doing that will prevent this from happening?
In the footer of my clients site, I want to give the users total clarity about where things are on the website so that they can quickly navigate there. So I will implement what looks like a nested set of links. In plain text, it should look like this. but just the blue dashes. I lined out in pen to separate the list items. The code is below showing the selection of the last list item. But how would you either add dots using only CSS or using CSS to insert an image before it? This is what I have so far and the accompanying code. In my example, the in the footer became a block element, but it was supposed to be inline, so disregard that because it will be fixed. I was going to add color to the dashes, but does not seem like the best option after experimentation. I was going to add pipes and dashes \|----
I have a complex illustrator object, with many of overlapping sections hidden behind one another. I want to simplify it down to just its visible parts. How do I do this? Why: I need to pass that to a laser cutter to cut the shape out. To make that work, I need to reduce the object to only the visible strokes that outline it. If I can collapse it down to just the visible parts, getting it down to just strokes from there is trivial, and a known good way of generating a file that will cut on the laser properly. Note 1: None of the pathfinder operations accomplish this on their own. All of them change the object so that hidden parts appear or visible parts vanish. Note 2: The object has too many parts to do by a process that involves doing the different parts one at a time/manually.
I am trying to achieve something similar to the following photo-realistic image in Photoshop: So far, I have tried copying and pasting a basic object, then distorting it and applying new layer styles. However, I am sure there is a much more efficient way to do it using some sort of 3D 'spin' function. I've never come across one, so wondering if anyone had any tips.
I need to redraw the logo below but I don't know what the font is. Help is welcome.
I'm assuming that this sort of thing should be done in photoshop and not illustrator, so please correct me if you feel otherwise. I'm trying to create circles with blurred stroke in photoshop like the example shown below: Ignoring the gradient behind the rings, what is the best way to accomplish this? Currently, I'm using the Ellipse Tool with a Fill Opacity of 0% and Stroke (size: 10, opacity: 30%, blend mode: Soft Light). This does not produce the desired results: Any ideas what I'm doing wrong? Is there a different way to feathering the stroke instead of blurring it?
I came across this problem after printscreening a website with a gradient background. Initially, I was shocked to find that the background was showing those black pixels, and thought something might be wrong with my GPU so I decided to investigate a little and found out that the image's bit depth was 24 and photoshop was opening it in 8bit mode (maybe because photoshop doesn't have a 24bit mode?). I was wondering: How come when I save the image in 8bit mode it doesn't show those black pixels, in programs like windows photo viewer and paint? Why are they showing only in photoshop? Shouldn't photoshop find comparable colors to fill in instead of black? When I change the mode to 32bit those black pixels disappear. Also, when sampling those black spots with the eyedrop I am getting the correct color. This is the image I was speaking about: And here's what I am seeing:

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