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I'm having a problem with capturing the likeness of a person I'm trying to draw a portrait of, and I was hoping you could point out where I'm making the mistake and how can I improve. Basically, the portrait itself looks fine (or at least its not terribly bad), but only as long as you don't know the person I drew. When you compare the original photo and my drawing, you will notice that my drawing only remotely resembles the model from the photo. To illustrate my point, here is a pic I drew from a photo found via Google search: So my question is: what am I doing wrong? How do I capture the "likeness" of a portraited person? How to practice it? Why can you immediately recognize a person on a good caricature, but not on my drawings? Any help will be greatly appreciated!
I have a specific Helvetica font that I use for text within graphics I am creating for my website, i.e. buttons, pictures. Do I need a licence or is it sufficient just to have purchased the specific font? Also if I then decide to create a second website with the font, am I breaching licencing or copyright, p.s. the font is only used on images.
Is it possible to edit the contents of a smart object without opening it in a new window? I need to be able to edit it as if it were a regular layer in my project, instead of having to edit it separately and then return to what I was doing.
I know this is called Kinetic Text, but I don't imagine one does this in powerpoint. What tools would I need to learn to get this done? I'd love if they were open source or low cost.
For a Windows application currently under development we have chosen a dark Modern UI theme. As I don't have any representative screenshot at hand, let's say our look and feel is somewhat similar to the Mango Theme for Orchad or the Windows 8 Metro: As our clients will be allowed to integrate their logo In the start page of the application, I'm wondering how to integrate it so that it's not looking awkward? As we won't have any control on the image file set by the client, what can be done to ensure that the logo looks as integrated as possible?
I occasionally come across a symbol that looks like this: It looks to me like some sort of stylized heart, or maybe some kind of fruit on a branch. It is often used to separate blocks of text, for example on book covers that are trying to appear elegant. I most recently saw it in this New York Times Op-Art by Ben Schott (may require subscription). Does this symbol have a name?
How do you design that bubble?: I tried to use a rectangle and a rounded shape but didn't work out nicely. Would be really nice if someone can point out (or if this kind of shape already exist!).
Tools like PNGOUT blithely strip out color profiles (the iCCP chunk), which arguably makes the tools lossy because it changes the appearance of non-sRGB images in nearly all modern browsers. I've found a solution. Gimp will offer to autoconvert to sRGB when opening an affected image. Saving and using PNGOUT is then perfectly fine. The original and Gimp-assisted recompressed images will give identical screenshots from a browser to the extent that every pixel will have the same RGB value with both image files. This is exactly what I want. However, I'm dealing with hundreds of images and opening them in Gimp this way and then saving them is not an automated process. How can I automatically properly convert PNGs to the sRGB color profile prior to recompressing them? Note: I've tried ImageMagick's convert with various sRGB.icc profiles, but every time I've tried it's a bit lossy (like giving #cccdcc instead of #cccccc) and thus ruins the ability to use PNG's greyscale storage for grey images, both of which are undesired.
I use the Affecton template in a bit different way that it was designed to be used probably. I do not have as much content as it was designed to support. I have only a couple of pictures on the page and very little or no text. The result is that the white background is very irritating: I want something darker than white but I don't know how to find a colour that goes well with the rest of my template. I looked at colorschemedesigner.com but it does not let me start from the existing palette.
I need to create a really large print of 4Mx2.5M. I've never designed such a large print and I need help in setting the right DPI for this. I am really clueless of how this is supposed to go. If I'm not wrong, this needs to be split for few different documents, right? What DPI should I set?
I've purchased a stock set of playing cards in .ai format and have successfully imported it into a Flash CS6 file. However I have the problem, that the cards have english indices: J, Q, K, A - while I need russian letters instead. I've spent many hours trying to replace the indices (using Text tool and "Break apart" command), however the results do not look good. Main reason being, that I don't know, which font was used originally (something bold and condensed). So my question is: when I select the index graphic to be replaced (like shown in the screenshot below) - is there a way in Flash CS6 to type a new character into the same bounding box? I think this would ensure a pretty similar looking russian letter - almost regardless of the font I take:
I am a software engineer attempting the impossible: to codify logotype creation. I want to learn all the rules and principles for logotype design and don't want to rely on blogspam. I'm looking for timeless, pre-internet information. What are the definitive books and courses that career logo designers have read and taken?
I have to simulate facial expressions on a face image ( say open mouth ). For this I first extracted the facial feature points and found the corners of the lips. Now I need to deform the image by moving the points down. In the above image I need to move the Pointe ( 2 ) and ( 3 ) to some distance left and right respectively. And point ( 18 ) and ( 19 ) littele bit down. So that I will get an expression like opened mouth. My Questions: 1) Is this the above way right to proceed to simulate facial expression? 2) How to do this any language?
I have a number of vectorial files that were created eons ago with a software called CasMate Pro(above) for the purpose of cutting those vectors with vinyl cutters. I googled a bit and I found out that the above software is not produced anymore and that there are some alternatives/workarounds... **My question: Is there someone else around here with this problem? What was your workaround to import those files and work with them in a more recent software?
I need to do the following shape in Illustrator, if can be done by Illustrator. I think it can be done by spiral, circle and pathfinder tools but I'm not sure. Please I need the details of how to do it, or if you have a tutorial that can help me about that.
Are there any simple way to align rows of text with different font sizes so that the text rows have the same width. I would like to do this in Photoshop, Illustrator and Premiere Pro.
I'm looking for a tool or strategy (web app, software, Photoshop feature etc.) that will let me display all swatches I have in a '.aco' or '.ase' file in a table and saved as a PDF (preferably) for documentation. When I picture it in my head I'm seeing something like a periodic table, showing the color in a square and adjacent to it showing the RGB for that color. It's basically to share the brand color palette to our dev teams who doesn't have the Adobe suite to look up colors themselves. Does anyone know of any tool that does what I describe?
How do you create a hand colored effect, like in the image above, using either Adobe Illustrator or Photoshop? I'd like to know how they colored the arrows and how to add a rough gradient like the one on the blue box.
I love how Google fonts allows you to pair fonts for great eye candy when designing but after time I have gotten tired of just seeing what Google suggests. I wanted to know if anyone has scene any other sites that have a wider spectrum of font pairing other than Google?
I've been given a .eot font file that needs to be used in a desktop program. So far none of the programs that I use (Gimp, Scribus, Inkscape) can read this font type. Are there any ways to convert it to something else?
I am newer than new to Illustrator, but am trying nontheless to design a logo for my friend. The most basic of operations is to create an ellipse, correct? I have created a circle with this tool, but every time I then try using the Area Type tool I get the message: YOU MUST CLICK ON A ON-COMPOUND, NON-MASKING PATH TO CREATE TEXT INSIDE A PATH. I have managed to "release" the compound path (apparently) but must still be using a "masked" path. How do I release this, so that I will be free to create text within this circle?
In current common usage, is there a Unicode character consisting of two arrows in a circle, or similar character that could convey 'synchronization'? For instance something like: I browsed the Unicode table and tried http://shapecatcher.com but no luck so far. These symbols are the closest I could find: ↷⎋⇄⟲☯♻ Note: I need a Unicode character for use in wikis and bug tracking. Using an image instead would be very cumbersome, and impossible with some tools.
I'm talking about real pens, not software! I love drawing with Sharpies except that I often smear the lines with my sweaty wrists! What's a similar black drawing pen/marker (felt tip or otherwise) that dries to a non-smearable state much faster (like within milliseconds)? I would imagine that the type of paper used is a factor here too. What kinds of paper are best for instant-drying of pen ink?
So this is more scientific visualization than graphic design, but I think the theory is the same. In colormaps used for visualizing data, there are often bands of color that stick out when they shouldn't. I believe they're a form of Mach bands? For instance, I used this bipolar colormap and it produces images like this: It's almost like a ring of neon orange around 0.2, and a similar one for blue around -0.2. Here's a plot of the RGB components, and a calculation of relative luminance in black: I manually tweaked it to try to get rid of the bands, and somewhat succeeded, but I don't really understand the theory behind it: It's better, but I still see bands in it. For another example, for the hot colormap, I thought maybe I had to linearize the luminance plot to prevent banding, but it didn't really work: The yellow and orange bands are still there, they're just moved and smeared out a little. So discontinuities in the luminance plot are not the cause of the problem. How do I smoothly transition through colors without banding? Are there rules for making smooth curves through Lab color space or something? (Edit: Ooh, I found an example for this: "The color scale is computed using the Lab* color space. It follows a uniform ramp along the L* direction, and it follows a semicircular path in the a*-b* plane.") Update: Here's a plot of this colormap in the RGB cube, showing the sharp angles user568458 is talking about:
I know that for creating texture on their paintings many digital artists use texture overlays or fancy custom brushes. But how to achieve similar effects using only simple brushes? Are there some techniques? How can this be achieved using traditional media, like acrylic or oil paints?
Is there a typographic convention or practice about placing punctuation marks after emphazised text? I ran across this example on a website today that adds an additional space after emphazised text when the next glyph is a punctuation mark. (However, there is no extra space if the next glyph is the next word's beginning.) The red circled spots are what I am refering to, in contrast to normal punctiation marks, which are underlined red. I basically understand this choice, so what I am really looking for would be citations or references to a style guide that outlines this practice. Explanations as to why or why not this is or should be done are welcome also, just to see what is people's take on this.
Can somebody perhaps identify the exact fonts in use by The New Yorker's iOS app, esp. those shown the sample below? I find the whole app very well designed (both in terms of graphic design, functionality, and indeed beauty and content :)
I'm looking for some advice on printing and selling tshirts. Is there a tutorial somewhere out there for designers who have created a design and want to make and sell shirts? I know a couple of local printers that I could use, but I'm interested in the pros and cons of using local printers versus online services that would handle payment processing, printing, shipments, etc. I hope this is an okay place to ask this question. It isn't technically a graphic design question, and I know there isn't a correct answer, but I'm hoping someone can point me to a nice guide out there somewhere that covers all the bases of making and selling shirts.
In illustrator, you can do pressure-sensitive drawing with the Blob Brush tool (if you set Width to Pressure in the settings from double-clicking the icon). You can also fine-tune the widths of paths with the Width tool. But you can't use both on the same sketch. The Blob Brush makes filled areas, and the Width Tool only works on paths with strokes. This means, when doing freehand drawing in Illustrator, you have to choose between two options: Use the best tool for natural freehand drawing (Blob Brush with a pressure-sensitive pen), but lose the best tool for conveniently fine-tuning a line drawing with variable width lines when tweaking it afterwards. Trying to do natural freehand drawing with the pen tool or pencil tool, then laboriously add every twist, turn and flick manually after the event with the width tool. Is there any way to get the best of both? Pressure-sensitive freehand drawing in Illustrator that can then be fine-tuned using the width tool? I'm pretty sure there's nothing in Illustrator CS6 that does this by default, so I'll accept answers that: Involve things other than Illustrator. I don't mind, for example, sketching in Inkscape then copying it to Illustrator to do fine tuning (if there's a way to do so that is natural and works as above). Involve paid plugins. On the closest thing to a discussion of this I can find, someone mentions the paid plugin DrawScribe's Dynamic Sketch feature. But, I can't see anything in the promotion for that feature that seems to do what I want. There's also the WidthScribe Width Brush but it looks like a more convenient way to apply the Width tool to existing paths than something that can be used for the original drawing. Require a script or a bit of Javascript hacking. The fact the Blob Brush exists proves Illustrator can turn pressure data into numerical widths and adjustments to point on a path, so in theory it should be possible to convert this into the nodes the Width tool adds to a path instead of the anchor points on an area shape. But I've got no idea where to start even thinking about making this work. Right now the best option I can come up with is drawing with the blob brush, then manually tracing over those lines again with the pencil tool, then using the width tool to mimic and tweak the twists and turns of the original natural freehand drawing. It doesn't loose initial freehand spontaneity like just using the pencil tool from the start, but it's really inconvenient and time-consuming. I'm sure there's got to be a better way.
I am painfully aware that nearly all my paintings and drawings seriously lack in terms of proper anatomy. The figures often look unnatural, twisted, deformed etc. More advanced colleagues told me I need to work on my anatomy. But here's the problem: how do I do that? What can I do to help my practical understanding of anatomy and the ability to apply it? I studied some anatomy textbooks and I have an idea of the bones and muscles of the human body, and I can tell the difference between the lats and traps. Still, I can't apply it to have realistic looking figures and heads. What should I be doing? Drawing skulls and then faces on them? Painting over skulls on faces? Same for figures - should I be drawing bones on photos / well drawn figures? Should I be drawing the pics from anatomy books? Are there any others I should be doing, that I can't even think of right now? I want to have a practical understanding of anatomy, I even bought some books (like Tom Flints & Peter Stayner's anatomy for the artist), but I don't really know how to use them! There are just some cool drawings of people in different poses, but no actual advice on how to practice it and learn it! Besides advice on what I should be drawing, I would welcome advice on how I should be drawing. I mean the things I should have in mind while studying. Should I be trying to envision the form? Should I try to imagine the muscles beneath the skin while I draw nude figures? Or maybe I should be trying to simplify the forms? These are just examples of the type of advice I would like to receive. Please note, I want to study anatomy in order to be able to draw anatomically correct figures from my imagination later, when I'm more advanced. This will probably affect the way I should be studying anatomy. Making an analogy to studying rendering forms and lighting, I was once told: "mindlessly drawing just what you see won't help you improve your rendering skills for imaginative objects. Try to think about why a shadow is placed where it is and why is it shaped so, why so it soft or hard, where the reflected light comes from etc.".
What's the boldest variant of the "Neuzeit?" Neuzeit Grotesk (or "GroT") is the boldest I've found online, but I just came across a sample in an illustration that was even bolder than that. I need to be able to match it.
I'm new to Photoshop and I'm building an HTML email template for the client with the PSD file provided. This is the image part I cropped and what it displays in the normal browsers: And below is what it looks like in the email clients ( IE only ): I have tried to save for web & device as various extensions like png, gif, and jpg to remove those white dots but no lucks. Could anyone tell me how to remove this?
How can I set the extras displayed when transforming to use whole pixels as the measurement?
I have a master with only one column (A) and the picture it-s into the text frame. Now I need 2 columns but how to make the logo to stay on the right? We found 2 solutions but are not very good: create an another text-frame with the width of the page and the height of the image. Then the 2 columns will start when the image's text-frame ends (the problems is that the image might have different heights. Also it implies the creation of another master page) put the image outside the text-frame and let it to push the text in the right col. (This is not good because the left column will start before the right column)
I was trying to scan some of my sketches in order to post them on some community sites, but the effects are quite bad. An example could be seen here: Basically, the contrast is terribly off. All soft shading done with a hard pencil is gone, the white is too bright and too "aggressive" and bleeding all over. All the shading had been "flattened down" in the process of scanning. So, my question is, are there some techniques or procedures I should follow, some typical settings for the scanner I should use in order to get good quality scans without the brightness/contrast distorion?
How can we fix this extra exposure at the bottom of the vase in the attached picture
I manage to stroke a path so that the brush goes thin -> thick -> thin along a path. Thing is though that I want the stroke to go thick -> thin, meaning I want the stroke to start at its thickest and then go thinner and thinner along the path. I can't seem to figure this out using the Brush shape dynamics.
I have document DA with master page MB that is based on master page MA. In another document DB I load the master pages from DA. The master page MB is shifted down, the items shifted down are the ones inherited from MA and not the ones on master page MB. If in DB I click on mast page MB options and I set to be based on none, click ok, then set to be based on master page MA then it's everything ok... It might be because when it loads/syncs master pages it loads the master page MB before MA. I think is this because only happens in one document and I cannot reproduce the error in another, even if I copy paste everything from mine to a new one. Also updated the bleeds and the error cannot be reproducible. Also if I create another master page MC that inherit from MA the same error happens, so the problem is in the master page MA and I don't know what to do. I cannot just create another master because it will not keep in sync my other documents in the book.
I'm struggling to find a matching blue colour for this red one I've got: #cf3a1b By 'matching' I mean similar feel, in terms of brightness, contrast, lighting etc... I'm new to graphic design so I don't really know how to find similar colours.
In Inkscape, is there a way to automatically calculate the space / area a shape occupies? I am representing data in complex shapes and I need a way to scale them accordingly.
all. So I have a curving path in Illustrator and I've put some text on it using the "Type on Path" tool. I want to make the font size of that text gradually increase towards the middle and then gradually decrease again towards the end. Any ideas on how to do this?
I'm starting a project and want to have customized coffee mugs for people who support the project. I've never designed anything for a coffee mug before and am unsure of the typical standards. I know that print design is typically 300dpi, etc (I haven't done print design in forever, so it could have changed.) But are there any standard dimensions, dpi, and colors for coffee mug printing? I don't really know how they print onto a coffee mug, so I'm very unsure of how to create it. I need large portions of transparent parts for my ideal design. I'd like to just set up a wide graphic in photoshop, much like I would create a texture for a cup in 3DS Max. So, summary of the question: What dimensions, color mode(CMYK?), and other graphical considerations do I need to design for? Is there any kind of PSD template for a cup wrap? And for a bonus, do "cup printers(?)" print inside of cups as well? How would I create a template for that?
I have a PNG, not PSD. It's size 29 x 126 but i want change this to 29 x 220px. What is good solution for this? Image: https://i.stack.imgur.com/sk3zy.jpg
I am looking for a way to get RYB complementary colors in software. This means, complementary color pairs I am looking to get would be: red - green yellow - violet blue - orange However, when inverting an image in RGB mode, you get the calculated RGB opposite, like: red - cyan yellow - blue blue - yellow For example inverting blue (red 0%, green 0%, blue 100%) gives yellow (red 100%, green 100%, blue 0%). Doing the same calculation in a RYB color system gives me the values I'd like, for example with blue, that would be: orange (red 100%, yellow 100%, blue 0%). Is there any way to get complementary colors according to a RYB color system in imaging software? (Answers can be software specific, but probably any technique to do so might be transferable, unless it's a plugin or something the like dealing with the calculation.)
I have no idea what they call this so I'm not having much success with searching. But lets start with an example with this site: Image from pixden.com Does anybody know how to create this and if it is possible in Adobe illustrator?
I'm interested in getting an method for obtaining n well-distinguishable colours, where n is just a given number. The purpose is for it to be implemented in an algorithmic way. I have read other questions on this topic (this, this, this and this), but none of them provides an self-contained way how to generate the colours. (They, in general, say: "Go to this website and put n there as input.") As well, I know that I can equally distribute the hues of the colours, but then: Good balancing between number of different hues and number of different saturations and lightnesses is necessary (and I don't know how to make it well). The same distance in hue doesn't mean the same distance for a human: In the example, certainly the left one is less recognizable than the right one, yet the colours are only some RGB permutations.
I'd like to know what type of path the curved text commonly seen in logos takes. For example, consider the following logos (all pulled of a recent Google search): Part of each logo is curved. In each case it appears that the curve is not along the path of a circle. It looks like it could be either a parabola or a hyperbolic sine, though I can't tell by eye. Presumably they used some graphic design software that rendered the image, so a correct answer can cite the practices of common software to achieve this effect.
I want to build on my Photoshop performance and a key solution would be to learn the shortcuts for Photoshop. That said does anyone know a reliable place to get Photoshop CS5 and CS6 shocrtcuts listed?? EDIT The shortcut to the shortcut list is Alt+Shift+Ctrl+K Also upon review thanks to @John. In Illustrator CS4, CS5 and CS6 also has the shortcut list and the shortcut list is in CS4, CS5 and CS6, too.
I've heard of different methods in getting a nice highlight on the top of a button. Can some of you explain a preferred fx for the example here? Along side the nice highlight on the top of the button, can you explain how each button is tastefully differentiated? http://dribbble.com/shots/391714-Archivme-iPad-app-iOS?list=searches&tag=buttons
I've heard from a bird that when you save in JPEG, you will always have terrible quality photos. But, I frequently see photographers post amazing photography on the web. I shoot in RAW, edit my photos, then save as JPEG and my photo looks very washed out, loses warm colors, etc. How can I save my photos for web-viewing without it looking awful?
Just out of curiosity. I know it's designed by Stanley Donwood. It looks like Futura with the M reaching slightly below the baseline.
In my computer science studies we are being forced to write a report every now and then. I have a background in web development and have worked closely with both print and web designers for many years so I know the importance of setting type and communicating messages in either good or bad ways. When we hand in our reports to teachers and professors they usually want the text to be justified with "single line-height". They do not mention anything about the lengths of each line and how many characters it should contain. This means that all the students hand in 120 chars per line in 12pt Times New Roman with 14pt leading, justified. Of course these reports are unreadable for several reasons, the length of the lines and the rivers (seas more like it) of whitespace floating around in the text are just a few. Since I have a background working with designers and I love nice typography I refuse to hand in a report looking like that. A problem that I have though is that I do not own a copy of InDesign, nor do I have the time to kern, change and space out characters and words if I would own a copy. I could of course, use Google Drive's or Word's "justify" feature and use 60-70 chars at each line but to me it still doesn't feel right when looking at all the whitespace in the body of text. Since I've been doing a lot of web development I've also learned to avoid the CSS attribute that handles justification of text. Until now I have simply used Google Drive with line length at 70-80 chars with 11pt Cambria as body with 14pt leading. My headers are in 14pt and 18pt Droid Sans with 16pt and 22pt leading. I've kept my text left aligned and tried to get rid of the worst jaggedness on the right side using hyphenation and I've been pretty happy with it. I've started reading more about justified text though to be able to defend my type setting choices against the evil computer science professors. I've read through some other posts and as always it "depends" on which type of text you have and how much time you have: Does hyphenation increase readability? Readability and appeal of justified text http://designinstruct.com/web-design/typography-common-myths-and-mistakes/ What would be your professional advice on making this text be as readable as possible without having to spend $$$ on InDesign? Justify in word/drive or keep it left aligned as is? What are your thoughts on the general problem of justification and hyphenation of there is not enough time nor tools available? https://docs.google.com/document/d/14mjNuMbDHtomWiwtRYR9duLC8Ug8nHDmt2g3p2Tn3mM/edit?usp=sharing
I want create an animation, and for this I need to create some pictures. My example consist in a envelope opened. But I need to execute this steps: Original picture. Paper tearing(rip) effect - (This step it's easy and I know how to do). Paper roll/curl effect. Paper roll/curl effect a little more. So, I need a help to do steps 3 and 4. I'm a begginer on photoshop, for my creations I usually search on internet for tutorials, but in this case I don't know what I need to search for.
Could anybody please advise steps in Adobe Illustrator for creating a greenish background with "rays" emitting from its middle? I.e. which tool to use for creating the rays? How to create the "inner" shadow on the rectangular border? Which tool to create the lighter spot in the middle I wonder how to approach this in Adobe Illustrator, because I need a vector output - an .fxg file for my Flash game. I. e. I can not use Photoshop or Gimp here. Thank you for any hints/directions
I have collected over the years a huge collection of brushes, 3gb worth, that I would like a way I can export them out and possibly make a database file of them. However, I am unsure how to export an .abr file to jpeg so I can have a screenshot of brushes. Does anyone have a suggestion?
I am relatively new to Illustrator. I use version CS6 and I just discovered that when I apply an outer glow effect it is not visible in the PDF after saving apart from when you make the effect really strong. I am currently writing my thesis using latex and when I include the PDF in my latex document no outer glow effect is visible at all. Has anyone discovered a similar behaviour?
I want to start designing my own icons. I already have some experience with Photoshop and I made some icons using a tutorial. Do you have any tips on how to learn icon design?
I have drawn a path and would like to perfect its symmetry by aligning some of the anchor points vertically. The align panel seems to work well for objects, but I can't figure it out for individual path anchor points. Is this possible and if so, how?
What are the best practice for translating documents in InDesign? I guess there is some mechanism for import-export XML like Illustrator Variables to translate without using installed Indesign? I'm thinking about this workflow: export InDesign data into XML translate texts inside XML import XML into InDesign correct translated pages
Note, this is about design much more than development. I build sites from scratch with completely hand written CSS and HTML. I've known about pre-build css templates such as Bootstrap or HTML5 Boilerplate for some time. I've looked at them a briefly in the past but never jumped into actually using them for anything. I don't have any issues resetting CSS, or including javascript when needed, or configuring for viewports. This evening, I coded a basic HTML5/CSS page. Nothing really earth-shattering in terms of layout. Simply a jumping off point. Afterwards I decided to give Bootstrap a whirl with the same layout. It's a pretty standard 960px, 3 column with hero image page. As I'm altering Bootstrap it occurred to me that 80% or more of my time was being spent learning what class or id was applied to something, then finding that in the CSS to adjust. It became clear that Bootstrap was not going to save me any time at all. In fact, Bootstrap would greatly increase production times due to the *overly templated CSS. *(by "overly templated" I mean there's a great deal of CSS I probably wouldn't use for any given web site. Not that there is unnecessary CSS on the whole.) I understand that if I were familiar with Bootstrap I would be familiar with class/id names and general location in the stylesheets. So, I'm willing to bend a bit on the time it was taking me, realizing that some of it was due to my own unfamiliarity. However, I can't help but wonder if Bootstrap et. al. are merely crutches which are crippling designers by spoon feeding them their own brand of code. Thus locking in a consumer base which will rely entirely on a third party solution and it's functionality for everything, or at least the majority. It reminds me of those that can only design a web site if they can use Dreamweaver. And heaven forbid if they don't have access to Dreamweaver and a change is needed. When I build a site I use my own set of standard class and ID names. I structure CSS how it's intuitive for me. I have my own set of pre-build templates for quick set up. Therefore any site I build I can edit fairly quickly. Using any of the pre-configured front-end packages simply means I need to learn their naming conventions and their structure rather than relying on my own. Can anyone extoll upon me the great virtues of such templating systems as Bootstrap or HTML5 Boilerplate? What makes them valuable to you? Are you merely familiar with the system you use so you can navigate it easily or do you still have to hunt for items? Could you build a site without them if you had to?
I ask this question because it is in relation to Scott's thread here. I understand we have a WordPress stack exchange but I wanted to know before I dive into WordPress how designers have approached learning. Did you find it easier or beneficial to just dive into traditional themeing or did a pre-existing framework help? I've debated frameworks and I have spent months researching possible issues because I would like to implement Woo and BuddyPress in my CMS but I'd hate to dive into a framework and realize that it isn't compatible with what I need to do. What experiences have you had and is gantry a possible solid solution?
When someone sends me an artwork file and I need to see if certain elements are vector or raster, I currently just quickly zoom in all the way to see if the artwork pixelates or not. I'm looking for a PDF viewer that has a function similar to Illustrators View → Outline render mode, or any solution that would quickly allow me to differentiate between raster and vector elements in a PDF without having it open it up in Illustrator. Are there any viewers that can help accomplish that?
Reading through concept art forums, Ive met an opinion, that one of the most important things for a concept artist is to have a vast visual library. Out of the context of that opinion I take that this is about a "library" in your head, not on your hard drive. I would like to know what is a visual library, why is it so important and how to work on it.
I am developing a site and got given the design as a PSD, my question is, can I select an individual element, say the social media icons, and save them as an image? What I have been doing so far is hiding all the layers except the one that contains my element, then resizing the canvas to fit around that element and saving as an image, while that is required for items where several layers are used to obtain a specific effect it seems kinda longwinded for elements which are in essence just images (the other method is to export needed layers to a new photoshop file etc, but is also kinda longwinded). I did try to search for an answer but couldn't find one, so I apologise if this has already been asked. If it makes any difference I'm using (or trying to use :D ) Photoshop CS6 Edit: On Windows 7
Using Photoshop, when I change the document size from to 72.25cm x 54.19cm at 72ppi to 12cm x 9cm the resolution jumps to 433.493ppi. How can I stop Photoshop from doing this?
I wonder if there are other - similar intuitive ways - to visualize that some parts together on a chart are the whole / complete / sum up to 100%. Probably the most commonly used and understood is a circle because the beginning and end is touching but it seems a bit .. well, overused. It would be nice to find other ways. Here is a quick sketch with ideas; while 1 communicates completeness, 2 does not really. But does 3? What are other ways?
I googled this question and searched for an hour, every one specify their own likes, but i want to know the correct code to align the div in center position.
I know how to do this using image processing in Adobe Bridge, but I want to also adjust the image brightness and levels and also place a watermark on the images. Is there a method to do this in Photoshop or Bridge?
I'm trying to create a cloud image which can be resized without stretching, for an iPhone application. There's a method in iOS called resizableImageWithCapInsets which allows me to specify a number of pixels from each edge I don't want stretched, but the issue there is that the 'bubbles' around the edge of the cloud would be stretched. I can't quite get my head around the best way to draw or create it, or how I'll stretch it when I get it into my application. I'm talking about something like this: The bubbles on the sides of the cloud shouldn't stretch, but new ones will be created for however long / short the button needed to be. For example, if the button needed to be half the size of this image, only 2 of the bubbles would be shown, but if it needed to be taller, more than the 5 here could be, it'd add and remove them as necessary. I'd set minimum sizes so that at least one bubble would always be there, preventing issues if it got too small. The bubbles themselves can be tiled if need be. Does anyone have any suggestions on how I can achieve such an effect, either from the perspective of software development or graphic design?
Hi :) Does anyone know if there is a way to select individual layers on a canvas in Photoshop without having to select it in the layer window first? I know I've done it before but I can't remember if it was in illustrator.
I very recently started learning how to use Adobe Illustrator (CS6), and just now I noticed something strange. When I add a 1pt stroke to my shape, it gets slightly distorted. This distortion does not disappear if I remove the stroke. (But only if I remove the stroke by setting its weight to 0. Using CTRL+Z does return the shape to its former state.) After adding and removing the stroke a few times, the difference becomes quite noticable: Am I doing something wrong? Is it a bug? I can't imagine this being the expected behaviour. EDIT: I think I figured it out. Appearantly, turning 'Align to pixel grid' off doesn't affect previous shapes. If I turn it off and then recreate my shape from scratch, the problem is fixed. However, I was wondering if their is a way to disable the effect for existing shapes. In other words, can I 'fix' the shapes I created while 'Align to pixel grid' was still on?
How can I change this black icon to the same shades and colors as this orange / gold icon?
I am somewhat confused as a graphic designer. What is that distinguish them. I know what both provide to some extent. Like I read about LESS and liked it. I guess i want to know what is a difference between framework and preprocessor.
Is the a name to the shape that connects the outside of a stencil letter to its interior enabling the letter to be cut through and retain its counters.
I want to use graphic design and website design to teach history to 8th graders, so kids can express what they have learned about history and use their knowledge to teach others. I also want to use design practices to plan the research learning and analysis of the information. I'm currently using wix.com as software, but what other resources are available to help me teach history to kids?
In this image you can see a preliminary grid and then circles are added that are aligned with the grid and then the shapes are formed by the intersecting circles, etc: I'm looking for some examples like this. Even works in progress and logos that didn't make the cut are ok. I'm trying to understand the thought process behind logo design.
The part where the human is shown. I have the original image in color and want to convert it into the red effect. What is the effect called and what technique is used.
What are the basics of an attractive web design? What should I be looking for and what sources should I use to educate myself on the matter?
Serif font such as Times New Roman is usually used in printing document in Windows. What is the equivalent font in Apple?
I need to batch resize multiple images and thats really easy in Photoshop insert a folder and get a output in anther folder. But i need this to output multiple images of all the images inside the folder is there a way to do this at once? This is what i want:
My graphic designer has specified Gotham Thin for the font in the iOS app that I'm writing. I googled around and found a site that will sell it to me, and I found some sites that just will let me download it for free. How do I know if the free site is legitimate or not? I don't want to be a pirate but I don't want to pay if I don't have to.
In my Photoshop fonts menu there's a lot of fonts I'll never use, and these get in the way of finding the fonts I do use. Can I hide those never-use fonts from Photoshop? (I'm not sure font management software would work because a lot of these fonts are system fonts and a font manager's solution to my problem is to completely deactivate the font, which would hide that font both from photoshop and the rest of the system, and that would cause problems, I'm sure).
I'm using CS6. Can someone tell me how to display all the controls of the timeline window ? Here's what mine looks like: All the demos / tutorials [show the timeline quite differently there:
So I have a series of images that I am trying to make into an animated gif. I have an animation time line and all that basic jazz, and I have saved for the web as a gif. When I reach the final save menu, I only get the option for html and images. The html setting shows the animation in sequence but cannot be uploaded to my webpage with out only being the first image of the animation with no action at all. The image setting just shows all the images in separate documents. What is up with this thing?
What are drawing techniques you use for digital graphics? Whether it be drawing with a pencil, scanning; or using illustrator from scratch. What are some methods you incorporate? Tips and tricks are welcome.
I know I am my worst enemy from critique to execution. I ask this question because I wanted to know any good ways to stop myself from going on and on in my own work. I have several ideas and things I'd like to design but I realized last year I only completed sketches and drafts and never really followed through with my personal projects or goals. Its easier when you are working for a client and it helps when you have a design process, I get that, but when you are your own client what do you do? I've heard some that will outsource to a friend but I feel to me I'm telling myself I cant design for myself if I did that. So the question is when designing for yourself, what do you put into place to prevent yourself from disaster?
Just discovered the "asterism" today: ⁂ Super cool. I had never heard of it or seen it before. Wikipedia has more about it. What other typographic symbols are out there that were never all that popular or have fallen out of favor? What were they used for? I placed in two that I know as a community wiki; I encourage others to build out a list.
I know there is software (like SteadyMouse) and hardware (like big key keyboards, mouse adapters, mouse pedals, and so), that can make the use of a computer easier for people with Parkinson's Disease or mobility impairments. While developing / programming is achievable (it might not take the same time, but it's possible top do it nonetheless), does the same happen with design? I'm trying to think about design specializations that don't require that much precision with the mouse. Can you think of creative ways of working for someone who enjoys design, but has limited motor abilities?
Often when I apply some effects to layers, and I merge them, the ones with effects have their blending mode messed up. They act as if all of their layer blending mode became normal and then merged. But I think sometimes it doesn't happen. What can I do to prevent this?
In other languages, alphabets can combine characters into symbols. I don't know if Photoshop can do that. Is there a clean way to do it, or a special plugin (preferably free)?. Maybe there is some hackish way like opening 3 programs and then writing in one, clearing in 2nd and then pasting in 3rd. I mean Photoshop is used in other non english countries. What do they do? Or Adobe doesn't care about them?
I want to create shapes using the shape tool, but then change the stroke to a line that looks hand drawn, or lay down a brush stroke that follows the same path -- by some method other than tracing with a mouse (I have no stylus). Is it possible?
I've got a poster design that I wish to print. But provided that poster has multiple colors that won't go good for a screen print (further, I would like to restrict screen printing to t-shirts), is there any printing technique that can be used? Please note that, one I'm a DIY guy, and two I don't want the prints on a large scale and hence won't prefer the idea of going for offset printing or some Print-on-Demand printing firm. Please let me know even if there is some inkjet printer or the like that you use that gives out good prints of A3 size at least. Thanks.
I have a bunch of Smart Objects in a .psd. I want to create an action that opens up the .psb of each individual Smart Object and scale the .psb image size by 150%. The reason for all this is that each .psb contains a Vector Smart Object, and if I scale the Smart Object from the parent .psd the result is a blurry mess. So the only solution as I see it, is to open up each .psb and scale the image size by 150%. I don't know if it's possible to do this with a Photoshop Action, so that photoshop performs the above hokus-pokus on the selected layer? I can only get an action to work on a specific layer? Alternatively it might be possible to do this with a jsx-script, any hints on how to go about this is also highly appreciated.
This was asked in another thread. When I searched to see if this question has been asked before it was not. Per Meta we are encouraged to create threads that show quality solutions or to future assist others. What do you do to prepare your files for CMYK printing in InDesign, Photoshop or Illustrator? What is a good way to test print the output before creating plates? How should you prepare a file for 6 color printing? How should you prepare a file for 8 color printing? In regards to preparing for black this is an excellent thread.
As you can see at the left, there is a lot of white space at the bottom of the page 1. My boss doesn't like it and forces designers to put "enters" (new lines) between the paragraphs in order to full fill the page more evenly (as in the right). Doing this will broke the automatic system of InDesign because if something is added later and there will be no white space, then it will create white where it should not be (because of the white space). You have to notice that this is done with flow, it means that content flows thought the pages, sometimes up to 16 pages, so it's very probable to change something and white spaces will changes again. Then some design should look around the whole document to remove the new lines created. Is there any way to automatically fill a page in InDesign? thanks
I'm messing around with some premade site designs and I really like the color balance of one, however the scheme is not the color I'm looking for. There are about 30 color variations in it. Is there any way to find the numeric relation between the hex colors and then recreate that using a new base color?
I had a project head tell me I had to leave the registered trademark symbol ® in standard, unbolded, non-italicized Myriad Pro. Is this a requirement or just a style choice? Curious to get feedback before I engage further in the discussion with him. Thanks!
This SHOULD be really simple, but I can't seem to achieve it effectively with Inner Glow. The effect is so commonly used; nearly every logo here features the effect of a subtle gradient effecting a slightly darkened edge to the base background colour. I can't seem to get an effective gradient between my dark outer tone and base inner tone, instead stuck with a "banding" effect in Ps. I've yet to try in Ai, but any tips to creating it there would be sincerely appreciated too! Many thanks in advance!
This is more a question for the web designer guys. I'm just wondering how you guys deal with sending designs to your frontend developers? Or do you just do it yourself? What is your process for sending your designs to your devs? ie Do you send PSDs, or PNGs or other? How do you send them? Email, dropbox or something else? And what do you do when you need to make changes to the files? Do you send a new comp? Or just a list of email instructions?
In a Flex card game I have all cards as vectors (purchased as stock cliparts), but the back of the cards has been bitmap (couldn't find a good stock clipart) So I've asked a designer at a job board to draw me a back in Adobe Illustrator, which she did and the FXG file looks flawlessly - in Adobe Illustrator: and in Flash CS6: But looks absolutely wrong where I need it - in Flash Builder: Does anybody please know, how to get rid of those "out of bounds" lines? How to "cut" them of? This is porbably some minor change, but I just can't find it in AI. UPDATE: On Scott's suggestion (thanks!) I have selected Expand Apperance: But can't find the crop he suggests...