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I am producing an A0 poster. I have been told that the printer is a Canon iPF8300. The spec says; Maximum Print Resolution 2,400 x 1,200 dpi Nozzle Pitch 1200 dpi x 2 I'm not sure what these numbers mean. i.e why the max print ratio is 2:1, I thought that it would be square like he nozzle pitch. Would I be right in thinking that it would be 39732px x 56184px for A0 (33.11 x 46.82)
A designer has created (for money) a set of button icons (Facebook, Settings, ...) for me, where all buttons have the same rounded rectangle outline: Now I need to add few more buttons, for example with a train picture - but the designer doesn't answer my mails since weeks (longer vacation? busy?) So I am trying to do it myself, but being a programmer I know Photoshop even less than Gimp. How could I add the train picture to the existing buttons? I've created a new layer and pasted the train there, but have 2 problems: How to scale down the train, so that it fits into the rectangular outline? Yes I can scale the train image in Gimp, but I'd prefer to do it "live" while editing the button icons file in the Photoshop - so that I could move and scale the train pictue until it looks well. But I don't see a "scale layer" command in Photoshop's menu? I have problems with the outline, it is covered by the train's grey background. Or vice versa - if I move the train layer underneath it: Any help please? Here is my psd file available for download.
Our company uses gmail as the email client, and so our signatures are made up of text that can be edited in the text editor and images that have to be hosted on our server. CSS is not an option. Any idea on how I can prevent my email icons from showing up as blurry?
So you often see the first paragraph, for example of an about us page, where the first paragraph has a larger font and just kind of gives an enticing bit of information to read further. Anybody know what these are called? thanks. Heard it referred to once as an exciter, but not sure if that's just something the person made up or not.. edit: added image.
I'm using Photoshop CS6. As I make a selection and cut it (copy and delete) I would then like to paste it in the exact same position but on another layer. As I use the "paste in same position" command, a little gap is left. This ALWAYS happened since I use Photoshop (CS4, CS5 or CS6). How can I prevent this? Thanks!
On most of my documents, I have places where people can write their name and number. I found, many people do not print clearly, so I cannot read the numbers. For e.g., many write their 5's like 3's. I know of one method used to provide student numbers on testing forms which involves a series of many bubbles, and people fill-in the ones corresponding to their numbers, however, this takes of a large amount of space on the page. Is there any way to design the forms so that people print their numbers clearly?
What is the name of this font? I have checked in many sites but could not get a proper answer. In the given picture, the letter T looks modified.
Is there a name for this effect and what would be the best way to achieve it in Photoshop or Illustrator in terms of filling a different vector shape with a similar distribution of rainbow circles? Another example: I did something like this long ago, but it was painstakingly slow by hand and I'm sure there's a better way.
How do I rotate the this image by 30 degrees but still have it be tileable? https://i.stack.imgur.com/4bAnk.png
I'm an amateur graphic designer, with a decent head for theory, and intermediate skills. I would like to run a graphic design course for my friends, but I would prefer not to spend months on developing the course. I recently ran a workshop on using git, and for that I used someone else's open source git tutorial, which I modified, and expanded. I would love to be able to do the same with a graphic design course (ideally, a short series of workshops). Is anyone aware of such a course? e.g. a set of editable slides, or a course outline/framework, that is available under an open source license (creative commons, GFDL, etc.)? There are plenty of courses available on youtube, but for the most part, they aren't available under an open license, so I can't re-use the content. There is also the wikibooks graphic design book, but it's pretty empty, and also not really in a suitable format.
I'm attempting to create a login box based on the below, but with a line (in the same style as the outer stroke) dividing the two sections. Is the best way to do this to literally draw a line as a new shape layer through the middle of the box? I'm wondering if there might not be a better way involving combining paths, or something that would make the whole thing into one shape... Any advice appreciated.
I wish to create a bookmark shape within a bar shape and make it look like it is "part" of the underlying bar shape, i.e. It conforms to the same gradient, but is only a different color. I created the below bookmark before I wished to do this. It is currently a smart object and also a raster image, so I am assuming it will be of no help. My idea was to use the Pen tool to create a work path as part of the bar (using this existing bookmark as a template for the shape). I did this, but I was not sure where to go from there. Any advice would be very much appreciated.
I recently learned to create custom brushes by selecting an area and using the "custom brush by selection" option. What I'm trying to do is make a square brush with a slight tilt to it (I'm using transform to rotate a perfect square to a small degree). Every time I highlight the angled square and create the custom brush it gives me a circular brush that seems to be the exact same as the default Hard brush. Has anyone experienced this issue or know how to work around it? Is creating a square brush impossible or do I need to build something more rectangular?
Currently working on a redesign for a dental laboratory. While testing the home page with a user, they never clicked on the links in the subnavigation. They clicked on the larger buttons in the links to the main pages. The asusmption when I created the wireframe was that the user would click on the descriptive links based on what they needed to do. I thought it would be super convenient to have a list ready for them to just click on the action that they intended to do. I would also appreciate suggestions for Font size Font color Font family for the headings List item Ideas for images where the thumbnail is supposed to go, or maybe it needs to be removed. Round out the buttons a bit more? Let me know any thoughts and why you feel that way, thanks. EDIT: After some suggestions from other professionals here, I created another revision (not yet tested with users)
I am working on a HIPAA page (legal disclaimers in the medical industry). I am including a screenshot of the bottom portion of the page. I think this looks good but wondering if I should perhaps go with a darker font. I was also told by a tester that it "looked to casual." The actual font I used was 'Sintony.' Also wondering if maybe I have too much margin in the footer and open to other suggestions.
I have two lines with a double appearance: which I would like to be joined at their intersection: (which I did with Object->Path->Join). However, I don't want the lines to be joined at the end; rather, they should look like: I was able to achieve this effect by converting the lines to objects and unioning them, but that makes it very difficult to adjust them later, which I need to do fairly often. Any ideas?
This is a fine piece of iPhone app icon: I'm wondering how they created the fine texture along with the slight 'glow' on the edges: I suppose the texture is made by a semi-transparent layer on top of the red background, but how did they do the light red glow on the border of the icon?
I'm trying to think of a way to graphically represent the idea of credit, as in money owed. Are there any conventional solutions to this?
I'd like to improve the visual appearance of these widgets. What tools are available to help me? I am in need of advice on how to make widgets I create look and feel professional. I am no artist and have been tasked with making these widgets pretty, but I am not sure where to start. Some ideas I have are: make the background black or dark gray to match the overall dashboard these widgets sit in. Change the text to white. Make the text boxes have rounded corners or just make them invisible. As far as tools I am using, I am simply using Eclipse with GWT (Google web tool kit) to build the widgets, but this may change as we also use the Dojo JavaScript tool kit. The dashboard is a custom layout that holds 5 different widgets with specific dimensions.
I have a huge SVG file that I filled with all the characters for a font. There are a lottt of characters and it'd take forever to manually copy each of them into its own file. Each character has all of its paths combined into a group, so if something could automatically put each group into its own SVG file, that would solve my problem. Any ideas? Thanks!
I know I can hold down shift to drag a line constrained to 45° or 90° with the pen tool in illustrator. However, I'd like to see the line previewed interactively as I draw. I can get that behavior with the line segment tool, but need multiple segments linked together. Is there a way to do this? (Obviously one option is to draw all of my segments individually with the line segment tool and then join them together, but then I have to do a lot of post-hoc adjustment to the joins if I didn't line up the ends perfectly in the first place.)
I have an image/chart that takes a long time to print - actually, a long time to create the post script file. Years ago I had a tool that allowed me to 'inspect/view' the chart and it visually showed that the chart had some highlighted areas that were "out of bounds" from the top of the image borders. This tool allowed me to edit the metadata and change the value from, say 10,000 to 10 - and that area was back within the image borders. Apologies if this is vague/unclear. Basically, I have an EMF file that MSPaint errors with "Paint cannot read this file. This is not a valid bitmap file, or its format is not currently supported". It really is an EMF file since the app that creates them saves the charts as EMF. So, does anyone know of an open source tool that would allow me to edit the metadata of EMF files? Thanks
Can anyone suggest a good stack of fallback fonts for Adobe Garamond Pro (serif) and Proxima Nova (sans-serif)? The obvious choices are of course: "Garamond Pro","Hoefler Text","Times New Roman",Times,serif and "Proxima Nova",Arial,sans-serif Thank you,
I've recently moved to linux from Windows7. The only program I can't do without is photoshop. I make a lot of banner ads and small landing page creatives. My question, is it realistic to switch and would I be able to easily create graphics like this? They're fairly straightforward but I do use a few filters such as drop shadow, inner glows etc.
I found a logo of a company named Ibbt. As you can see, there is a separation between elements (the shapes in the left). Can anybody tell how to create such effect in Illustration?
InDesign GREP rules can get a bit mind-bending. Suppose you want a paragraph style with a GREP style rule that applies a character style to everything except text after a certain character. Something that doesn't apply to characters after a certain character, but applies to everything else? For example, imagine a long list of article titles. Some are short titles, some are two parts with a short title then a colon then an elaboration. You want the whole of the short title ones to be emphasised, and everything up to and including the colon to be emphasised in the long ones: Adders of Angola Brilliant Badgers: the brawniest beasts of Britain Caravanning Crazes of Coastal Canadian carp Danger: the dastardly ducks of Denmark I've tried a bunch of rules but none seem to work for this. I thought it might be possible using a 'negative lookbehind', like (?<!:.). or something, but nothing like that seems to work: it looks as if 'lookbehinds' and 'lookaheads' can only apply to the character immediately before the character you're looking for. Any GREP experts got any ideas? Here's one thing I figured out after a lot of browsing and trial and error, which I think logically should work, but doesn't work, for reasons I can't figure out: \<[^:]\|\<[^:]*: In theory, that should mean "Grab everything from the paragraph start until the end of the first run of characters that aren't ':', or, if there's a run of characters that aren't ':' from paragraph start until a ':', grab that including the ':'". In practice, it just applies to everything. Can't figure out why.
The client I work with has undergone an internal branding exercise. The result is that all of their documentation standards have been updated to include a common header. The header contains a black background with an orange electric wave as a prominent design feature. I've now been asked to incorporate this into their intranet design. Can anyone please provide me with any examples of web design elements incorporating an electric wave? The designs can be either prominent or subtle. I'm basically struggling to design around this without it looking dated. Any inspiration would be appreciated.
The ideal measure for single column of text is most widely accepted as around 65 characters, but does this depend on the language of the text? Some languages like French have much longer words than English (on average), and thus can fit less words per line. This can be thought of as less information per single line of text.
If you were to do a google image search for cyber security you'd see exactly what I mean. Even the slickest images representing cyber security or cyberspace seem to fall under a style that IMO is very iconic to computer related subjects in the late 90's and early 2000's. Eg. glowing blue streams of light, glowing blue anything, ones and zeroes repeating themselves, and desaturated, or of course, blue, wires or illustrations of circuits fading into each other. I understand that this imagery, the wires, circuits, and binary representation, are on point depictions of the subject we're talking about, but they're still iconic to a certain era of computing. I need to make a facebook cover photo for an organization involved in networking and cyber security, and could use a basic direction to go in. A facebook cover photo is a lot of space for imagery, and we're not using a group photo, if we even have one. So how can I represent cyber security, networking, etc, while avoiding this iconically dated look?
I have created an arrow shape (rightmost in image), from which I wish to cut out the majority so that only two thin sides remain. The most accurate way to do this would be to duplicate the shape and to somehow use the duplicate (leftmost in image) to remove the chunk that I no longer desire from the original. I am not sure what to do after the duplication, however, or if this method is even possible? Is there a better one?
I had a catalog layout with 200 captions. They all have the same distinctive character style. I am searching for a solution to export only these caption texts with the distinct character style out of InDesign in a new document as for example, an RTF text. The format doesn't matter. It's more important to have only the captions out of the whole catalog.
I'm working with a .png (a logo with text) found here. When I import to gimp and try to scale it down, to fit my canvas, the text above "DON DAVIS LECTURESHIP... etc" becomes illegible from pixellation. How should I go about solving the problem, if I can.
How would one go about creating a lined 3D effect as shown in the image below?
I have the following icon as a raster image, and I need to extract the "i" to do something with it. I'm not able to identify the font (it isn't Times), so how might I go about "removing" the i from this so that I can manipulate it further? I tried Quick Select but it gets messy.... Is tracing it with the pen tool going to be my best bet?
BACKGROUND OF PROJECT Initially I envisioned that the header would have an image that can span the entire width of the page. I was thinking centered, and it would be so wide that as you stretched it, you would see more but it would blur progressively outward. However without having a photographer to shoot that with a better set and models I only have the current image to work with. And here is what I have created so far. *disregard the items on the top bar which are in progress CURRENT OBSERVATIONS My thought process when I created this current example was that a dark background would force visual focus to the image. The models are then redirecting you with their eyes to the message and call-to-action. I was wondering what your experiences have been or if maybe I should go with a different color.
I'm setting up a new Mac :) I know that my huge font collection will bog down its performance considerably, so I'm looking for a way to store and access them externally - either on an external drive, or preferably in Dropbox. I would like to keep only the basic system fonts that shipped with the mac onboard, and store all the rest externally. This is easy enough but I don't know how to get Photoshop to pull the fonts from an external folder (other than my user library fonts folder). In addition to that, I'm working between multiple computers, so I would love to be able to sync fonts between all of them. I have found some solutions involving Dropbox and Fontcase, but those still require me to store all of the fonts natively on each computer. Anyone know of any solutions for this? Thanks!
How can I apply long exposure lighting effects to a road (ideally using Photoshop or Illustrator)? See the image below for an example. How can this be achieved?
I'm working on some print design in Adobe Illustrator, but I can't seem to figure out this one thing. It's probably stupid, but would really appreciate if someone could help me out. I've create a modified a circle - shape, which has a number of anchor. When I fill it, I need there to be a circle in the center which would allow that center to be see through and reflect the design of the background. But when I use the pathfinder I get a weird output which I assume is due to the anchor points in the back image. I figured this wouldn't be too clear in writing so I have made a video with my problem! http://youtu.be/-urNULSH7GE Thank you to anyone who can answer this!
I have a site screen shot(like this - http://d.pr/i/KxHN), and i want to rotate it to "perspective view" like the below image. How i can do that? Google hinted nothing about this problem.
I've learnt the basics of InDesign and created a 10-page magazine with some adverts in (stored as PDFs). My earlier question here was from a purely educational standpoint; not an actual printed magazine, for clarification purposes. (Apologies for not clarifying this last time) The version I am using is InDesign CS5. The magazine is 200 mm x 270 mm (200 mm width x 270 mm height) and I have adverts in 193 x 270 mm (all dimensions quoted here are width x height), 193 x 130mm and 93 x 270mm in size (stored as PDFs created from InDesign). This magazine is only for educational use; I am not actually printing a proper magazine yet. My question is, what's the basic standards for inserting adverts into InDesign (I know how to do it using the Place function of InDesign) - do you insert them in at the size the PDF was (193 x 270 mm advert for example) or would you rescale / resize them? What do you tend to do? I did look up on Google, but that was information on how to do it, which was useful for me. However, what I'm wondering is, if this was an actual production magazine, how would I do it properly?
All designers love ligatures but vanilla web typography just sucks. I heard of smartypants that solves many of thoses issues, bringing sexy quotes, gorgeous ampersands and all. It's just perfect, visually. But i'm worried about SEO. Let's say on a web page, the word finally becomes ﬁnally. Are search engines capable of indexing that word and return the page when searching for finally (without the ligature) ?
I am looking drawing lessons of the illustrations in vector. Or in any editor.
I'm going to create GUI for a mobile app that will work in bright sunlight environment (inside a car so it will not be fully exposed to sunlight) and the usability and visibility of certain GUI elements are the most important factors. What are some tips for creating such UI? What colors should I use?
Any ideas which font is being used for Google Plus social "g"?
Can anyone identify the font in the graphic below? Thank you.
I'm developing an app, and I would like to use this font: Does anybody know what it is called?
Is there any way to easily generate this? thanks!
I have this 1754x1240 texture which I use for vintage effect in background images in my iOS app. iPad screen size is quite large 1536x2048 and when I apply this texture directly to an image that size it doesn't look very nice. I tried downscaling this texture and cloning it all over the image but then in the edges there are abrupt transitions, which doesn't look nice neither. I tried gaussian blurring for the edges but couldn't get it to work. Is there any way to extend a part of this texture (with smooth transitions between repeated parts) so I can apply it to an arbitrary size image? Hope I'm clear.
Lessons learned defying Joel Spolsky with Django by Nick Bruun I love the fonts - would really appreciate help in identifying the fonts.
Is it possible to import a Illustrator document into Photoshop and keep the layers - we need to supply a multi layered document to a client in this way asap... We have tried exporting the doc as a PSD from Illustrator - but the 'write layers' option is disabled for some reason! Any advice? Thanks
I've been learning how to use FontForge and am now getting my feet wet with kerning. I see that there are two options to do kerning: classes and pairs. To me, classes seem to have no downside. When I'm setting a 'T' to a 'c', 'e', and 'o', I can do them all at once! If I have something that's a bit of an oddity, like an 'a' or an 's', I can just set it by itself (knowing too that once I get into diacritics those characters won't be alone anymore). So, why would I use pairs at all? Is it just a legacy thing since pairs came before classes? Does setting up a class introduce a lot of overhead into the font file that can bloat it or slow it down?
I have an image, it's the Backtrack_5_PitchBlack.jpg found at http://www.backtrack-linux.org/screenshots/, and I'd like to get it down to 640*480 for a Grub4DOS splash screen. Unfortunately, this also means I need to index it to 14 colors (or less) and save it as an XPM image. I get that I can crop the whitespace around the edges (so as to avoid needing to scale the image unevenly,) but will I get better results doing the indexing before, or after the scaling? To summarize: I need to - Crop the image from 16:10 to 4:3 Scale the image so that it's 480px high index the image to 14 colors I'm using GIMP, what's the best order of operations here? I'm most likely going to use the Floyd-Steinburg (normal) dithering, but I also need to know what the best Scaling algorithm for this is. I'd prefer to have it look as if it were vectored straight into that size - edges as smooth as possible.
I'm a project manager coordinating development of audio plugin software. Our GUI designer is using Altium 3DS to build a 3D photo-realistic GUI, and will then output images from there for the software to use for knobs, etc. The plugin software wants the knobs to be provided as image arrays -- where a knob is embodied by a single PNG file which is a horizontal, end-to-end concatenation of all the images that are shown as a knob turns through its rotation. My 3D designer tells me that 3DS can render the knob out as single frames, and he has to then manually assemble all these together in a single "filmstrip" image array. I want to lid that time consuming and error prone assembly process, perhaps by using a capability of 3DS, or a Photoshop Action, or so image assembly utility? Can anyone suggest the most effective method?
I am working on a project for a small organization that publishes PDF magazines to ISSUU.com. We are discussing adding infographics to the publication, but some can be tall and can't be used in their full size withing the boundaries of the page. Is there a way to save an infographic or insert it into the publication that will allow the viewer to zoom in on the content? Can we still use PDF, or do we need to publish in something else before uploading to ISSUU? Our publication is small and working off of a PC, not a Mac, but we are working towards expansion. Any advice you can give will help us, if not at the present, then with budgeting for future purchases of better resources and tools.
Let's say I wanna make a website that would allow a user to download a wallpaper in sizes for PC, HD, mobile and tablet. What are the top used / best image dimensions I should host?
I'm handling a lot of company images (300+) at various resolutions (16, 48, 256) and the appended '.fw' is becoming a huge waste of time for me. After creating the images at the 3 resolutions I use the extremely useful batch process built-in to Adobe Fireworks. However, while the exporting function works fine, the renaming one doesn't. I ask it to replace '.fw.png' with .png' but it doesn't work. Any idea why? and if there's a fix? I have a suspicion that it's because it part of the file extension. The image below shows the fields available to specify the batch. The 'With' field doesn't allow any '.' (periods, full-stops).
I downloaded a paper back book cover template from Create Space and loaded it up into Inkscape (and used GIMP to crop the background images to fit the template). What steps should I take, and what settings should I use, to guarantee the final pdf file of the book cover will test out at 300 dots per inch in Adobe Acrobat XI preflight? Scenario One. Your background image jpegs have a resolution of 300 x 300 pixels. Scenario Two. Your background image jpegs have a resolution of 72 x 72 pixels.
Is there any hotkey assigned for entering into text-editing mode with Type tool in illustrator? Without using too much mouse clicking, this would be definitely helpful for my design work productivity. I wonder if there is any for this? Any advice would be very much appreciate?
I have used textures from services such as FreeImages.com (formerly sxc.hu) and different bundles but is rarity that they connect well together. This print design resulted in odd lines and some bad textures where the images do not connect well together. My friend suggested blurring and I think it could work with the best textures but not with poorer ones. So how should I design this kind of textures? Some good sources and which method to use with poorer textures for large city facade designs? Update Use Photoshop and put each vertical texture to independent file so the file size does not increase too fast, easier to manage. In Photoshop, I used the finger, perspective projection, rotation -- to create dark textures for a tall building from this texture. Now if you look at the general trend in the black-white picture, you can see that certain patterns are too repeating here. It is very rough and time-consuming to use orthogonal textures with convex fix and then adapt it to the environment. For an arbitrary-sized building how to automate the creation of unique tiles? Basically the problem would require to build a convex lattice against which to apply the texture with light coming from the floor level when the texture rises up like a tower. How can you do it? With some 3D software that could extract the light-adjusted texture?
I made a 10 pages file in In-Design, RGB space designed for web. Created some masters. After exporting (smallest file size as well as others too) to pdf the result gives me different tint of color on pages even if i used the same master. So, if page 2 uses Master A and page 4 uses the same master A, in PDF they have a different color, more like they have a different color management. http://postimg.org/image/8yyw8c5pd/ Up is the page with wrong color. Page 1 uses the same master as the page 3 below (at page 3 you wont see number in this print screen) but their colors differ and I don't get it why. I still need this file the same colors everywhere and the right color is displayed at the page at the bottom.
I'm working on a form that could be filled out manually, or submitted digitally. Here's the issue: When submitting digitally, I have certain forms that have 3 lines for the user to fill out a significant chunk of text. Instead of it compiling on one line using the 'multiline' checkbox in acrobat, can i have it automatically wrap to the next line as the user types to the end of the previous line? Basically, there are the normal lines which need to be there. I'm wondering if anyone has a script (and how to implement) that would allow when a line is full, to jump to the next line down, flowing the text to the next line. Here's a screenshot of how the form sections look: If anyone has run across this, any help is much appreciated.
While this is loosely graphic-design related, when doing design for some kind of annotations, one have to work with symbols used as 'reference markers', such as 1 in foo 1. When you need to discuss the decisions regarding these, you may want to use a distinctive word. But how are, or should, these be called? These are usually numbers, however, this won't make them different from exponents; and saying 'numbers' is not very distinctive when the content body is dealing with or using numbers, too. They could be referred as numbers in the upper index or superscript, however, they not essentially need to be a superscript (especially if you try to experiment with something new in your design). In some cases 'reference markers' as numbers can also be a bad idea, eg. annotating a math text. How should these be called? Numbers? Numbers in the superscript? Reference-mark symbols? Annotation symbols? Is there a term for these?
A regular client of 3 years typically orders prints from us quarterly came in over a week ago with an order. Sometimes this client comes in with the designs and sometimes we do the designs in house. When we were finished with the designs we sent the proof and then heard word from the client that they actually had the designs already produced so we used the designed provided. We had sent a bill to the client Monday in regards to the prints and design time we spent. Now the client feels that they shouldn't have to pay for the design time. So what to do? Let it slide and remove the design charge? Proceed with the request to be paid?
I have SVG files which i import into CorelDraw for exporting them into PLT/HPGL files. The SVG files are polygons with extremely high node counts - up to 10000 nodes sometimes. When i export them to PLT through Corel or Inkscape the lines are sometimes broken. The breaks are visually invisible. The drawing looks the same but when i zoom in there are places where a node or 2 are missing - tricking my laser cutter into thinking that they are not single continouos lines. I do not want to join the lines or simplify the nodes using either of those programs. I am building a program that exports those polygons and i want to know what is going wrong - there must be some restrictions on HPGL/PLT file format - so that i can configure my program to output a correct path that can be exported without those issues. UPDATE: The issue seems, and i say again SEEMS to be in the IMPORT of the PLT files. When i export a PLT file from Corel and import it again in INKSCAPE it looks OK. However when i re-import the exported PLT's into Corel the problem is there. Anyone else had this problem? I ANSWERED MY OWN QUESTION BELOW.
I'm using Adobe Illustrator CS6. I have a document in RGB mode, with Web preset. My color settings are: [Working Spaces] RGB: sRGB IEC61966-2.1 CMYK: U.S. Web Coated (SWOP) v2 [Color Management Policies] RGB: Preserve Embedded Profiles CMYK: Preserve Numbers (Ignore Linked Profiles) [Conversion Options] Engine: Adobe (ACE) Intent: Relative Colorimetric And my colors are duller than normally. If I open my document in another computer, I can see the correct colors. Just look at my color picker: And as it should look like: Any ideas? Thank you.
I would like to provide a non-technical, intuitive visualization of my database for people who are familiar with the underlying data, but not database design. The figure will be included in a journal article, and the audience is primarily students and scientists, many of whom will not understand concepts such as "many to many" or foreign and primary keys. My goal is to convey a conceptual rather than a technical understanding of these relationships, and how they are a useful way of understanding the data itself. A technical and comprehensive description of the database will be provided as an appendix. I see that there are many types of Entity-Relationship diagrams, but I am not sure which one, if any is best suited for explaining a data model to my audience. Perhaps there is another approach. How can I represent this in a non-technical way that avoids keys and provides a more intuitive understanding of the relationships among tables? Here is an example of my starting point: The actual database will have 11 tables, including 3 used to define many-to-many relationships, and many fields that can be dropped. update: but please note that I am not looking for a way to create such an ER diagram. I am looking for something further abstracted, that avoids dependency on keys. Here is a very rough sketch of an idea: it uses overlap to show hierarchy and a bold border on the key table, and to show the 'ideal' level of abstraction (if it could contain and communicate the important information). Hopefully, these points can expand the scope of possible solutions. It is a 'sketch' in that I haven't figured out how to map these visual elements to specific relationships. As discussed on this site's meta, this question is open and remains unanswered at stats.SE
I want to create my website mock up using InDesign. Based on a finished website resolution of 1024 x 768 what size should I create my pages in InDesign (in mm). Thanks
I have a simple illustration in CorelDraw with overlapping simi-transparent curves with uniform fillings, and I need to export it to EPS while maintaining everything in vector form. It is perfectly possible in principle since the illustration contains no gradients, only uniform fillings. By default CorelDraw rasterizes overlapping regions when exporting as EPS. After some trial and error I was able to achieve this by exporting it to EPS from Adobe Acrobat or Illustrator with non-standard settings. But I would prefer to stay with CorelDraw. Is it possible in CorelDraw?
I have an Illustrator document with hundreds of vector images (each a color variation of a single image). Each vector image is on a separate layer. I have created an action to resize and export (save as png). Currently I have to apply this action manually for each layer. If 100 layers => click Action play button 100 times. Is there a way to create a batch action to perform an action on all layers in an Illustrator document with one click?
The behavior I'm looking for is similar to how one can make a path line dashed. Except, instead of being dashes, I'd love to make it show $ signs. Thanks for your help!
I know blend mode "Multiply" means multiplying the colour (0 to 255) of its layer, with the visible underneath (0 to 255), then divided by 255, forms the resulting colour (0 to 255). As a visual effect, it is always darkened. However, adding an empty adjustment (level or curve) layer, with NO adjustment content in it. Using blend mode multiply also darkens the image. Why? Its effect is NOT like blending a white layer, nor blending a 50% grey layer. An empty adjustment layer is regarded as transparent, somehow. But what explains the darken effect while blending with multiply?
I created a tall grey building texture for a wall from this. Now if you look at the general trend in the black-white picture, you can see that certain patterns are too repeating. For an arbitrary-sized building I don't know how to create realistic textures: convex correction for light and user position? I used Photoshop to create this texture but some 3D program may be to better here. It should output the light-processed textures. Can I do the light-manipulation with Photoshop or some other tool and how?
I have a Photoshop document with several small layers replicated in a vertical stack, each a fixed distance apart. I want to add another copy to the bottom of the stack, the same distance as the other ones, but I want it to be exact, not just eyeballed. Is there a way I can determine the distance between two layers so I can place the new one the same distance below the last one?
I'm trying to get accurate colors for a digital-photographed painting. The photo includes a color card ("Kodak Gray Scale", with cyan "C", yellow "Y", magenta "M", and a 19-step gray scale going from A(0) to M(7) to B(16) - similar to this). The color card makes it clear that the photo is not accurately representing the colors... the goal's to fix that. I've talked with museum professionals who say "use Raw! Photoshop's too hard" but then they aren't Photoshop geeks. The workflow they described to me (and I don't know Raw, so I'm just repeating what I was told by a digital imaging novice) is to "eye dropper" the #2 gray "to equalize R/G/B", and then adjust "one of the sliders" (exposure?) to bring R, G, and B to 200. Anyone have a good Photoshop workflow for this?
I would like to use a consumer grade inkjet printer (entry to mid grade) to print on self-adhesive vinyl. These labels would be for outside use, so the ink could not simply sit on the surface of the vinyl. The labels do not have to be resistant for months, but the colors/ink should obviously not wash away and be permanent. I would like to do this without using a laminate so I am guessing that the printing technique would have to embed the ink below the surface (?) What would be the best way to accomplish this?
For example, i got two adjustment layers (A and B). At last, i will only use one of them. While considering which one is better, i can compare them by turning A visible and B invisible, then A invisible and B visible. This is not so good because in the transition, there is a stage that BOTH layer A and B are invisible. Is there a single way/shortcut that i can switch their visibilities in one go?
I'm in the process of developing a site for a client, and she really likes the font Sell Your Soul for the main headings. Only problem is that it's incomplete - it doesn't contain numbers or any punctuation. I've looked for fonts that are similar, but most are more exaggerated than Sell Your Soul, which doesn't fit the aesthetic she's looking for. So, knowing nothing about font creation myself, how would I go about adding what I need to that character set? Is it even possible?
I want to type Arabic text in Photoshop, but the text appears disjointed and the letters do not connect at all. For example محمد appears as م ح م د. I'm using Photoshop CS6 on OSX Mountain Lion.
I'm looking for this font. Here is a sample. I have no ideas about it at all. Thanks for any help!
How can I add crack to a picture in Photoshop cs5 (with or without using custom brushes) like the one below? I tried with brushes, but it didn't look realistic.
Can any body teach how to create a distinguish line running through in the middle of box? I want it to look like the line in this image: EDIT NOTE: I lightened the image levels, and cropped to one side in order to avoid site resize. This was done so overall appearance can be better seen.
We are designing car headlight reflectors. The most important thing that we need to do is to design the curvature of the reflector so that all the light from bulb is reflected onto a specific and small part of road on front. As soon as we have achieved light reflection simulation, we'll have to keep tweaking the reflector shape to achieve desired result. Initially I tried doing it in SketchUp with a plugin that can simulate reflection of a light rays. But as per designers in our team, it's a very basic software and difficult to design in it. Our designers have tried simulating reflection in Maya. But couldn't do it. Can anyone please guide us on which software to use to simulate light reflection and design the reflector. Any help would be greatly appreciated. Thanks in advance.
I've been trying to create an abstract pink background similar to this one: I can't seem to find any tutorial on how to do it. How are those wavy looking lines created? Thanks.
I have one layer with some black pixels in the middle and a transparent background. If I add an opaque white background under it, merge both, and then click "Antialias" from the "Filters" menu, it correctly generates gray pixels where appropriate. However, I intend to use this image on top of a dynamic background, so I can't use anti-alias against a specific color, but if I don't add the background opaque layer and just use the Antialias filter, nothing happens. My expectation was that semi-transparent pixels would be generated, so that it would become anti-aliased with different backgrounds. Is there a way to achieve this or am I trying to do something wrong?
I am trying to create a complex 3D shape in Adobe Photoshop, like the shape pictured below. Is this possible? Are there any tutorials available? I was unable to find any. Thanks.
I have been using the pen tool for more than 8 years already, but when I started using CS6, I have lots of difficulties using the pen tool. I use the pen tool for vector portraits and I need to use opacity 10 for every vector. But when I add another shape on top of it, it gets back to 100% opacity, so I have to change it to opacity 10 again. This has caused me to spend a lot of time on something else than trying to make my work quick and fast. Any ideas?
I have just gotten Blender 3D, and was wondering how to create a wireframe. Could someone please guide me on how to do this?
Can someone explain how is the below image created? I am specially interested in background grid. I am comfortable with the sphere. Any ideas?
I have a gif of characters dancing on a white background, and I want to use the magic eraser (or an equivalent selection tool) to select and clear the white background to make it transparent. However, the gif is ~150 frames long so doing each layer individually would be tedious, and I'd like to know how to sample all layers any way. Is there a way to do this?
What I've been doing is copied each stroke, selecting the end anchor point and moving it using the arrow keys: Is there an easier way to do the following "semi-circle ray effect" in Illustrator?
When I do "Save to web and devices..." it shows me the below screen. When I try to save this, it saves it as separate part images. I want to this as a single image. How do I do that?
I'm trying to create a diagram in illustrator, and what I'm looking for is the ability to use some kind of "quick connector" like in Visio. Basically it's the ability to make a spline or straight line connector between two points/objects, which will automatically expand or stretch as one of the objects is moved. Anyone know how to achieve "quick connectors" in illustrator?
I have a double stroke svg that I want to reduce to a single stroke svg. The area on the svg is defined as some white shapes that are overlayed on a black background, with anchors outlining the shapes and background. I hope this makes sense I almost want something like the monoline tool developed for text, so that I can simplify an icon to a single line svg for a lazer cutter. Thanks. Here's the closest thing I can get to a single line:
I watched the soccer game NL-EST a few months ago and kept being distracted by the font on the Estonian players' shirts. Very nice. I tried identifying the font through WhatTheFont, but didn't succeed. It could of course be a custom-made font, just for those shirts.
I want to add an individual image to a static pdf. Like I have 200 individual images and one pdf that is always the same. Then I want to say something like 2 inch top and 3 inch left and then the programm will place the image on this position and in the end I have 200 pdfs. Which software can solve this problem best? Thank you.
I want to set certain layers to be hidden when exporting a slice. More specifically, I have a banner slice with a headline within it. On the actual HTML page, that headline is actual text displayed over the image. When I export the image within Photoshop, it is a hassle to hide that PS text layer before exporting. Is there any way to set it to remember to hide?
I made a rectangular shape. I set it's layer style to gradient overlay and the layer mode to multiply. It looks great with one layer, the one on the left. However when I make another shape and repeat the process only with different gradient orientation.. it does not seem to properly multiply over the previous. Hence the interruption in the corner.I also tried grouping the shape and adding the second layer style to the group. Practically I need a left to right gradient and a bottom to top one blending together to form a nice corner shadow. This is a screen:
Is it advisable to scale a raster image in Photoshop to the final size before embedding it in Illustrator or does Illustrator use the same bicubic algorithm as Photoshop when (up)scaling pixel images?
Say I have a large set of random points or circles in illustrator. I select and group them. How can I output a list of their coordinates (i.e. centerpoints) on the page?
I created a footer for a dental lab. I was trying to keep it warm and inviting, but now being told it "looks too casual" or "looks too simple". I heard the blues and grays are "too subtle" So before I put glitter and <blink> tags I was hoping to get some feedback on perhaps color choice, fonts, or maybe I just did make it too boring? The part in the graph paper is the container that is 960px (using Foundation), the reason for the gap is that there is an aside with content towards the top. The second line in the footer looked better with text-align:right when it was just the year and name of lab, so I am centering that text as well.

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