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I have added a Bezier line to the outer end of a spiral. (See comment for details.) After that I selected both, colorized them and gave them a small amount of blur (1.5%). The problem is, that only the spiral gets blury, but not the Bezier line. Nevertheless, if I move one node of the Bezier line somewhere else to the outer path of the spiral, select them both and apply a blur, both get blured. I moved the node with the Edit paths by nodes tool and enabled Enable snapping -> Snap notes or handles -> Snap to paths. Next I can drag one node of the blured Bezier line to the cusp node of the blured spiral by hand and level the line horizontal, by entering the same y-value for the right node that the left node has. Now I can select them both and can change the blur of them simulataneously. By that I can achieve the result that I could not get by the first method. (See EDIT) I would like to know, how I can blur both objects at the same time without all the effort described above, if this is not a bug. user@hostname:~$ apt-cache show inkscape Package: inkscape […] Architecture: amd64 Version: 0.48.3.1-1ubuntu6.1 […] [EDIT]: After messing arround with the problem for another while I realised, that the blur of the line only disapears, if I level the two nodes of the line exactly one the same y-values with copy and paste. In my first try I entered the y-value of the left node of the line in the "y-value box" (at top) of the right line-node by hand, what probably results in not exact the same numbers as copy and paste does. In my second try to recreate the problem, I copied and pasted the y-value from the left line-node to the right line-node and as soon as I did that the blur of the line disapears. I could not find any information that this behaviour is intended by the developers. Thus I guess this is a bug and I will report it to them and write about the progress in here.
I've used GIMP for a while and have custom settings, brushes, plugins, etc. installed on my Windows 7 computer. I have a Windows XP machine that I want GIMP on too, and I want all the customizations already on my Windows 7 computer on the XP one as well. Where is the GIMP settings/plugins/brushes folder and what is the best way to transfer everything in a easy manner? BTW I'm using GIMP 2.8
The above image shows tabs of opened files in photoshop. I'm making icons of android app for multiple resolution support. Some of you may know that Android treats same filename in different folders named drawable-hdpi, drawable-mdpi, drawable-ldpi to support multiple resolution. I'd like to put a kind of tag or title in order to indicate which file is belonged to each folder, for example [ldpi] ic_menu_template.psd. Is there any way to do that?
I'm a web developer and on a regular basis I need to work with .psd files that have been provided by a designer. My needs are low - mostly I just toggle layer visibility and then save as .png, which I further slice and dice with Paint.NET (my tool of choice because I'm more proficient with it). Now, so far I've been using a... borrowed... Photoshop, but I'd like to finally purchase a copy of my own. Unfortunately it's pretty expensive, so I'm wondering if the cheaper Photoshop Elements can do the trick, too? Will it support all the layer blending effects and other tricks that artists are so fond of using? If I turn off a layer will I still get the same picture as I would in the full Photoshop?
I'm trying to learn and practice Photoshop in my free time. Been trying to recreate the text effect used on Gizmodo Brazil's logo but can't quite get it right. Can somebody guide me through? Here's the logo:
I know people prefer using CorelDraw or Adobe Illustrator, but I want to know if there is a technique I can follow to use Adobe Photoshop to make vector Images.
I have created a vector mask for a layer in Photoshop containing a circle. Now I would like to fine-tune its position and size. I can only move individual or multiple anchor points.
In CorelDraw and other vector programs there is a parameter upon attempting to export a PLT file that asks for plotter units. If i have a circle for example and i export it with 1016 PU and another that i export with 2032 PU is there a difference in exported quality?
Have an odd issue with Acrobat X, when selecting an object (Tools > Edit Object). I then right click and "Edit Object" which opens Illustrator CS5.1, make my necessary changes, which 9/10 is colour, MAKING SURE NOT TO MOVE ANY OF THE OBJECTS IN ILLUSTRATOR. I then click "Save" in Illustrator and my changes are saved back to the PDF. When reverting to my PDF to view the changes, the object has shifted, a seemingly random amount, usually to the right and upwards, meaning the document looks odd. This is not behaviour experienced on Acrobat 9 of which we have a couple of users. However, other users of 10 are not seeing this either so it appears to be machine specific. Any advice is appreciated
I opened a new file and created my pattern, selected all and defined pattern. Then I closed the file without saving it and then used the pattern - great. Now is there a way to make changes to that pattern? The real problem is I need to used that pattern on my css, Though I can not remember what dimensions i used, so if I could edit the existing one, then I could just save it as a jpg and use it in my css Thanks
I have a shape in Photoshop with some layer effects. When I go to convert that shape to a smart object, the drop shadow darkens. Prior to converting, the shape has a normal blend mode with opacity and fill set to 100%. Is there some way to convert the shape and keep the same drop shadow? Here is an image of what is happening. This also happens when I save the image as a png.
We are working on a CSS framework for our app, having made the prototype with Twitter Bootstrap and we started by designing the elements of Bootstrap we had used. One of them was prepended and appended inputs Which is basically something that helps you recognize what the input is used for, it's not necessarily a label, it's rather some sort of helper. Say it's an input with date, so you throw in there a little calendar icon. Now I think that it's kind of important for this element to be visibly part of the input, wouldn't you say so? Our graphic designer thinks otherwise, he's basically done this So, do you think it should be visibly part of the input? If so, what would be your arguments for it?
What makes a design look old? How subjective is this? Who decides? Look at this Bell logo: It's from 1969. And boy, does it look that way. It's simple and minimal, but.. it looks old. Take a look the this BP logo: Old. And not too pretty. And yet.. someone thought it's a good idea. And something I find ridiculously curious: the old Chrome vs the new Chrome logo: I remember when I first saw the new icon. I thought it was pretty bad. It lacked something. Today, I look at the old one and smile, thinking "aw, that was ugly. In a cute way, though". This doesn't only apply to logos that have been improved, I think: Sorry, Nike. I love the brand, but that logo looks like you paid $35 back in '71 for it. Now let's go for something else, though a bit off the real logo-esque topic: I'd believe if someone told me this was a 2013 model. I want one, by the way. Take a look at most cars from the 90s. 80s. 70s. 95% look horrible. 4% are nearly classic, 1% are so ugly they have their own cult. What drives the way we perceive "new" vs "old" design? Look at the web. Flat UI is becoming more and more popular, making gradients look old. Why? Who decides this? How much of this is about taste and how much about trends? I mean.. you couldn't slap the old, rainbow-colored Apple logo on the back of every MacBook out there and make it look good today, could you?
Can someone please explain me how to save each slide of a gif animation as a png file in Adobe ImageReady?
I was reading this to understand sprites http://css-tricks.com/css-sprites/ The author says "Sprites are for graphics that are just single blocks. " What does this mean? One thing I have read is to make a sprite for images which are continuous on a web page. thanks
Bootstrap is a great framework, and I want know if there is a tool that gives you the possibility of dragging html components, re-sizing and moving them, changing colours, all while generating the bootstrap html code. I don't want to use Dreamweaver because you need to go and add classes and IDs to the html, which could be a pain sometimes.
I loved this feature of Fireworks but since Fireworks is being discontinued I was wondering whether it's possible in Photoshop or other products. Thanks.
Just finished exporting a pdf that will be used to print off a 1m x 2m poster. The current file size of the pdf is a rather manic 142.3MB. Is this too big? Shall I compress it further?
Basically, I had a client who wanted a 1 meter by 2 meter poster to advertise his business at local football events and such. Though I'm predominantly a web-designer, I thought myself up to the challenge of print. I designed the proof in Photoshop, and that was all good. I then exported it to pdf with Indesign, and the resulting pdf was 142.3Mb! Way too big to email, and way too big for any printer website's upload form. In the end, I made a public directory in my website and FTP'd my giant pdf there. I told the client to link the printer to the link. Is this the way to go? If I'd done this in Indesign, it would be vector based, but a much more manageable size. I mean, it takes around 10 minutes to download the pdf, and linking the printer to an image seems unorthodox. Is this the way to do it for large files?
I created a depth map based on an image of the back of a man wearing a coat. Now I want to apply an image to the depth map, giving the appearance that the image part of the jacket. How is this done?
In UI design, one often has to work in the confines of limited space and/or simply try to reduce overly excessive descriptions and such. Often, this results in using slashes a lot. This/that type of thing. I've been asked in the past to add spaces to each side of a slash to give it some 'breathing' room and while at first this seemed wrong, I've also grown to prefer it as an option. An example: Download/Print PDF vs. Download / Print PDF Some questions: Do you prefer one over the other (and why?) Is the spaced-slash acceptable? Am I committing a typographic faux pas? Ideally, one would kern/letterspace the slash and not use whole spaces, but in the context of web dev, it's likely that rarely will out content folks and/or developers spend time on that detail, so am proposing the spaced option. It also offers the added benefit of being more likely to wrap properly if need be.
Imagine if I'm drawing an image using brushes. Is there by any chance, possible to use the brushes as a vector and resize/transform them, without losing data? For instance; if you draw a tree in with brushes. Then you want to scale it up by 50%. Is it possible to perform that scaling, without image starting to go blurry?
Why they add these vertical lines on the machine? I don't think it is just for fun, it must be have some meaning to add this. I don't think a designer will ignore the details, and also it is in the keyboard too.
I'm confused about the relationship of Photoshop (and any other image processing software) in web designing. I can see countless tutorials anywhere teaching on how to make web layouts from scratch, and most of them include the whole contents of a real web page. But it stops there. No further instructions are included on how to implement the designs as a real web page/site (aside from those slice-n-dice approach which I know that you treat as a thing of the past.) I'm sure my question isn't open-ended since I will list more definite questions here. My assumptions are: Photoshop is intended to be only used for logos, banners, etc. to be export exactly to web pages. Creating web layouts using Photoshop is used only as a mock-up of the real site (only a guide?) After finishing constructing it, you should implement the design by hand-coding them using CSS, HTML, etc. If all of my assumptions are correct, my most important questions are: Why are people fond of creating web layouts using Ps if they cannot build it into a real site (I'm referring to those who can't code.)? I can see that their designs are too detailed that it would seem impossible to make it using tools/frameworks like Twitter Bootstrap and JQuery UI (afaik). PS:(Post Scriptum not the other one) I am originally a student of programming and have no idea about how you do web graphics design. Also, I don't want to argue about using Illustrator or Frameworks(phased out by Adobe) instead.
I'm quite new to Adobe Illustrator, but used to PS. I wanted to experiment with Illustrator to create SVGs that can than be manipulated with JavaScript. I created some kind of background-layer and filled it with a rect. That has a pattern as background-image (Adobes Waffelmuster - Doppelt). I then created a second layer and added several filled paths to it. I tried to align these paths as best as I could to the background-pattern of my first layer. When I export my graphic as SVG, my paths are not aligned to the background as in Illustrator. It seems they shifted a little bit to the right. Also, if I zoom in Firefox (STRG,+) the mismatch becomes even bigger. Why is that and how can it be prevented? Is there something like relative and absolute positioning?
It looks like this to me: Where the second box is the variable width option. If it helps I expanded my path.
Basically, I want to have my sketch have a solid color in the inside the path (with live paint), but the path itself that has a stroke, which looks like a border on the image, I want to be completely transparent, so when put on a background you can still see where the border would be, but the background will make it up.
I did a three-color Live Trace, and output the colors to swatches. Now I'd like to assign each of these three (spot) colors to their own layer. I'm sure this is super easy, and I'm just over-looking something, but I could find no obvious command, nor could I drag the swatches to the layers palette. Some googling brought me to this site, although not to an answer. How do I do this? Thanks!
I appreciate this question is borderline for this site (apologies), but I checked the FAQs and I think it is permitted. I'm investigating ways to get single-colour text onto a thick plastic sheet, such as plastic business cards. There seem to be a host of options: pad printing, screen printing, flat-bed printing (inkjet), thermal transfer printer (as in this post) and more that I cannot remember. Of particular interest is inkjet methods because the printers are potentially so cheap. Flat-bed inkjet printers are often marketed as being able to print full-colour on iPhone covers, with a scratch- and water-resistant finish. However these machines seem to retail at $1k and up for A4 size. There also seem to be variations within this category, I believe that one is UV-curing of ink, and non-UV curing. I noticed that on a low end machine, some non-UV types actually uses an Epson print head. This leads me to believe that perhaps a regular consumer inkjet printer could be used to print on thin plastic, if filled with an ink that will not smudge on plastic. While cartridges might not be available for them, there are cheap continuous-ink systems where perhaps the ink suitable for paper could be replaced by ink for plastic. My question: does anyone know if there are inks that could be used on plastic with a regular inkjet printer? I know there are specialist OHP transparencies that can be used with inkjets but not only are the opacity and brilliance is poor, but it is also not resistant to smudging. Thanks
I'm learning digital painting in Photoshop, beginner level. I start with a composition in grey-scale, Let's say it is a mountain landscape in perspective with darkest object closest to viewer (a tree on a cliff) and lighter grey the further off into the horizon objects are (mountains). Now I want to start applying color but preserve the values from the grey-scale sketch. I have a black & white adjustment layer on top of my drawing that I toggle to check that the values remain the same as I start applying color. Let's say I want the foreground to be green and red. How do I find greens and reds with the same value (amount of black) as in my grey scale concept drawing? Currently I just test out colors by handpicking them from a swatch palette and viewing them through the b/w adjustment layer, but there must be a more systematic way (I hope) to generate swatches from a value. Any advice or pointers in the right direction are highly appreciated. (I'm using Photoshop CS4).
I have an white icon that needs to be colorized to a specific color. How do I do it in GIMP? Keep in mind that it has semi transparent borders and transparent background, so using the bucket or selections is a no-go. Also, I would appreciate if someone could extend the answer to "how to paint something that's has transparent borders without tools that use thresholds?", as this has been a question to me for a long time, and I really hate non seamless alternatives, like thresholds and feathering. This is the icon: https://i.stack.imgur.com/4yMhn.png
I need to create a logo design similar to the icons for Office 2013: Can anyone help me with font name as I am not able to find it
This question has probably been asked, but I can't find it, exactly. I'm a bit of a noob, and am unclear on some of the terminology. How do you combine all adjoining objects of the same color, all in one fell swoop? This is different from "Grouping" them, is it not? Perhaps some explanation is in order. I did a Live Trace of an image that had been printed slightly off register. I changed the color of all these small, off-register objects to match the background, so that they "disappeared." It seems to me that it would be a good idea to combine all these very small objects into the one, large, background object, to reduce the complexity of the image.
Here is my dilemma. I am making a scrolling text gif. I need the background on this gif to be transparent with a white box centered in the middle with the text showing ONLY in the white box. This means that the text needs to only show up on the box and not the transparent background.
Why, after a Live Trace, when you Output to Swatches, do you always end up with a bunch of Unused Swatches? What are their purpose, assuming they have one? I see a lot articles explaining how to delete them, but nothing on why they're there to begin with.
I have to design a 4 item iOS tab bar. One of the items is a call-to-action button for creating content. Typically, apps have 5 items, so it is natural to place the call-to-action in the middle for balance. This is an example: How would you maintain balance with an even number of items?
There was a famous blog post by Ian Taylor called "Never use black", in which he explained that one should never use pure, complete RGB 0-0-0 black, and should instead put a little bit of color or light into it. Does the same principle apply for white? Is is possible to use pure RGB 255-255-255 white in, say, a poster with dark background? Or should the white be similarly muted?
The goal Replace individual colors in a multi-layer Photoshop document in a way that is flexible and efficient enough to be done a multiple times in the production process—like when I need to update the colors or edit layer content. I have a palette of 5-10 colors used in many different layers (all layers are multi-color raster images), and I want to be able to arbitrarily replace them, without having to do a lot of manual work each time. Is it possible to do this with adjustment layers (or anything else)? How I tried and failed to do this with Adjustment Layers Idea #1: For each color you want to replace, add a Replace color adjustment layer, configured to replace the old color with the new color. Problem: There is no Replace color adjustment layer (as of CS6). Idea #2: For each color you want to replace, add a color-changing Adjustment Layer (such as Hue/Saturation) with a Color range mask selecting the old color (let's assume it's yellow). Problem: As soon as you add/move/recolor anything yellow in the layers below, the mask will no longer be accurate. The mask does not dynamically select yellow—it just stays the same as it was when you set it up. (I don't know if it's even possible to make a dynamically updating mask that's tied to the content of lower layers, but I would love to hear how if it is.) So, if you want the mask to be updated, you have to manually update it. This tediousness is what I'm trying to avoid. Is there a way to do this sort of color replacement, using adjustment layers, masks, or any other technique, like actions or scripts?
From time to time I have to write a small report and usually I end up having to present data in a table. Everytime I end up thinking that a table is an ugly looking rectangular box I wish I could leave out. I don't have any degree in design, but I would like to know how I can make my tables look more smooth and blend better into the document. This has nothing to do with using HTML tables for layout. It is the aesthetically appearance of tables in text. I know its subjective, but if you have seen or created a set of tables in a document somewhere, which you think looks good, it could be nice to see them and maybe get some inspiration from there.
I have a 90 frame gif and if I file-import-videoframes-to-layers it will make 30 layers and the .gif will end up flashing too much. Any ideas?
I have to design a flyer for half of an 81/2 x 11 page. It mostly has images but some text. And I'm designing it in GIMP. Is there an industry standard dpi for simple prints? It's not magazine quality, but I'm looking for a decent dpi.
Is there a tool inside or outside of Adobe Illustrator which packs custom shapes inside an (say) A4 page? This would be an optimization for printing the same element multiple times on the same page. Example doodle: This example involves rotation, but it'd be ok without too.
I want to create just a transparent shadow to use in a website. While saving as PNG, the shadow is saving with the solid white border. What am I doing wrong?
I'm involved in the production of a touchscreen device. Our workflow for designing the graphics of the interface is to create the buttons, text, etc in Illustrator, bring it into Photoshop as Smart Objects, and later flatten the smart objects, but beyond that is not pertinent to this question. [EDIT: Each screen is saved as a separate Photoshop file.] I'm looking for an application or something to automate part of this process. We want to set up a master Illustrator document that contains all the button styles that exist in the device, encapsulated in groups. Also, we want to have a database containing the X, Y, Width, and Height values for each copy of each button. I'm referring to the fields that can be viewed in Photoshop when the Transform tool is active, pictured: So then, if we update a button style in the master Illustrator file and hit "run" or something, it would replace each instance of the button with the updated version. That way, if we make an update to one of the button styles, we don't have to go through all 700 instances of the button and replace them manually. So if you can suggest an application that may help with this, I would greatly appreciate it. Also, if you can suggest a better place to ask this question, I would appreciate that too. Thanks!
Using the pen tool, I can't imagine why anyone would want the following line segment to go in the ( random ? ) angle it chooses for you when making a new anchor point. After making every line, I tediously have to go back and close the bezier by clicking on my point again to make the next line start a "fresh angle". Is there any way to make every line do that? I know holding the option key will give you one extra line that is clear. I've also heard of the technique where just plot all your lines, and then go back and adjust the beziers, but that requires two clicks per dot.
When you ctrl+ left-Click, it's like a right-click in Mac OS X and brings up a menu. I'm trying to clone a selected rectangle as shown here But if I ctrl+alt+ click, I just get a context menu because Mac OS X is thinking I'm right-clicking. How do I do this? I know I can copy/paste/move. But I want the shortcut method.
I downloaded a number of Farsi fonts and they render individual characters fine but but don't join multiple characters together at all. Does anyone know how to get whole words to appear correctly? If someone knows how to do this in Arabic but not Farsi, that would help me get closer. For instance: ك ا should make كا Thanks!
Situation: I want to use the current selection as a mask on layer X. Layer X already has a mask, and I want to completely replace it. If layer X didn't already have a mask, I could do this in one step by clicking Add layer mask in the Layers palette. Given that layer X already has a mask, what is the quickest way to do this? Can this be done in one or two steps, preferably by keystroke? How I do it now: Drag layer X's mask to trash, click layer X, click Add layer mask. This becomes tedious when you have to do it to a lot of layers.
What licensing is appropriate for a font to be used as a base for an icon font? So basically I need to use the UNICODE table of that font to include custom icons and sell that font. Most of the free fonts out there are SIL, but I definitely don't want to include any license notice for the base font, since this is not the part of the font that gains attention. The icons are created by myself and will be included as a ligatures in the webfont. For example. When the user hits a on the screen will appear a, which will be taken from the base font. But when the user types mail, the font will take this as ligature and display a mail icon. The result will be similar to this one : Ligature Symbols
I want to fill an object with a bitmap pattern. Instead of perfectly connecting, there is this 1 pixel transparent line around each "tile" of the filled object. The same problem was described here: Filling object with pattern in inkscape In reference to this post, the bug was fixed in 0.48.3, but I'm using 0.48.4 r9939 and the problem still exists. See: The used pattern: http://subtlepatterns.com/bo-play/ Any idea?
Photoshop layer styles now have strange defaults on my system, seems like all values are scaled up. I don't know when or how it has happened. Eg: Bevel size: 84px Stroke size: 52px Inner shadow distance, size: 84px Inner glow size: 84px Drop shadow distance, size: 84px ... reset to default also brings these values. I don't yet have a chance to re-install. I can always use Make Default and rewrite each value but I don't prefer this because: I don't exactly know each value on a new installation, and I want to have factory defaults for each value to have a smooth experience across different installations There may be other anomalies due to a potential resolution / scale value hidden somewhere, which also may be the source of the problem Does anybody know where Photoshop keeps these defaults, in registry or an xml file? Photoshop CS6 Windows 7 x64
Is anyone aware of a wireframing kit for Illustrator (or any vector based template) that encompasses GUI elements from Mac OSX Lion or Mountain Lion?
I was making some pixel art and at some point I doubled the image size so now in order to continue to make my nice squares I want the pixel tool to be an 8x8 pixel square tip. Is it possible?
I am trying to crop an element in photoshop and I want to make sure it is perfect. I have a PSD that has many web elements that are grouped together nicely. I want to create a new image with the same size as the group of layers. So basically I want to crop something out of the picture without losing or gaining pixels. I want an exact crop of the outer most item. Without using the crop tool and eyeballing it. Usually I can use the rectangle tool and create a box around the item and go to edit>copy merged and then create a new image and it automatically has the merged layers size and then I paste. My problem is for this group of layers is that it is not working properly and it is making the new image size the same size as the box and not the outermost layers. Can anyone help me out?
Say I have the following picture that I drew with a black brush then used Live Paint to color it. How do I get rid of the black stroke?
I've been creating an arrow in Sketch and whenever I adjust the Size property of the border, it decides to burst out the side of the < part of the arrow. Is there anyway to fix this, or am I messing with the wrong value?
I am not much of a designer. I want to know how I can create Wix like buttons in Photoshop. They offer many kinds of buttons, but I want the one with a shadow on both sides of its bottom. Any help would be appreciated.
Is there a set formula / ratio for creating a trademark symbol (TM) or adjusting numerals such as 2nd or 3rd to create the proper visual effect on the superscript? Currently I always just eyeball it to make it look right. Is there a set standard for this though?
I'm trying to draw another shape to go with this heart, and I want the line on which the anchor is selected to have exactly the same curvature as the corresponding length on the heart. Is this possible, or is the only way to eyeball it?
What hardware do I need to make a 300dpi 2000mm x 1200mm illustrator files rich with 2 x layers of jpeg artwork and 1 x layer of vector? I suspect the final files for printing will be in excess 1GB but will wait and see (printer has requested orginal ai files). Our current machines are not up to the job so we need something new very soon. Any advice about hardware and also about making the files would be very welcome!
I have drawn a broom in Illustrator and cant apply any brushes or strokes to it. I just don't get it. What do I have to do? Here is a screenshot:
I'm working on a file in photoshop and every time I drag a guide out I see multiple guides. How can I fix this so only one guide is present? I tried restarting photoshop but the problem persisted.
The way I have just learned to use the Pen tool, if you hold Cmd/Ctl while selecting the end of a guideline, it will move the guideline on BOTH sides of the anchor point and adjust the last curve that was made. Conversely, if you hold Opt while selecting the same point, it will leave the curve as is and simply adjust the guideline on the same side of the anchor. In the below example, I find that on the top anchor point, holding Cmd/Ctl while selecting the left end of the guideline, will in this case perform exactly the same function as holding Opt in the above description, while holding Opt will move the entire guideline, i.e. The exact opposite of the above! On the other hand, performing the same actions on the bottom guidelines will cause the expected (above) behaviour... Does anyone have any idea why this is happening?
I know this is a ridiculously basic question, but I cannot seem to do it for the life of me, even though I did it just 5 minutes ago... I'm trying to copy the path on the right over to the left side of the heart. Even though only the right "lung" section is selected with the move tool (and Auto-select "Layer"), both this and the heart move when I attempt to move anything. If I turn Auto-select layer off, then the heart shape moves, even though this shape is selected! Why does this happen if they're on separate layers? More pressingly, whenever I copy this path (on to a new layer or not) and either move or transform it, the first version of it moves/transforms at the same time. Very frustrating indeed! I cannot seem to separate the copy in order to make separate adjustments...
My question: Can I create a magazine exclusively using Photoshop? My understanding: It should simply be a case of using CMYK and an adequately high resolution. Other software: InDesign is pretty alien to me though I've read that it's better for managing large amounts of text. Request for additional context: Any links to resources on this manner would be appreciated (e.g. good websites for learning/templates).
Is there a simple summary somewhere (or can someone provide one) of all the different kinds of legal terms for how and where we can re-use someone else's images? For example these terms are bandied about and they all sound reasonably similar: Royalty-Free Creative Commons (which seems to have a bunch of subcategories) Public Domain ... and others These terms are easily to google but it's hard to work out where terms are simply synonyms for each other and where there are subtle differences. For example, on Flickr the status of images are clearly labelled and you can click through for a definition (somewhat legalese) on CreativeCommons.org. But Google Images search (Advanced) has a filter which is deliberately "plain English": So an overview, not too legal, would be great. This is asked from the point-of-view of a web designer looking to browse and use other people's images in (commercial) websites, but correctly and fairly. Not an author looking at protecting my own copyright.
I need to know what font is this. Thanks so much!
I generated on the internet this tartan design: Now I want to get this design as a vector graphic built in Adobe Illustrator. Is there a trick to get 45 degree lines on the squares? Or does anybody has an tutorial on this?
I'm doing the layout (first time) for a friends charity magazine, last minute as the usual girl quit just before it was due, so panic time there. I'd saved the individual pages (as I'd been asked) as individual press quality PDFs - now the printer has asked if I can save again as a pdf but as either printers spread or printers pages Apparently that gives it to them as opposite pages ie front/back cover, second page, second last page, etc. I've never come across this before (I'm not usually involved in this type of thing so it's a big learning curve here.) I've been looking around the help files but can't see the answer - Can someone here show me the way? I'm on a Mac with Web Design Premium CS6. Pages were laid out in InDesign with photos etc in Photoshop or Illustrator.
How to get inner shadow inside rectangle with transparent background?
I am not much of a designer. Looks like a very basic thing to do but i don't know how to do it. I just want to create a line that is blurred from the ends and have this shade at the bottom of it. Its a kind of a separator that i can use on a website. I want to do it in Photoshop. As an example, check out the following image:
I've researched for what seems forever, and I cannot find anything explaining how to break a mesh into a (distorted) grid of vector shapes. I don't need to preserve any kind of gradient or coloring; I just, at least, need to keep the shape of the outline of the figure and convert it into a basic shape. The concept is, I've used a mesh to distort a figure, but I now need to restore it back into a vector shape. If I can at least break the mesh into a grid of vector shapes, I can join them with the 'Pathfinder > Shape Modes > Unite'.
I'm in storyboard hell. I have to place about 400 separate images in sequence on a huge board in photoshop. So I have a 20,000 px by 10,000 px board and a load of layers which have been imported in the correct sequence, I really really want to find a nice way of distributing the layers edge to edge left-to-right then cascading downwards on my canvas. Can anyone think of a way to avoid me having to do this manually for hours (and imagine if I have to remove or reorganize some in future ... sickening)
I know that Inkscape does not have the ability to export selected objects as svg, but is there a workaround that people have found that works?
Is there any way to convert 'AI' and 'EPS' to corel draw format (.cdr)? My client want to rework from their existing AI and EPS to corel draw.
I bought a drawing tablet. But when I draw on it, I can see the drawing I am making in an image editing software such as Microsoft Paint or on Microsoft Office products, but I cannot see anything on the drawing tablet. It is rather disappointing. It's just like a mouse in a different shape. I was hoping that when I draw on a drawing tablet, I will be able to see the drawing (like when you draw on your phone), and it'll have some in-built image editing software. The tablet I bought is Bamboo One Pen CTE-660/K0-C. Is this usual or is there some knob or switch I need to turn on to see things on the tablet? Sorry for the stupid question.
What is the name of the technique where many small images are copied into one large image to get better compression and avoid loading many separate images int memory? And is this still useful in modern devices?
My question is an extension from this question ( Batch export Photoshop layers to individual PNG files ), but for some reason, I can't seem to contact any of the posters from that thread. Basically, I want to do that same process, but instead of just doing the top layers, I want to do the layers that are inside a folder. The reason for this is because I have several base layers, that don't change. Actually, all that is changing in mine is some text. So is there a way to add a dropdown that would allow me to choose which subfolder I want to use as the layers to alternate? Naturally, I want to adapt escalation746's script, as it is the fastest. Thanks.
I had no problems creating a grid like in the figure, but I can't create sharp edges at the end of the grid: How can I do this?
I'm attempting to create a transparent stroke around the inner heart shape, which knocks out the "lungs" layer below to reveal the red bottom layer. I seemed unable to create this as an actual stroke (which, in any case, would only reveal the "lung" shapes below it, not the red bottom layer), and my next attempt was to duplicate the heart, enlarge it and use it as a mask, but that also didn't help, as it's not an even outline of the heart. Any ideas of the best way to do this? Thanks in advance.
I find myself clicking on the auto select layer check box an egregious amount during the day. I was wondering if someone knew how to make it a hot key as that would save me quite a bit of time.
From a personal point of view, I'm convinced you have to enjoy going to the place you work in. Improving your day to day experience feels revolutionary enough for me. I also think design and usability can improve not only the way a company thinks about new products and customers think about the company, but also how the company sees itself internally. I work in software development, and we usually talk about innovation, atmosphere, team building and all that. I'm trying to think what I can do, as a designer, to make internal communications more fluent and fun. I'm struggling with the actual ideas. For example, graphs are great, they can show survey results and motivate people to improve... newsletters are fine, nobody really reads them but they are something. Magazine-like publications are good too. And that's as far as I've come. Can you think of any other ways design can help internal communications?
Newbie here. I like the web and UI design, and I know what good UI and good design is, but I lack Photoshop skills. Sometimes when I try to do design work my mind goes blank or gets mixed up because there are too many references that I like and it's hard for me to determine which design I prefer. Where can I learn and improve my Photoshop skills and how can I start working on a concept? Until now, I've been paying a designer to do what's in my mind, but I really want to be able to design.
This font was created using Adobe CS4 and I am using Corel Draw 6. I cannot id this font and need to do so to create more graphics using it. What is this font?:
in a smashing magazine article, I read "According to our study, on average, the ratio between the headline and the body copy is around 2.5" - and this is the formula HEADLINE ÷ BODY COPY = 2.5 Does it mean that if my body copy is 16px, by heading one <h1> should be 40px (16 x 2.5). The only reason I think I am wrong is that in the same article and in all the websites I investigated, the body size is 16px and the heading font is 29px or 30px On the other hand Tim brown says that we should multiply the body text by the golden ratio and select any of the results to be your heading size, is this the same thing but by using 2.5 instead of 1.618? Can you please help me understand this
I found a similar thread that gave some great pointers, but still doesn't solve my issue. My boss asked me to create a corporate presentation, and I had the unfortunate idea of doing it all in photoshop (I figured it would allow greater flexibility than the usual powerpoint). I created 24 slides at 3000x2000px and 300dpi, for a total size of 69Mb. Now obviously this is not ok for a presentation that must be sent via email to multiple clients, so i decided to reduce its size using the technique described in the thread above. Before: After: It all worked great and the file size is now down to 4Mb, only problem is that the text is starting to blur. Since it appears that text makes up for only about 3% of the total file size (it's the images that are bloating up the Mb count), I was wondering if it's possible to reduce the image quality without "touching" the text layers. In powerpoint you can have a bad quality background image and write perfectly sharp text on in. Even at 640x480 text looks good in powerpoint. On the contrary, if I lower the res in photoshop, the text turns crappy. So is there a way to add hi res text to a low res "background" image in photoshop? UPDATE: after a long afternoon of work, and thanks to John's help, my presentation is now perfect, so I thought I'd give back to the community an share a couple more things I've learned working on this project. This is what the text looks like after the PDF conversion when faux styles is applied PDF with faux and this is what it looks like when you strip off all styles from it PDF no faux. As you can see, like John said, if you have faux styles applied, the text is automatically rasterized and this creates a lot of artifacts during the conversion. On the contrary, if there are no faux styles, the text stays in its vector form and, even when you reduce the image quality a lot (see the picture on the right side of the image), the characters remain tack sharp. So I went ahead and re-formatted all the text boxes in my presentation. Again something went wrong see here. As you can see, sometimes the PDF version screws up your text. As silly as this may sound, I found that this only happens when you write too much text in a single box. All text longer than 6 or 7 lines got screwed up. Splitting it into two different text boxes with 3 lines each fixed this. The same problem happened on multiple slides, and the same solution worked to correct the problem on all of them. Last but not least, I managed to decrease the total file size some more by going to file->Automate->PDF presentation (not sure about the exact translation cause my photoshop is in italian) instead of the usual file->Save As->Photoshop PDF. Try for yourself, with the same compression values the first option yields smaller files (some 30-50% smaller!!). So I guess there's some hidden parameter that the "Automate" command sets somewhere that the "Save As" does not. I now have a 2,8Mb presentation with razor sharp text and low-res images (still looking good ad 100% zoom, artifacts start showing only at 120%). Thank you stackexchange! :)
I need to convert some stock icon imagery to a pre-existing colour scheme. The method for conversion is to simply adjust the image hue to the right level. However all I have to go on is existing imagery that has already undergone the process. As such, I know that the muddy green of 99b963 should become the dull mauve of 7763b9. My current method is trial and error: I zoom in to an area of green, overlay a layer featuring an adjacent pixel of the target mauve, select the original layer, then adjust saturation until it looks right. At that point I step out of the adjustment dialogue, get the color picker out, and compare. Repeat until just right. Does Photoshop / Gimp / Paint.NET have a simpler, procedural method for achieving this, in 1 step if possible? If not, is there a less trial-and-error method to achieve the right hue given a target colour difference?
I think what I may be looking for exists in Fireworks maybe, but I haven't messed with it. Basically, is there a way to make a style sheet for an object? Say I have an object and I apply x layer styles to it, then I want all those layer styles on multiple objects throughout a document. Then I want to change the strength of a drop shadow, how would I set it up so all I had to do is change the drop on the master file and it would apply to all with this "style" set on it?
I'm curious which pricing model other feel best fits freelance design, in what situations, and why. I am not seeking dollar values. There are a few basic pricing models a freelancer can use: Time-based pricing. This is where you calculate every minute you work on a project and break that down to your hourly rate and charge whatever the formula states you should. There are several questions here at GD.SE which refer to time-pricing models, with some excellent answers, such as: Graphic Design Pricing / What price should I charge for design services? / Pricing for Website Design (Graphics Only) This model can be accurate provided a client is aware each and every minute you work costs more. Therefore each revision will increase fees. Some clients are fine with this, some freak out because they didn't understand the pricing structure. Per-service or fixed fee pricing. Sometimes known as project-based pricing. This is where you calculate a price for each and every service you offer and essentially work off of a price sheet. This way you know a brochure costs $XXX every time, a 3-page web site costs $XXX every time, etc. This model does not allow for alterations should project scope become an issue. So it can result in those difficult conversations with clients telling them to stop with revisions or pay more. Value-based pricing. This model doesn't adhere to any set pricing or per hour structure. Value based pricing prices services according to their perceived value or importance to the client. This one is a bit tricky. Essentially it's the old "If you charge more, clients think you are worth it." model. You can often use this model to increase revenue without increasing workload. This is why "Name Brand" items cost more than generic items - a perceived value when in reality the items or workload are / is the same. There are others such as licensing, use-based, royalties, etc. but I feel those are special circumstances which don't generally apply to most work. If you feel they do, please explain why. It is also possible to use a combination of price models or hybrid model. For example, you may figure a job cost using time-based pricing but then add additional fees for value-based pricing. It is also feasible that different services or projects are priced differently. For example: sales piece creation fees are a hybrid calculation using time-based and value-based figures to arrive at final fees. Then, additional edits to that sales piece at a later date are strictly time-based priced. Poor Practice? After all , if it's a sales piece each and every copy seen by end users has potential to generate revenue for the client. So, is it more appropriate to use some value-based pricing for the edits? Web site creation fees are calculated using hybrid fees from time-based, per-service, and value-based figures. When an additional page is requested a year later, fees are based solely upon fixed fee rates for an additional page. Is this adequate? What if the additional page requires different services? Still a fixed fee then? Obviously, all price models must cover your overhead at a minimum. I am not seeking dollar values. Which pricing model do you feel best fits freelance design services? When do you feel it's appropriate to use the different price models, if you do? Edit: I realize that in the end, most deliver what could be seen at fixed-fee pricing to their clients. This is just naturally what any hard quote appears to be. I'm not really thinking in terms of what a designer delivers to the client as the pricing. What I'm curious about is how you get to that figure the client sees. I do realize this is a complex matter and few scenarios fit nicely into a specific category. Just looking for some general input from others in the industry.
I'm working on a project that needs a font very similar to the types used in television broadcasts of sports games to display the score and other info. I would love to know if there are any industry standard or common fonts, particularly in NBA broadcasts. Example:
Prior to the proliferation of software, namely Adobe and Aldus, a designer needed an entire toolbox full of things to get a job done. From t-squares and triangles, to ruling pens, masking tape, photo tape, rubber cement, spray glue, brushes, guache, drawing tables, technical pens, matte board, acetate, pica poles, french curves, proportional wheels, type spec books, etc. What analog tools (not software or computer-based) should every designer have today and be comfortable using, and why? Has software made all analog tools completely obsolete?
In website I am implementing I found that the maximum number of characters that I can display in a certain sidebar div is 17 M (uppercase M) plus the elipses. So that is the maximum I setup the code to produce ... if the text is longer than 17 characters it will be truncated and an elipses will be attached to the end. That string for reference is a "Project Name". Practically users will not be calling their project "MMMMMMMMM...17 times" and hence when placed in the real world seemingly short project names that would essentially fit are being truncated. A designer I know uses "00000..." to measure the width of a box. Is there a systematic/statistical approach to this?
I have heart shape, below, that is on a separate layer to the two lungs. How do I take this shape and use it as a layer mask on the two lungs? I have created the layer mask on the lungs layer, but I'm not sure how to copy the shape over. It's bitmap, but I'd also be interested to know how to do it for a vector shape also.
I know how to do this for all of the layer styles of a particular layer - I simply hover over any of them, right-click and click "Create Layers" from the contextual menu. Does anybody know how/if it's possible to simply do this for one of a layer's layer styles rather than all of them?
I have a text paragraph. Is there a way of resizing it without having to pull the box or stretch it? (ex. Let's say it's 50px high, how can I define the size of it using pixels to 100px?) EDIT: How about an extension?
I'm not sure if illustrator supports just changing the background color of one artboard but what I am looking to do is have one black background artboard and leave the other five or six artboards in my project white or transparent. What i'm trying to do here is make a white version of our corporate logo. It's hard to do that on white or transparent background. I already have a large "corporate branding" project that has all other logo variations so I would like to keep everything together however to do that I need at least one black artboard. I found the usual way of changing the color of all artboards and it got me wondering if I could just do one. I guess if this isn't supported I'll just lock a big rectangle as a lower layer and draw on top of that so I can see my white text.
I'm trying to output a .gif from Photoshop (CS6) and have run into some difficulty with the quality it is producing. Ideally, each image should resemble these stills - 1, 2 and 3 which are crisp and clear, but as a .gif file (especially on the second image), the depth and colours are removed, resulting in a splotchy image animation... The image and the Save for Web settings seem to be fine, so I was wondering how would I be able to output the .gif keeping it the same as or as close to the stills as possible? Thanks.
I'm making a work for school and I have to put together color palettes for some pictures. I also want to indicate the RGB and the CMYK code but when I get a color from a picture with the Eyedropper Tool I only get the RGB. I assume it is so because the picture is in RGB mode. How can I get in a fast way the correspondent CMYK code for that specific color? (In fact I see default colors in the swatches above mine that are in CMYK...maybe there's a way to switch easily from RGB to CMYK inside the swatches..)
How can I remove a smaller rectangular part from another bigger rectangle shape layer in Adobe Photoshop? My selected layout is 110px x 110px on which I have drawn a rectangle of 106px x 104px. Now I want to remove a 100px x 70px rectangle from the top 17px. The result would be another rectangle of 100px x 70px in the removed section with different effects.
When I create cross-references to other documents, InDesign gets very slow accessing to disk all the time (I can see the Windows icon) unless I open all related documents. Is there a way to deactivate this behavior within InDesign? I am using Indesign CS4 on Windows 7.