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I have a logo which I want to scale to a larger size. I started by setting up my artboard to the size I wanted it, then I grouped all the logo paths/objects which are in one layer and opened the transform window to input the desired size with constrain proportions on. Unfortunately this hasn't worked as expected, and there are gaps in the artwork, I think where things were overlapping and now aren't, or the rules for the compound paths in the artwork have rendered the logo differently at this bigger size. I didn't create the artwork, so I am wondering how this might work? Or if I am going about this incorrectly?
Since the output is web, RGB is choosen, but is there any difference between "Monitor RGB..." and "sRGB..."? In Photoshop, they are both under color settings > working spaces > RGB
I have a branding logo saved as a PSD Photoshop file. I'm exporting it to the PNG format with relevant size, but the exported PNG image has a thin white border around the logo. How can I remove this border to have only the transparent logo image?
I am looking for a way to convert an image into a flat-shaded polygonal mesh. This consists of two steps: Creating the mesh (manually), overlaying an existing image. Shading the mesh (automatically) automatically according to the colors contained within the image. This should give a look similar to a flat-shaded low-poly 3D rendering. The result would preferably be a vector graphic (prerferably Illustrator, but Inkscape would do, too) Question: How do I best create the mesh, allowing for additional manipulation later on, and is it possible to automatically shade it? A workflow like for creating gradient meshes would be fine (except that I do want only polygons and no gradients). Example I hope to achieve a look similar to what is shown in the lower right of this image: Algorithmic thoughts Most likely just taking the average pixel value below a polygon is what would give me the desired effect after the mesh has been created.
There are several helvetica alternative questions here, but they don't do the trick. Rounded corners helvetica has letters that are slightly slimmer than regular helvetica and it has rounded tips instead of square shaped tips at line ends. I've been trying to find alternative for web (i need to generate web fonts but apparently adobe has asked fontsquirrel not do give out helvetica fonts) and so far my search has yielded me nothing, despite going through several free font sites like http://www.1001freefonts.com/rounded-fonts.php (source: fontshop.co.uk)
What is the best file type to use in mobile apps? I am developing an iphone app and I am using images with the same frame as the views with 72 dpis in a format file .png but when the detail is more complex (rounded corners or little dots in a circle) the images get very blurry. Can anyone advise me?
How can I edit a photo so it ends up looking likje a sketch? Example:
What are some good applications and tools that graphic designers can use to work with WPF interfaces?
Thanks to the help of various people here, I've just about nailed this script for InDesign that I'm working on. There's only one other bit that, while not 100% necessary, I would love to be able to see if ExtendScript can do it. The documents that the script will be running on have a frame which contains a linked EPS file. This EPS file is a vector file (99% of the time) saved from Illustrator CS6. (The other 1% of the time, it's a bitmap that has been assigned a spot color.) I need to be able to see if any of the colors in that artwork are spot colors that are NOT 100%—in other words, they are halftones. This is probably going to be a tough one, since I don't know if InDesign can check the artwork directly. It would likely need to open the original file in Illustrator, then check not only solid fills and solid strokes, but also if there are any gradient fills, gradient strokes, or mesh objects. (I'm under the assumption that all gradients and meshes contain, by their very nature, halftones.) In addition, it would need to identify (return) which spot colors are halftoned in the art. Does anyone happen to have any ideas on how this can be accomplished?
I've looked around for a good desktop rig to suit a 2K budget computer focused on graphic design/ rendering capabilities, but I'm have trouble finding exactly the type of setup that I'm looking for. If anyone is a hardware guru and has a great understanding of how to extract the very best GPU power and Display quality from a budget, and don't mind throwing it into a new egg wish list for me, I'd truly be grateful. Here is the setup I'm looking for: Triple, high quality monitor display Performance based on the idea that I'll need to handle high resolution and many layered images within photoshop Performance based on the idea that I'll be using Blender to render 3-D Designs, which is able to use GPU to render 3D models. Performance based on the idea that I will likely have 30+ browser tabs open, be running text editors in the background, and be doing all of these things at once, and need the setup to be able to handle it all with no sweat. I have a TB of external memory, so that should save some cash on memory that doesn't need to be accessed with a great amount of speed, but the 2K does need to cover the three high quality monitors, a large tower with room for upgrade, a disk drive, a mouse, keyboard, and USB ports. *Edit: I think the builds suggested here will be helpful many users seeking rendering machine setup suggestions. I hope this fit's the format, and of course, isn't a duplicate question. I've looked and not found a satisfactory answer anywhere on StackOverflow! I thank you all ahead of time for your suggestions! New: Thanks for the suggestion to move this to superuser.com! I reposted it here: https://superuser.com/questions/601279/building-a-computer-specifically-for-graphic-design-2k-budget Thank you for your answers everyone, I was able to change the terms of what I needed to search for to meet the 2K budget thanks to all of your helpful advisories. The user-base here is far beyond the quality and knowledge level of any website in the world, in my opinion. Thanks again!
Is it possible to create something like the image below in illustrator? I know in Photoshop it would be a case of rasterizing font and cutting the text and shifting it around but Photoshop is vector based and it can't be done like that. How would you go about achieving a similar effect in illustrator?
I saw some jaw-dropping designs at Dribble and Behance. Can someone give the idea about tool kits required to make such beautiful things ? Are there actually competitive free alternatives available ? I have been using GIMP, but not able to figure out if it actually possible to make such good designs with it. Edit: I am really interested in the minimalistic ones. eg : source source source other examples
I'm a web developer mainly working in front end developing. My main fields are HTML5, CSS3 and Flash ActionScript 3.0. Here in Iran, teamwork means nothing for most of the people, but I think it's the most important aspect of our work, especially in web design. I have poor skills in graphic design and UI design. I always have to work with graphic designers for my websites. They are usually good and skilled designers. But they are all print designers and unfortunately they know nothing about the web and designing for it. For example, one of the designers that I work with most of the time is a great designer and he won a couple awards for his logo and poster designs. However, he knows nothing about the web and most of my time is spent explaining to him how things work on the web, i.e. in what size he should work, using pixels instead of centimeters, and so on... After all he is a print designer, not a web designer. They often think everything is static and constant, not in motion. So the best way to work around this is to improve my skills in graphical designing. I just want to be able to design good layouts, make good color selections, and etc for my websites. I do not want to design illustrations and do heavy graphical works. Just design websites with no Photoshop illustrations like posters and etc. What do you do for your graphic works, and if you do them yourself, which books or references do you suggest I read? Where should I start?
I saw a similar question has been asked but did not have a good answer. I want to recreate the gradient on the screenshot I attached. I couldn't figure out this hard gradient effect. I have tried doing the hard gradient using an angle gradient but there was no fade between the white and the grey. I ended up just duplicating the white cell transforming the height to half the white cell and putting a grey to white gradient on the half cell. This gave me a hard gradient with a slight fade.
Edit to clarify Thank you for the existing answers. I am afraid that you misunderstood my question. I don't want to create mockups (I have some, but they are not suited for my current purpose). I want a tool (possibly something as simple as a freely available CSS theme) which will make my existing, functioning half-finished ASP MVC site look like a mockup. My boss's boss decided that I have to show the current stage of my work to my stakeholders, so they can get a feeling for the web application I am developing for them. It is a greenfield development, so the users have no expectations built from contact with prior version. He wants it to be at least a little bit clickable, so I can't go and post the mockups I am working from. It will have to be a running version of the current stage of development. I want to make it crystal clear for the busy, critical mid-level manager that what they see is not what they are going to get, but an early sketch of it. It is a very sensitive matter, because my application increases the manager's paperwork load. Therefore they are already hostile towards the project and inclined to view the prototype in the worst possible way, making conclusions for the expected application quality from the design quality, and complaining that the vital functions whose implementations has not yet started are missing. To do this, I would like to give my page a hand-drawn look, just like typical mockups. It should shout "I am a rough sketch" from afar, so that nobody could ever mistake it for the real thing. What are good ways to create such a look? Is there a way more efficient than creating my own mockup-look CSS by hand? I am severely limited in the time I can invest in such a task, and I am also inexperienced at design. I need don't a perfect look, and the pages are nothing complicated, so the simpler the solution, the better.
I'm not sure if this is the right forum but there doesn't seem to be a dedicated typography forum. I'm looking for high-resolution scans from pages of Arrighi's La Operina, which is a classic manual for calligraphy and for the 'chancery italic' approach to pre-printing-press typography. I'm aware of an on line resource of "the" work, but the resolution is too low. The work doesn't have to be authentic and I'll consider examples of modern interpretations. I have a copy of Three Classics of Italian Calligraphy but it doesn't show enough detail. Any help appreciated.
Is there any transform, which "looks" at any region of a picture and then compares it with neighbor region, and if two regions are similarly colored, then unifies two regions in one and colors it with average color. Finally, this transform will distinguish "paper" from "writing" on it. It will color with constant value any gradient fields or dimmed pictures, while remain uncolored any area with frequently changed colors, like in writings. Key idea is that this transform should unify any big color change if it is gradual. Below is my manual example Here background is unified to gray since it is average color of gradually changing background region, while rectangle is colored with dirty green because it is it's average color. Two regions are separated with high gradient margin. UPDATE ABOUT SIMILARITY There is a notion of color difference, for example in Lab color space it can be defined as . So, with this value one can calculate gradient, i.e. this value per pixel step. Also one may introduce threshold, separating "big" gradient from "small" one. So, pixels with small gradient can be merged together and colored with average color. This is one rough approach coming to mind.
In 12 years of using Photoshop I've never seen an issue like this. I have a picture. When I choose Vɪᴇᴡ ▶ Aᴄᴛᴜᴀʟ Pɪxᴇʟs the image is displaying incorrectly on my monitor. On the left is what my image looks like (zoomed up by a factor of 4 using nearest-neighbor). On the right is a screenshot of what it looks like when displayed at "Actual Size" (also zoomed up). What setting could possibly be causing this? Photoshop CS4 on Windows 7x64, on a machine with multiple graphics cards by NVIDIA.
I need to remove the horizontal bar of an A char so it looks like a V upside down. What I did is: I opened Illustrator and typed the character A, then I clicked "create outlines". Then I joined bottom left anchor point of the horizontal bar with the top left one and did the same with the other side. That removes the horizontal bar but it leaves a tiny horizontal line, I tried removing the path left but the line still remains. Here is the .ai file: http://www.sendspace.com/file/d9je5o How can I remove the horizontal bar from the A completely without getting that horizontal line?
Grid Diary is a popular diary app on App Store. I love its font but don't what it is. Any ideas? WhatTheFont cannot give a precise answer because the text is too small.
Are there open-source fonts visually similar to FF Fago or Neo Sans Intel (used on intel.com website and also Intel manuals (small example))?
Please look at the below image: As you can see, the right side of the image looks blurry. I've tried to use blurry filter and eraser with 0% hardness but doesn't work :( How can I achieve this efffect?
I have several smart objects I want to duplicate and preserve the layer style. However, when I modify one of the objects it also changes every copied smart object to match the modified one. Is there a way to use the shortcut Ctrl+J and another shortcut to remove the link so each smart object will have its own editable capabilities? I am trying to prevent having to copy all the layer styles and add them to each smart object. Per search the only reference I found was this but it covered how to and that is not what I need.
So I'm creating an entirely responsive website, with the aim of using as few media queries and magic numbers as possible. I've found after a number of attempts, that using the content to create the layout is by far the best course of action. My client requested an image slideshow/carousel to be prominently visible on the homepage, and possibly all main pages. I have created a layout that works and they're happy with it. You can view it here. Now I have a new challenge, how do I create an eye-catching slideshow, that responds to it's medium, and looks good? Let me expand.. I have few constraints, which is more of a burden than a relief in this case. The image must be 400px in height. The width can be anything from 300px - 2000px. I can create a few layers, depending on their detail, that can be moved by the webpage itself to respond to the screen size. The images and design are likely to stay the same for a long time, whilst the text will change fairly often. So what I'm currently thinking and attempting is: Use a background image with a direct link to the subject and one or two interesting and relevant clip-art type pictures that can be floated around depending on the screen size. Then allow the text to position itself, with the help of margins/padding and media queries. At the time of this edit, I have taken the easy, safe and boring option by using wide, obvious photos. I am looking for advice on the approach to take when tasked with creating graphics that respond to the medium they're displayed on. Original questions (not so) relevant to this: Would a one colour, simple gradient or very smooth background be better than a repeating pattern or one with detail? How can I create a repeating pattern that works with and is relevant to the subject and design? If I use a floatable foreground image, do you think it has to look realistic, as in not clip art? Better topics of consideration: From a design point-of-view (I know the technical side), what conditions can I use to decide how to scale the text up/down, and still look good? ie. should the text be no larger than a certain size depending on the width of its container? What sort of images are best for a background with a highly varying width? My guess is images that have a single anchor point of interest with some unimportant detail throughout the rest of the image What are the most important things to consider regarding the unfixed/floating nature of foreground images and text? (white space, wrapping and anything else?) Any blog posts, articles or reports relevant to this are welcome and greatly appreciated.
I'm working on vertical rhythm right now for my website. It's hard / impossible with images of unknown size. There's a javascript plugin that helps with keeping vertical rhythm by resizing the images. http://daneden.me/baseline/ My problem with the plugin is that I think the plugin makes the site look worse (check their demo). The image is now smaller and no longer maintains the grid horizontally, which is just as bad in my opinion. While vertical rhythm is no doubt important, I think what's more important is local / relative vertical rhythm. For example if your base line height is 24px and your image is 60px, breaking the rhythm, if your next paragraph is 24px from the bottom of the image then there is still localized rhythm despite broken page-wide rhythm. From that image below I would try to maintain multiples of 24px without being concerned about the interference from the image, basically ignoring the effect of the image. This is most doable I think because I don't have sidebars that you can compare the rhythm with. I think it'll look obviously horrid if it doesn't match up with sidebars, but without sidebars break in rhythms should be basically invisible. Am I right or should I be more concerned about page rhythm.
I'm currently working on a project to make a metal part. I have designed a 2D plan and I was wondering if there was a software out there that would enable me to transform my 2D plan into a 3D model. This way I could have a better look to what I've designed. I know Autocad has this capability, Alias I guess, and Solidworks will do the job but I'm looking for something simple and why not a free software that will be very simple to turn my 2D in 3D.
I just saw a mailbox zero inbox icon and thought it was cool! I am wondering: what is the technique to create this artwork? Mask with an image? I am looking for a keyword to google it. Example:
I'm trying to vectorize this Gray's anatomy diagram from the Wikimedia commons: (Yeah, I know. Kind of an awkward image, but I'm a medical student studying Urology and we need good medical diagrams too.) I'm trying to find a way to replicate the spongy texture in the image in the least painful way possible. I've looked into using texture images and masking, but the textures I've found are either the wrong color or just too jarringly different from the cartoon-y diagrammatic style of the rest of the image. I'm trying to avoid having to hand-draw tons of little shadows/pores here, but if that's what it takes, any suggestions on how to do that efficiently would also be appreciated.
I'm working on a design with layered text. I want to have a word on top of another and when I select the layer and go to arrange > bring to front it won't do it. I've tried sending the rest of the layers to the back but the design stays as if I've done nothing. I am not sure if it's a settings thing or if i'm doing something wrong.
I want to create a simple circular progress animation with either Adobe After Effect or Adobe Flash or any other software that you may suggest. Something like this: Assuming that the graphic assets are available and I only want the filling animation. I guess that I need some masking technique to create the filling motion. But I have no idea how to create a growing circular mask. If it was a horizontal progress, I would only need to resize the mask to reveal the underlying layer gradually. But what about this? Any suggestion would be appreciated.
Just like in Paint, how can I do a "transparent selection"? For example, if red is the background color and I select a part of an image with red in it, I want my selection to consider the the red to be transparent. Or equivalently : How can I change a specific color inside a selection to transparent?
What is the corner radius of the windows in Mac OS X? I kind of like to have stuff right on the dot and it'll bug me until I find out.
I want to make a website that people come and type a sentence and I make a poster out of it, print it, and send it to them. I was thinking of exporting as PDF (as recommended in this SO question). I know I can make a box with html divs and color it and put some web font, but I wonder: How do I go from HTML to TIFF? ( I've read TIFF is the best format for poster print) Can I use web fonts?
I am trying to reduce the pixels of an image for the web, but it looks very bad (for exam). 3200X1200 pixels is the original size of the image, but I would like to convert it to 530x411 for my web page. If I do it with image size options it looks very bad. Please, give me some ideas.
I have some vector objects created in Inkscape and I am exporting them to a png files. I am using the exported images in another program. The problem is, that even though the initial object is on transparent background, the resulting png has a thin white border around it which looks just terrible. I have read somewhere, that the deafult export format is PNG-8, which should have transparent-functionality, but this feature is often not 100% supported (especially in older versions of software). Is exporting svg objects to PNG-24 a solution to this? I would try it but I have not found how to change the defualt export format in Inkscape. What else could be done to eliminate this problem? Thanks for any tips!
Im looking for tutorials about designing characters/mascots with illustrator in a specific style viewable below. I liked this design style but the actual original tutorial page is no longer online (links to http://dinglifeblog.com/?p=219 don't work). Image Viewable here I have searched in google for 'icon character design' but couldn't find anything similar. Is this type of design called something specific or does anyone know a good tutorial for this type of design? It is the icon character that I am specifically intrested in. Thanks
I have an image which has a layer mask so that the image fades to transparent. However when I try to export the image (Save for Web) as a PNG the layer mask is lost. What am I doing wrong? Can this be done? Cheers
Short question: I have SVG files with CMYK colours, specified as according to the SVG specs. I want to get this into a design program - any design program - to finalise the design and prepare it to print. However, I can't find anything that actually pays attention to the CMYK colours in the SVG (not Illustrator or Inkscape, anyway). The colours are complicated and not easy to just convert: imagine hundreds of shades dynamically generated, as tints and blends of brand-guidelines-specified CMYK that has to be just right. Background: Something that's becoming more common is designing data-driven graphics that are generated from data using javascript and SVG, then, publishing one variant for the web using javascript and SVG, for example via D3 (or via Raphael / D34Raphael for IE support), then using the same code to produce a variant for print, which is finished in Illustrator (or Inkscape) and sent to the printers or layout people as a PDF. Here's an example from the New York Times graphics blog talking through this workflow. The below graphic was coded for the web, then the SVG was copied from the browser into Illustrator then finalised as a print graphic (for them, the colours are simple so they don't have my problem, they can just convert from the RGB): SVG can specify CMYK colours (for any SVG coders out there, the syntax looks like this: <circle fill="#CD853F device-cmyk(0.11, 0.48, 0.83, 0.00)"/>). But most design software ignores this. I've seen talk in the Inkscape community of thinking about supporting CMYK SVG, and something complicated involving Scribus ("the open-source InDesign"), but I've not managed to get either to work (I might have misunderstood the Scribus one - edit: this article suggests that Scribus can import CMYK SVG if it defines it as an ICC colour profile... not quite mades sense of it yet but it looks promising). So, I can create code that generates RGB SVG visualisations in 'web mode' and CMYK SVG in 'print mode', dynamically generating colours that are just right. The problem is, I can't do anything with these CMYK SVG files - Illustrator and Inkscape just treat them as black. Is there any graphics program, plugin or method that can take an SVG image with CMYK shapes and convert it to any vector format (ai,pdf,eps...) where design software will listen to the CMYK colours? Here's a simple SVG file with some text with colours specified in CMYK. Just copy and paste and save as an .svg file. <?xml version="1.0" encoding="utf-8"?> <!DOCTYPE svg PUBLIC "-//W3C//DTD SVG 1.1//EN" "http://www.w3.org/Graphics/SVG/1.1/DTD/svg11.dtd"> <svg version="1.1" xmlns="http://www.w3.org/2000/svg" xmlns:xlink="http://www.w3.org/1999/xlink" x="0px" y="0px" width="176.18px" height="111.59px" viewBox="0 0 176.18 111.59" enable-background="new 0 0 176.18 111.59" xml:space="preserve"> <switch> <g> <text transform="matrix(1 0 0 1 31.5986 34.522)" fill="#dddddd device-cmyk(0.00, 0.00, 0.00, 0.60)" font-family="'MyriadPro-Regular'" font-size="12">TEST FILE...</text> <text transform="matrix(1 0 0 1 31.5986 59.3633)" fill="#dddddd device-cmyk(0.00, 0.85, 0.65, 0.00)" font-family="'MyriadPro-Regular'" font-size="12">This should be red</text> <text transform="matrix(1 0 0 1 31.5986 84.2041)" fill="#dddddd device-cmyk(0.90, 0.55, 0.00, 0.00)" font-family="'MyriadPro-Regular'" font-size="12">This should be blue</text> </g> </switch> </svg>
As far as I understand, converting input files to DNG is reasonable for Raw files only. Or is there any benefit if I convert jpgs to dng?
I have a 15.6" touchscreen laptop and I would like to be able to use the touchscreen in Photoshop. It works fine in Illustrator but for some reason Adobe didn't make Photoshop compatible with touch screens. Does anyone know a way to make Photoshop CS6 work with touchscreen monitors? It's so frustrating not being able to use touchscreen in Photoshop, especially now that I'm getting used to using it in Illustrator. Not to mention every other program I've tried works with it no problem. My laptop is an Asus Q500A 15.6" Touchscreen Laptop.
Can any of my graphics designer friends explain HSB to me? I know it's hue/saturation/brightness and I know what those three do (for the most part)... I understand the algorithm of creating colors behind RGB, but what about HSB? The hue is just the colors radial position on the color wheel right? But what do saturation and brightness do? (I know one washes the color out (towards grey) and the other lightens or darkens the color...) but what do they do on the color wheel? Hue is radial position? I'm assuming brightness says whether the color location is closer to the center of the wheel or closer to the edge of the wheel, but then where does saturation come into play? Also, is black even on the color wheel? Or is it actually like a color cylinder where the center travels from white (on the bottom face) to black (on the top face) and saturation chooses the z-position of the color location? What I'm really trying to understand is, in different lighting would my skin (assuming it's all almost the same color) always have about the same hue but different brightness, and on cameras with different exposure would my skin always have the same hue but different saturation?
I am using Photoshop CS6. I have 40 images that have a transparent background open. I would like to apply a layer (a fill with gradient) to each of the 40 images without having to manually select Duplicate Layer (because I can only select one document at at time as a destination). Any advice?
I'm working on a website redesign project. I will need to present a few different mockups to the client for review. I want to make sure the client can see everything in context. I don't want to assume that the client has the right software. Maybe even add some comments, questions, or background on the design direction. What is a typical way of presenting mockups to a client? I assume that presenting website mockups in email was not the best way. If email is a successful means for presenting mockups, please explain that in an answer.
I've been without Photoshop on my laptop for a few months and have been working with Microsoft Paint on some UI mock-ups. Now that I have Photoshop (CS6) on my laptop the colors are completely different. Even if I screenshot the mock-up with Paint open on my desktop (with the layout visible) and then try to paste that into Photoshop, the colors are still the same as when opening in Photoshop from a saved image and are incorrect. Some of the colors in paint I color sampled from my website and they match perfectly. I've tried everything to get mock-up into Photoshop with the right colors, but no luck. I've also tried the various color profiles (RGB, CMYK, etc., but i'm not keen on them). The only time it shows up correctly is if I open in paint or with a web browser, so I'm thinking it must but some web color profile or something. Any ideas how I can preserve all my original work and get it looking the same in Photoshop? New photos off the web have the same issue, by the way. They look good in the browser then they are different in Photoshop and Microsoft Photo Viewer.
I have text in 2 columns in a text box. There are large gaps inbetween some of the words in one area of a column. There is one space before and after each word. What could account or this?
I'm looking to recreate this effect in Photoshop by giving a shadow only to the corners of the rectangle (in this case a sticky note):
If you use an Illustrator action on a selection, it applies it to that selection as a whole. Illustrator actions can be applied as 'batches', but this means batches of files, not batches of objects. Is there a way to apply an action to each object in turn (like Transform Each does), not the whole selection?
Is there a way to change the colour of this gray area? I would like it to be white. I like to use this area as a mood board, so it helps if I am working with the same background colour.
I'm trying to create a presentation that requires me highlighting sections in each photo. I mean having the rest of the image in a kind of transparent form but the section of interest should be very clear and emphasized so that the audience are drawn to that particular section of the image while still having the freedom to scan the overall image. Thank you in anticipation of your help.
In preparation for an upcoming project, I've been looking over a lot of different sites for high end perfumes and/or high fashion. Noticed that most of them (at least the perfume ones) have almost the same look and feel. I like the sparseness and simplicity of them, but the color schemes drive me nuts. I'm wondering if there are any scientific underpinnings of this trend? I mean ANY. I find them so off-putting it's not even funny, but I'll have to work closely with fairly high ranking company rep and keep a straight face. EDIT: B&W ... one more...
What are the radii and sizes for the new iOS 7 icons?
Currently, I'm looking for designer to help me in designing some flat icons, with such style (flat, minimalist, simple, clean, like these ones). Sometimes, I came across some amazing logo works by other designers. I love those works as well. I was wondering, are "flat icon design" and "logo design" comprised of the same set of skills? If a designer can design an amazingly great logos, can I assume he will be able to design an amazingly great flat icons as well?
I'm going to be printing from inDesign onto a borderless printer. I want images that bleed over from one page onto the next to continue without a gap. The document is too long to use vertical page spreads (max 10 pages) and tiling isn't working (inDesign puts in a gap with a crop mark and slug info even though I've unchecked these). Is there any way to get linked text boxes with inline images to span multiple boxes, with part of the image in each text box?
I have experience only with Adobe Photoshop, but I'm looking for something easy to use, a program that will let me focus on the design process and testing many concepts without having to do a lot of "craft" work/clicking. Are there any templates available on the Net that I could use?
I'm working on a project that will mail out access codes. Yes, using physical snail mail. The recipient needs to be able read the code and accurately type it into a web form. The codes consist of seven characters including upper case A-Z, lower case a-z, and digits 0-9. My question is how to communicate exact characters, keeping in mind that I might have a number 0 immediately next to the letter O. A code may also contain one, but not the other. I'm also concerned about i vs I vs l vs 1... and those are four different valid characters. What fonts can I use that will clearly distinguish these? What are tests I can use to check the font? Are there other sets of similar character glyphs I might be missing? Is there anything else that I can/should be doing to make sure these are readable in an accurate way?
(Completely rewritten version.) I'm a writer doing a book for an overseas publisher. My deliverables for them are .doc files for the text and .png files for the graphics. I have no control over print production processes. The publisher tells me that my .png files are "too light" and will cause problems during printing. (I've been told this doesn't make sense; nothing I can do about that.) They've asked me to do darker versions. Since these are screen captures of web applications, the only way to make them darker is to edit the files. I've tried editing them using the Brightness/Contrast tool in GIMP, but this introduces weird color distortions. There's presumably some simple adjustment that will make these images look darker, but I lack the expertise to find it. Simple example:
I want to use one of the Adobe Creative Suite 5 programs to create an image sprite of all the small icons and images on my webpages. I've done it a number of times before in Photoshop but can't quite get every icon to be at the exact coordinates I intend them to be at. The last method I used was to explicitly define the correct size of each as a shape, and use snap-to and line guides to line them all up where I want each image, and then insert the images and hide the shapes. This takes a little while and to my dismay, there always seems to be something that's a pixel or two out of place, messing with my beautiful site designs. What method can I use to set up a grid of images with varying sizes to be at specific coordinates? Which of the Adobe CS5 Programs has the best functionality for this? and a loosely relevant side question.. For the purpose of rendering in a browser as fast as possible, should the images be lined up vertically, horizontally or in a roughly equal sided rectangle?
I have this site Site Link where I use gradients on the background. When you for example switch between site "Leistungen" & "Referenzen" you will see that the background darkness from the gradients on the top is getting darker or brighter (when switching between the two pages) because of the different heights of the two pages. Now my question is how I can use such gradients in photoshop to have the same look on different heights because actually the gradient is stretching when having smaller or bigger heights?
I'm in the process of replacing a lot of flash content with anything other than flash. Most of it's simple animated diagrams such as the one below: Rather than write javascript each time an image like this appears and risk one of several content writers, who aren't developers and could easily be confused, overwhelmed, or mistakenly change code, I figured many of the flash animations could simply be replaced by an animated gif. However, I've underestimated how large what look like simple images can get when animated. For example, the one below is 228kb, which isn't the end of the world, but much heavier than I'd like to go. Are there certain methods during the image design process that I can use to cut down on the file size? I would've assumed it'd be something like png's, where they can become very heavy with detail, but if you stick to simple shapes and solid colors, they can be extremely light.
first question here so hopefully it's okay. I've searched for how to do this everywhere online but I couldn't find anything. I'm using flash CS6 and I have a shape. I want to animate it so that only one anchor point moves in the animation, not the entire shape. I have absolutely no idea how to do this, any help would be much appreciated! Thanks :)
As the title says we were discussing scripting processes and we noticed this has not been asked nor do I know if it can be done. Can you create an InDesign script that will take all .indd files and print/export them to .pdf?
I have these two fonts and I would like help identifying each one please. 1st font 2nd font
I work on some detailed graphics. I would like to have two windows of the same file open at once, one zoomed in and the other at 100%. This is easy. But what I can't figure out is how to remove ALL "stuff" from the 100% I don't want any guides, rulers, Bounding Boxes handles or such only my pixles. This works in PS using hide extras on the 100% view. But in Illustrator hiding the bounding box for example hides it in both views. Am I missing something here?
I have several paragraphs with the same style. I'd like to auto-add new line before the first paragraph and new line after last paragraph of the same style. How can I do this? Thanks in advance. N.B. The necessary case – it should be the same style 'cause it will be processed via Markdown.
I am using Adobe Illustrator CS6 to create small images (like icons) for my app so I need pixel precision. How can I avoid X, Y, W and H properties to have decimals? Can I configure 0 decimals for this properties on my document? If I use the textboxes with this properties it does right, it increases pixel by pixel, but when draggin with the mouse it uses up to 3 decimals.
In Photoshop, I've got in my character menu Horizontal and Vertical scaling. In Illustrator I don't have it, but I need it. I know I can stretch the entire text-box in AI to simulate character scaling, but that doesn't apply to the following cases: How do I scale one character horizontally or vertically (but not both) in text in Illustrator, without separating the text out? Also, how do I stretch text vertically when it's typed along a path? EDIT: I do realize that to stretch an individual character, the text can be outlined, and the character can then be transformed; however, I'd say this should be a last resort, since it's irreversible, and changing the text afterward requires a complete redesign.
Well, Let me put it this way, I had a PC on which I use to do all my designing work. It was like a home for me, I had all fonts installed, Layer styles saved, Swatches, and many more things. But recently I bought another PC and now I was wondering if there is a way to export every Photoshop stuff I had on my old PC to my New PC. Any help will be really appreciated.. :)
In Photoshop, I am trying to align the baseline, x height, and cap height of some text to a curve, but I'd like to keep the vertical orientation of the letters strait up and down, and not let the curve influence their vertical orientation. Here is an example of the effect I'm trying to replicate: The part that says "McKeesport and Youghiogheny" has exactly the effect I'm trying to achieve. However when I use the "type on path tool" in photoshop, it changes the orientation of the letters so they are not strait up and down. If anyone know a way to do this please let me know! I would appreciate it. Thanks!
I created a logo with some wooden texture in it. I'd like to get rid of the texture and fill it with a different color. I'm not sure what to do. I am able to change the color but the texture remains.
I have seen many designer's work (logos, websites, brochures, animations, infographics, business cards, scenery, illustrations). Most are average but some stand out. Their work just takes you. You can't help but admire the quality of it and right decisions that were made. Even though you are in field of graphic design you still interact with it just as other person would. In not so awesome works, certain graphic design principles and elements stand out. You can see they were well done, accurately used, and harmoniously interact with each other. However, you can still see these elements and not the design as whole. As one with a trained eye you can't help it. On the other hand, designs that stand out are so great that you can't help but see the message and your brain ignores those elements. Basically, you become an audience as well. So how does a graphic designer break the average design barrier? I know skills, imagination, and experience matter. But I don't know how to acquire them exactly or anything else that matters. How can I improve?
I am the graphic designer of a game and I want to recreate the look of these images (I mean the characters, not the 2.5 scene). My questions are: Does this character style (no legs or arms) have a specific name? How can I create characters in this style?
What is the general name for these images with lots of icons and small items sketched (or outlined), they are quite popular these days. Evernote and Whatsapp for example uses them: http://pocketyourshop.files.wordpress.com/2013/03/evernote.png http://cdn9.staztic.com/app/a/2063/2063485/whatsapp-wallpaper-pack-4-724187-0-s-307x512.jpg I'm looking for a tutorial or free images for my app's splash screen, so I need to know how to google them. Though I'm moderately good with Photoshop I don't have much hand drawing skills. Any help appreciated.
This is a medically related question...Most pathology slides are stained with hematoxylin (blue) and eosin (red). However, every lab does it differently. I would like to take a bunch of images from various sources and get the staining properties to all be about the same--with some automatable process, since I have 100's of images to deal with. Any theories? Thanks, r
I've just been using some UI templates and in some cases, the 'bounding box' for transformations is huge compared to the actual object in it. For example, I have a little 'back arrow' shape probably 40px wide, but the transformation box is more than 1000 wide and high. How do I 'clip' or crop it (for want of a better term). It may be called fitting the frame to the content.
I have got a very simple logo in jpg format. The logo is mostly text, think something like "ABC inc." with a very simple styilized shape which merges A, B and C preceding the text. Only two "pure" colors are used. This logo is used everywhere, resized for every occasion, with an evident degradation of quality. I think (am I right?) that a vector version of it should be very easily obtained, since I am tracing something which is more traceable than "a drawing", in my case simple geometric shapes and fonts and should provide for a solution to the image quality degradation. I have asked the "graphic dept" if they already had a vector version of the logo. Disappointingly for my purposes, they sent me a larger jpg to start with. So, I have downloaded Inkscape, and I have traced the bitmap. The result, even if not perfect, is very good (mainly because the font has sharp angles, while the tracing uses smooth curves and so there is a "roundish" feel to the letters. Now I would like to fill the (interior region of the) traced shape with the original colors. The trouble is that the "fill" tool doesn't work like I am accustomed to in an image editing program (say, Gimp). In particular, it doesn't "fill" the shape but it is apparently "tracing" another path within mine: and so while a good approximation, one can clearly see the "white" space between the two shapes. What am I doing wrong, and how can I rectify it? I can live with a "rounded" text, at least as a first approximation. But the white space between the boundary and the interior region is so evident that it is not acceptable. Please note: I am a complete beginner in the field of vector imaging. So I am aware that my approach could be easily wrong from the first step, and the whole question may be "missing it". UPDATE: as requested, I am adding an example. This is a "dot", like at the end of "Inc.": . As you can see, when I filled the interior of the dot, a white space remained around. What am I doing wrong?
I created two documents with same pixel dimensions (1280x768). Document 1: 72ppi Document 2: 300ppi When I saved both in .png, they have the same size on the hard disk. Why do I need PPI? Why can't I just use pixels?
I have a scan of an old children's book that contains both graphics and text. I want to revive the book for my children, while preserving as much as possible from the original layout and illustrations. I have a very limited experience in this field. I thought of using Photoshop, which I have used in the past for other projects, but none of this kind. My approach was to try and segment each image, find the contours and fill the regions with new uniform colors, based on the original colors, such that I obtain clean illustrations. Also, if possible, I want to get the text such that I don't need to retype it (but this is only a minimal problem, since the book does not contain too much text). I don't know if this can be semi-automatically done in Photoshop. I found useful the Trace Contour filter, but I assume that there are also other tools that can be helpful in achieving a good results with a least manual effort. Here is what I achieved so far, by a direct approach using the Trace Contour filter in Photoshop, then by manually filling the regions with uniform colors from the original scan. How would you solve this task? Any hint or advice would be helpful. Original scan of the cover: Partial result: Two more scanned pages from the book:
I've been working with 960 layout for years – but was wondering if there are other grid systems that are strongly supported by the design and development community and also have blank or starter pages to work with.
I would like to do something that seems simple, but I can't find anything on the web. Does anyone know of a way to take a font and generate a spline that follows the center of the font's stroke? I have the Adobe creative suite.
I am colourblind, which makes choosing the colours of my website very hard (often I choose colours that appeal to me, yet look awful to everyone else). I have recently begun a new website (image below), and I chose these colours for it. Now, to me, it looks really nice, but to everyone else who has seen it, it looks really really really bad. I am trying to design this website with a metro-ish theme (hence the font, lack of shadows and lack of gradients). I also like the colour blue (hence the blue backgrounds and headings). Does anyone know of a good blue colour palette or a website with detailed metro/blue colour scheme tutorials? Click on image for full size
I'm modifying an existing animated GIF using GIMP. For some reason, GIMP opens it as an RGB file. But after doing a color analysis it told me there are only 255 colours. That's just right! However, when I do turn on indexed mode, it generates a new palette which degrades the image. Even with all the blending/dithering options turned on or off, it applies a new 255 colour palette that is different from the 255 colours that are actually there. So, how can I fix this?
I have purchased this stock image: I wish to extend the pebble background substantially, to fill the image around 4x wider, keeping the same height. So far I've tried: Using PS CS5 content-aware filler, though whilst it starts out ok as you extend it a little bit, it begins to repeat the exact same background giving an extremely unnatural and badly edited look as you extend further. Using the Clone tool and Spot healing after stretching and cut-pasting various bits, after an hour of fiddling it becomes uncertain whether the image is getting better or worse and using this method will take forever and a day. There must be a combination of the thousands of tools in Photoshop or CS5 that will help me do this much faster. Any suggestion, blogs, guides or tutorials for this are welcome and appreciated.
I've been using Photoshop CS3 for quite some time in my work, but this one has really bugged me. When I have created a vector shape with the Pen tool, as I want to move those anchor points precisely to a specific point I sometimes need to snap it using some guidelines. But the anchor points don't seem to snap to any guides or even to edges of my other layered images. How do I make the anchor point snap to guidelines?
I'm trying to figure out how to create an engraved look in CorelDraw This type of effect is called "Inner Shadow" in PhotoShop. Here's an example: Create an “pressed in” look Step-by-step instructions would be GREATLY appreciated.
I'm trying to delete that horizontal bar using Glyphs. I can delete the four points that create it, but have no way of joining the inner points back up again. I've been trawling through the meager documentation for hours.
I have a folder on my computer with some images inside it. For each image I would like to create a smaller thumbnail of the image with a specific width and height. I recently downloaded Microsoft expression design. Is it possible to use expression design to generate thumbnails for a folder of images, if so how, or must I use a different program, if so which one and how?
I have a finished design for my iOS app, but the developers don't use PS and asked me to provide all the UI elements as PNGs for retina and standard. The designer who originally created the design in PS stated that he doesn't do slicing. Is there a way to do this automatically? If not which is the best method to do it? Isn't it usual that the designer provides this per request? Thanks in advance
I took some photos of a document with my iphone. Everything is perfect except the colors, the certificate looks great in the middle, but on the side it looks dark, darkness increasing spherically towards outside, the camera points directly towards the center of the page when photo is taken. I tried maxing out the brightness and contrast in gimp, until a level so that I can atleast read the important part. This removed the darkness, but it made the text in middle also very light. How can I remove the darkness as well as prevent the text from becoming very light?
I am working with an image with an aliasing problem in Adobe Illustrator CS6. The aliasing disappears after unchecking Preferences-> General -> Anti-aliased Artwork. However, when I export the file as a PDF, the aliasing returns when viewed with Adobe Acrobat. Once again, in Acrobat, by unchecking Edit-> Preferences... -> Page Display -> Rendering -> Smooth line art, the problem disappears. The same is the case for any PDF-viewer. Is there a way, in Adobe Illustrator, to remove the aliasing problem, rather than just temporarily hide it? I wish to send my PDF to an associate without having to say, "you will need to change your PDF-viewer preferences in order for the figures to look right".
In Photoshop I can copy and paste Illustrator paths as a smart object, and then double click this smart object to edit it in Illustrator. When I duplicate this smart object (say to change the colour scheme of a logo I'm designing and offer a client multiple colour schemes) and edit the newly created smart object, BOTH objects change. It's one of those Adobe quirks where I'm not quite sure if it's a feature or a bug :) Anyway, in order to offer separate colour schemes of a logo in one .psb file, I'd like to know how to edit derivative smart objects independently of each other :)
I’m looking to give my very smooth vector drawing a hand-drawn style. When I say this, I don’t mean applying a texture over the top of the whole vector (like this). A technique that would produce something like this would be what i’m looking for: Author: Rob Clarke
For example, in photo shop you can draw a line then select that line and contract the pixels maybe 3 pixels (depending if the line I drew was thicker)and fill that area with a color. Thus the line has a color with a black outline. Is it possible in illustrator to be able to do this just by simply drawing a line and having illustrator do it for you? completely new to illustrator
I need to find out what font was this written with: I have already tried http://www.myfonts.com/WhatTheFont/ but it didn't help. Do you know of some sites that display galleries of known fonts? I've only managed to get to bizzare fonts for some reason. Anyway, any solution is welcome, thx
I have a box with a list of labels inside of it and a separator line between each label. Now I want to cut all these shapes by a vertical line, say remove the left 50% part and keep the right 50% part with a "razor sharp" cutting edge. Pretty much the same as how you in Photoshop select an area of a rasterized layer, invert the selection and delete the outside of the selection. How do I achieve this with vectorized graphics in Illustrator? Expand and then select -> remove, rasterize -> select remove...? I can't get it to work. EDIT : Illustration of what I'm trying to do.
I'm trying to create a shape formed by a regular hexagon and a regular pentagon that are joined by shared edge. The problem is that the polygons made my the polygon tool are very hard to align. I've tried the connector tool, which seems to align everything nicely, but as far as I can tell requires nodes. Is there a good way of doing this within Inkscape? Otherwise, I will just write a script to make an svg containing the appropriate shapes. This is what happens if you try and use the polygon tool - alignment mayhem:
Ive got a bunch of logos i want to display on a 'press' page, the logos all have different color schemes, which clash so i want to make all the logos black and white, no greyscale, just 2 colours, black and white. Ive tried in Photoshop to set the color pallet to greyscale and then up the contrast, but i still get allot of greys in the logos, any idea hows best to achieve this. Id like to do something similar to this example were the logo is completely flattened, see there is no tonal effect on the letters as there is on the color version. Just to be clear all the logos, are raster, rather than vector so they cant just be put into illustrator and changed.
How can I create a generic blurred background that can be used on multiple images similar to the example below? I need a white frosted glass looking png that I can set use to layer over regular images to give them all a frosted glass look (like you can almost make out whats behind it; maybe some colors). Examples: Click on image for full resolution Maybe a white background with texture (grainy texture) then Gaussian blur that and then use it as a layer over all my images. I know the link I posted above is probably just an image blurred, but I need a layer that can be reused in an iOS project. This way it can be used a view layer over sections of an image and make the image underneath look blurred. Maybe I shouldn't use blur as the term here. I am looking for frosted glass look. What I am trying to do with this image is import it to my iOS app use it a view background. Then when this view is over other views (a map view, a photo, etc...) they all are frosted. I am trying to create the effect of this image from iOS 7. And no I don't want to use the new iOS 7 design features, because most of my users are on iOS 5 still. And no I don't want to force them to upgrade.
Is it possible to produce such design hints (on elements padding, spacing, width, height) automatically in photoshop? Is there any plugin that can potentially do this?
If I'm working on a document in Photoshop and I want to drop in an image by dragging the file from Windows explorer into the open Photoshop document, I can do that. It inserts the dropped image in a sort of "placement" mode until I finalize by pressing 'Enter'. The problem is, it doesn't insert the image at the image's actual size. It's generally smaller. Sure I can scale it once after dropping it in but that's not very accurate. In order to get the image to go into the document at its correct size I first have to open it in Photoshop as its own document (for example, dropping it into an empty area of the Photoshop window), and then drag that as a layer into the document I'm working on. This feels more like a workaround than a solution/answer. How can I drop in an image file into an open Photoshop document without it inserting it into the document at the incorrect size?
I am designing the layout for a textbook. The book is organized into themes at three levels: Modules Units Lessons When looking in the table of contents, this organization is easy to understand, e.g.: Module 1: North America Unit 1: The Age of Sail Lesson 1: Columbus Lesson 2: Magellan ... Unit 2: The Pioneers Lesson 3: Home on the Prairie Lesson 4: The Native Americans ... Module 2: Australia ... Once one begins to flip through the book, however, it is not so easy for readers to mentally visualize this structure or to find the pages they want. I examined some other textbooks, but found they had the same problem. So far, I have designed two types of titles which are easily differentiated. The first is the text printed large, with a photograph behind spanning two whole pages: _________________________________ | | | | | | | | | | Unit 1 | | | The Age of Sail| | | | | | | | |________________|________________| The second is the text printed slightly smaller, but it is given its own white space at the top of the pages: ________________ ________________ | | | | Lesson 1 | | | Columbus | | | .............. | .............. | | .............. | .............. | | .............. | .............. | | .............. | .............. | |________________|________________| I cannot find any way to make the "Modules" level appear much larger than the "Units" level. How can I organize the chapter titles in this book so this organization is more clear?