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I need to print a brochure on a CMYK heidelberg CPC printing machine. The design house has asked me this: "We'll need to know that/if you are using a specific profile for uncoated paper. Right now the pictures have FOGRA29 embedded for uncoated paper. Is that okay for you?" I actually don't know what this means... I don't know what FOGRA29 is, all I know is my machine can print CMYK. Can someone please explain what it all means?
Can anybody help me figure out what font used in this image? I had tried using myfonts.com as well as whatfontis.com but couldn't get the exact font. Ubuntu font and FF Dax are close, but not correct.
I have an image with several text layers on top of each other. Because they are rotated, they all have the same 'boundary box'. I want to edit several of the text layers, but when I click on the text, it selects the wrong layer. Even if I actually click on the letters I want to edit (so not on the text of the wrong layer). Even when I set the wrong layer invisible, GIMP still selects that layer. How can I force GIMP to choose the right text layer?
Take the following image, for example: I'd like to represent the lineart not as a black-filled, closed object, but as a network of Bézier curves connected at odd places, with various and varying stroke widths between them. When I manipulate a curve that has other curves connected to it on its arc (not just at its endpoints), the other curves should adjust to stay connected to the one I'm manipulating. Additionally, I'd like to represent the coloring as a set of "fill points" that, when rendering the image, propagate their color out in a wavefront until they encounter a Bézier curve - just like a flood fill tool in raster programs, just not prerendered. Is there a vector graphics format (and editor) with which this can be done? I've only had casual access to Inkscape/SVG, but the graphics primitives it offers are indeed too primitive.
I have recently just created a template, and I would like to show it on my site that it is responsive & fluid. I would like to take a few screenshots of my site, and display them on multiple devices such as PC, iPad, iPhone, etc. Are there any online tools/services that allows me to upload an image, and it frames it with a device of my choice? This is an example of what I'm looking for:
I have created both animated gif files with Photoshop CS5.1 (combining single frames; gif 128 with dithering) and FFMPEG via command line (converting a .mov file to a .gif file; -pix_fmt rgb24). Photoshop's output resembles the original images much more than FFMPEG does in terms of colors. What is the reason for this?
I'm a new enthusiast of web programming/development. Recently I started lectures and started studying to learn web development. I don't know if this forum is the right place to find help, but I wish to learn enough to be able to achieve designs like this. Could you recommend me some adequate resources?
How can I distort a shape so that it looks like it's drawn on the side of a cylinder? I.e. vertical lines should stay the same (just moving up or down depending on the location), and horizontal lines should become ellipse arcs.
I have two path shapes. They overlap in some places and do not overlap in other places. I want to create new layers for every place where the existing shapes overlap and new layers for every where they do not.
While creating a form in .pdf format it occurred to me that I did not know or see where to get stats on what the average human pt or px size is for writing. Typically I would just design what appeared to look good for the design and I didn't find anything after my search. Could the average pixel size be typically what Word uses as a default 11 pixels or is that program specific? So my question is what do you consider as the average pixel or point size for human writing in form design?
I'm trying to create a rectangle with two rounded corners and two pointy corners. I should be able to accomplish this by deselecting the "make all settings the same" icon in the Corner Options window, but for some reason, this icon is locked, and I can't seem to figure out how to unlock it (no, clicking on it doesn't work). I can adjust all four corners, but not each one individually.
If I turn on grid inside symbol, then it has no relation with symbol's coordinates and it's registration point, which is at zero. So I can't use snap-to-grid function correctly. How to fix/overcome? UPDATE Extra sample: A -- zero coordinate location B -- grid line location C -- snap to grid effect doesn't allow to position to zero since it snaps to grid, which is shifted relative to zero
I have complex symbol, which can (imaginary) exist in different states. For example, in treeview control node can be either expanded or collapsed, which means different indication. I want to have one symbol/prototype, but multiple instances of it in different states. Is it possible in Illustrator? UPDATE Rephrasing the question: are all instances of the symbol obliged to be identical to it's prototype in Illustrator? This is not true in programming: a class instance can differ from prototype by field values. For example, different instances of a vector can have different coordinates. So, for example, can I have a symbol for tree view indicator, which can be in two states, expanded and collapsed, like here
I'm looking for a font similar or identical to this one: I search with "what is the font?" but I could not find anyone. The most similar that I found was: http://www.urbanfonts.com/fonts/Plastic_Beach.htm but the uppercase are lowercase but bigger. Underwater and Underwater love are more different. Thanks in advance :)
I have searched for this question here but I did not see anything in regards to paper. I ask this question because some have chosen different types of paper when illustrating and I do not understand why. The majority of people would typically choose matte paper but there are some benefits to choosing glossy paper such as: Glossy Better finished quality finer detail capabilities Doesn't work well with ball point pens Matte easier to work with pen sometimes cheaper than glossy Harder to achieve finer detail Other than those pros and cons is their a reason why someone would choose glossy paper over matte paper?
When I create a new CMYK color for my document, the color’s values change when I edit it back, as you can see in this animation (sorry for the bad quality): For example: 65,00% becomes 65,10% 40,00% -> 40,00% 30,00% -> 30,20% 5,00% -> 5,10% How can I solve this and have the right value applied?
I'm wondering if there is a way to setup an Action in CS6 that would be able to determine the dimensions of an image or layer? Ultimately, I'd like to create a watermark essentially which would stamp the image with its own dimensions. Any help appreciated.
I need a thick spray of dots. I have tried both the Symbol spray tool and the paint brush to create a spray effect but a tight one. I'm not looking for scatter so much as a "pile-on" effect. Neither tool really works because with the symbol sprayer the dots seem to avoid each other and spread instead of thickening and with the paint brush it only does one line at a time. Is there a better way to do it?
I need to keep the logo/ text the same colour as shown. The problem is that part of the logo is the same colour as the background it's going to be placed on. I'm running out of ideas to try and show the logo without disrupting the logo itself. I've tried adding drop shadow to it, tried a large chunky white style border but none of it looks quite right. here is an example.
I'm making a simple template to laser cut. The laser cutter acts as a printer and you choose the power, speed, etc. for each colour that is in the document. I only want to cut, so I only have RGB red lines at 0.001 pt thickness. Or at least that was the plan. One of the shapes in my template has come out a different red (the swatches were CMYK despite the document colour mode being RGB). I would now like to select all the paths in the document and make them all RGB red. However, when I open the colour panel from the dock the sliders are CMYK, again this is despite the document colour mode being RGB: How do I change all the paths to be RGB red? How do I stop Illustrator offering me CMYK options and swatches and offering RGB instead?
Is there a way to take a sub-object of a group and resize it, then have the rest of the group follow along with the transformation? To illustrate my problem: I have these three groups on the first line of this image, all squares but with different things also included in the group. I'd like the groups resized so that the squares are all the same size (my best attempt at this on the second line, they're actually slightly different because I just dragged them by hand),
I have align to pixels turned on for new objects, but an image I placed earlier is not aligned to pixels, though it's exactly 1440 x 900. How do I set Illustrator so that when I move this image object, it will always snap to a round number?
I have a text which I outlined and broke into individual objects. I want to fit this text into as tight a space as possible without overlapping, rotating or moving the letters around. The text doesn't need to be readable, it just needs to use the least amount of material as possible. How can I do something like this?
My print has got a plain dark grey background CMYK of 0, 0, 0, 90. This has just been rejected from the printers because 'it was black space and not CMYK'.. Not fully understanding this I decided to combine small amount of the other inks perhaps CMKY 30, 22, 22, 80 to create the dark grey. My problem now is that I have a lot of small white text over the grey so I'm worried that using a mixture of inks will make the text be blurred at the edges where the ink doesn't quite line up. So I have a few questions really. Does anyone know why this was rejected at the printers - could I have saved it incorrectly from inDesign, or can I just not use the combo 0,0,0,80? Can anyone recommend a good CMYK for dark grey? Any tips for not ending up with blurred white text?
I am trying to add the following 3D image as background to the content of a wordpress website: Click for full resolution Website I would like the header part to stay the same size on all pages, the same goes for the footer. But as the body changes from page to page, i would like it to change accordingly but still fit properly to the header and footer part of the whole image. The problem with this background is the fact that it not symmetrical so the top & the bottom of the body image suppose to include the top & the bottom of the canvas (the middle part of the image) I tried different techniques to implement this solution, but couldn't figure it out. The issue is that the body part of the image doesn't repeat-y so well, as it changes throughout the height of the image, I would appreciate a solution, and it doesn't matter for me if i have to cut the images to a several parts.
How can I make a stroke look pixellated like this in Photoshop CS6? I'm talking about the sign's border specifically (not the text). Ideally I don't want to have to manually draw the pixels, so it's repeatable at different sizes.
When opening a new image from a PNG file in Illustrator as the background for my artboard to trace over I am not able to select any color swatches the only available options are [none] and [registration]. I have black and white available for gradients but thats it. I have checked the color settings and they are set to RGB. Has anyone come across this before, I'm hoping to either force colors or else find a way to add images from a file into the artboard as when I create a new document the standard colors are all present. The weird thing is I have just traced round a photo and I cannot remember having this problem in the past!
Resize controls are hidden for paragraph text box in Photoshop and I can't figure out how to get them to display. Usually I double click the text layer and they appear, but not anymore. Any ideas?
I am aware this type of thing is probably very general knowledge, but after reading some tutorials I can't seem to get things right. I am a programmer, but have been tasked with some minor UI tweaks. I have this caret as shown below, but it was much too small, so I used free transform and enlarged it by 200%. Now, it looks slightly blurry, and I am not sure how to rectify this. I know anti-aliasing in fonts takes care of this type of thing, so how can I achieve the same effect with just a layer? *I can also rasterize it/convert to smart object - not sure if this helps in any way.
I am trying to figure out why JPEG compression causes noise in the red spectrum that is larger and fuzzier in regards to, say, the blue spectrum. I've seen this question and I am not looking for a workaround; I just want to know why red is prone to more distortion during compression. This behavior is highly visible in 'political campaign' images (where the picture is rendered in red, blue, and some shade of tan), but is visible elsewhere too. Here is an example: Notice the border along the red side?
Just trying to follow the document upload specs for one of the web's largest online printers and bleed has confused me. Their instructions are shown at the bottom of the diagram which shows close ups of their Illustrator template. (My doc will be in InDesign which they don't have a template for.) Ignoring heights, their Illustator template matches their full bleed width (282 mm) and trim width (279 mm), which I would have thought is a 1.5mm bleed. But then they say to use a 0.137" (=3.5mm) bleed, which is what the template shows from the safe area and more in line the typical 1/8" bleeds I've come across in past. What am I missing?
Is there any border pattern version to the website http://subtlepatterns.com/? What I mean is that these patterns are usually used not as backgrounds but just as a border or divider between two sections. Although I can use some from Subtle Patterns, they're more geared to be used as backgrounds and not as a one line pattern.
I'm new to designing graphics for clients, I normally did things just for myself or for friends when they needed something done and I had a free minute. I've also worked at a retail store that does "desktop publishing" and offered a 24 hr turnaround guarantee. Because of this, I've become accustomed to working really fast. I still plan ideas and do research, but I usually go with my gut feelings on design direction (usually the second or so idea I have is the strongest in my opinion) and the clients I've worked for always love the work I do for them. But my problem is, because I work so fast and can almost pump out the designs they need, how do I should I charge? Charging by the hour would be a huge loss for me. But I don't know what to charge for a flat rate since I don't know what the "average" time for a design should take (if there is such a thing). When doing research, everyone always just says "It depends on the designer." But I feel I could be making a lot more money for my skills, I just don't want to lie about my time. Edit: I have to ask several questions to this: Is this your only job? How are you measuring your designs as really fast? Do you know the normal calculations for design areas? Do you time your designs to measure them? No, I still work at that retail store I mentioned and I'm also a full time student. When I talk to other designers in person, they mention their average times and mine are significantly less time (about 20-40% less time) to completion. I don't know what the normal rates are for my area. But when reading up on it I found that an average estimate (and when I calculated my hourly rate for myself based on a formula given to me) as $40/hr Yes I do, I always take notice of my work time. It's a habit from working at my retail job.
I am creating a directional sign for an apartment building "Units 1-5 (arrow right) Units 6-10 (arrow up)". If I make the arrows the same weight as the text they do not stand out very well. Is it bad form to make the arrows a heavier weight?
Is there a way to change the color picker to emulate illustrator or photoshop's color picker? I can never figure out how to get to the color I want in InDesign. I always have to go to the other programs and pick the color then use the RGB/CMYK values.
I'm running a company that needs design work from time to time. Things like business cards, web design, marketing materials, etc. We probably have about 20 hours a month of design work on average. What are good resources for finding designers? Where do designers look for clients? I've tried my network to no avail. Should I be posting on job search sites? Are there design forums that designers frequent? Edit: The company I'm running is a start up, so while I'm willing to pay a designer, I'd rather not have to pay a headhunter to find one.
The requirement is to scale a design from a 100ppi, 4inch display up to a 400ppi, 4 inch display. The design should scale such that a 40px X 40px button dimension has the same physical size across any pixel density display. Does this mean we should design using physical dimensions such as inch/cm rather than pixels?
I try elliptical marquee tool in Photoshop. But it goes either vertical or horizontal. And when I try to rotate it afterwards it rotates with what's in it. I need to make a diagonal elliptical selection of my subject for a motion blur effect. Is there an option for it?
If I place a 10" X 6.7" 72 ppi .jpg into InDesign and scale the image down to about 3" X 2", does the ppi change for that image? And how can I tell?
I have designed an icon (using the Mac app Sketch). They are 24x24 pixels and their size is 3 Kb. But I've seen icons with the same resolution and size between 300-400 bytes. Why is this, and how can I make my icons smaller?
When I delete a shape, I am left with a colored background, and this background has the color of the foreground color. And this colored background covers everything else that is in the other layers below. Also when I delete the shape, it asks me if I want to delete the vector mask. Is a shape the same as a vector mask then? Why is that?
I've been learning InDesign, got all the basics now, but now Ive moved onto learning about how to put adverts together. (http://www.slideshare.net/AleaseMichelle/creating-an-magazine-ad-with-adobe-indesign is what I used on how to create adverts). My question is on InDesign and putting together adverts; how many magazines still use in-house advertisements (I've created two fictional magazines - a news magazine A4 size, like Time magazine (mainly a magazine - I used an InDesign tutorial on InDesign basics for this) and a car magazine, like this one is. I did look up on Google, but am not sure about some things .. With regard to the second link, do you think that was in-house ads or templates, or probably just PDF files? This is not for a project, it's solely for learning purposes, there is no individual requesting the adverts.
I am trying to make the same color fill layer (if correct term) to the attached image so rendering color of a graphic element is simpler without the color overlay effect. If I click the solid color button placed at the bottom of the layer window it gives me a new layer with a color fill but it's not masked. Added What I want to achieve is making it easy for color adjustment for every graphic element exactly how the attached image demonstrates. I was unsure whether it was a vector or raster element. Now I know that drawing a vector shape will automatically give me the color fill mask so I am happy with my finding. I was rushing a bit when I posted this question.
With marquee tool selection, I can go to Edit -> Stroke to render outline style. If I wanna do the same with vector shape tool, Stroke option is disabled and by default it fills the whole selection. Is there a way I can use Stroke with vector shape tool?
Most people make logo by creating an image for it. I don't want that since I don't know Photoshop and I may make it ugly. Can logos be made just by using a font rather than creating a logo image?
Our team has been struggling to figure why a shadow/light is rendered with high quality and something rendered in low quality (pixalite). Example of good light map (shadow of sofa on the wall and floor) Example of bad light map (shadow on ceiling is completely pixalite) We are using a 3D party plugin (flare3d exporter) which accepts only texture quality parameters in the farm of min and max values. I guess this is is using for auto-mapping parameters. 32 - 1024 is the default values. If we put the default, most of the lighting comes bad if we give max 1024-1024 range not only the rendering time is longer but the model size also increases. We were not sure how many lights maps m3ds max will create and what is its consideration for determining the quality (32px x 32px - 1024px x 1024px) of light map After lot of trail & errors we came to a wage opinion that the number of light maps and its dimensions are equal to the numbre of uv maps. But again we are not sure which one would create a low quality light map and for which one it creates a high quality texture. Can some one help me understand how it works?
I have an EPS file containing a load of icons. Is there any way I can export each individual shape in the file to a PNG? It's difficult to work with a number of EPS files because I don't see thumbnails in explorer. I have both Illustrator and Photoshop.
I am creating a PDF document that has a table with pyjama stripes. The grey stripes are defined using RGB with equal amounts of each colour. I'm want to make the stripes light enough so that you can write on a printed copy with a #2 pencil and easily read the text, yet dark enough so that the tables rows are easy to follow, both on screen and in print. The PDF document will be printed on a wide variety of computer printers, but probably mostly on laser printers. I've benchmarked the PDF on a Konica Minolta bizhub C550 printer and a Dell lcd screen and and 0.9 (=10% black) seems to be about right. Now to my question: At what blackness level will some computer printers print white instead of grey? (I am aware that this question does not have an absolute answer, but your experiance and real-life examples are appreciated) Side note (for extra credit): I also have some other grey areas in my PDF. I noticed that as I reduced the blackness of the pyjama stripes the other grey areas became darker in the printed copy. I have verified that this is not just an optical illusion by cutting out the other grey areas and placing them next to each other. Why does this happen? Edit (in response to JohnB's comment): The choice of RGB over CMYK is a random one. If CMYK will result in better results I wouldn't mind switching. If you recommend a CMYK setting please be aware that I would rather not use the colour trays of printers that have separate trays for black.
I have to create a 400 page book with the measurements height: 16cm by 24cm in Adobe InDesign. It is intended for publishing, but what are the bleed and margin measurements I need to follow so that it can be printed correctly?
I'm having a very strange problem with Illustrator CS5. When I'm doing non-destructive actions, such as eye-dropper or selecting and dragging, the points in my compound object are shifting around. The only thing that I did between those two halves of the picture was an eye-dropper tool. What on earth is happening?
I've been sent a pdf which contains text, vector shapes and rasterised images. I would like to take a small area of that pdf, which contains all of these, run that area though Photoshop so I can use a custom photoshop filter on it, and then take the resulting image and put it back in the original pdf. I can open the pdf in Photoshop. That requires the whole thing to be rasterised. I can specify RBG or CMYK at that stage, and I open it in RGB-8 Adobe-1998 in Photoshop. I crop the image down to just the area I want to change. I then need to save that image out in a format that Acrobat (which I'm using to put the pdf back together) can recognise. Acrobat doesn't seem to like .psd images. However I save the image out of Photoshop, I struggle to get the same color values when I eventually insert it back into my pdf. Color values shift by more than I'd expect, despite everything having embedded profiles. Is there a workflow that will allow me to rasterise part of a composite pdf, run it through Photoshop, and then embed that rasterised image back in the original pdf, without getting uncontrollable color shifts? I don't mind the odd 1 or 2 shift in 8-bit color value, but I'm getting much more than that. I don't have any control over the color representation of the original pdf but I can set the Photoshop up any way I want. I'm also not restricted to Acrobat. But I do need a controlled and predictable workflow.
It is very, very common in textbooks and publications of that ilk to locate a figure (or even two) at the top of the page that contains the figure reference text (e.g., “See Figure 39.2”). If layout is such that the figure and its reference do not fit on the same page, the figure “floats” to a following page (the closer the better). I seek such behaviour in InDesign. In FrameMaker (r.i.p. on Mac), there is a Position setting “Top of Column” available for an anchored frame that causes the frame to locate itself at the top of the text frame containing the anchor (or, if the “Float” setting is checked, on the first available autoconnected text frame, possibly on a subsequent page). I can write a whole chapter with dozens of illustrations, and Frame will place figures at the tops of pages and will displace text accordingly, with no manual layout intervention. Arbitrary amounts of material can be inserted in front of a figure, with no need for manual adjustment of column heights or positions or manual rearrangement of anchor positions in text. Admittedly, a little bit of fine tuning is sometimes called for upon finalization of layout, but all in all, it works like a dream. The majority of today’s textbooks use such a layout style, and the majority of today’s textbooks are laid out in InDesign. I have searched and searched, so far without success, for a comparable feature (or a set of hacks to mimic the feature). I have been able to position a graphic frame at the top of a column by locating its anchor near the bottom of the previous page. (I set text wrap around the figure frame’s bounding box.) Apparently though only text AFTER the anchor “wraps” (runs around) to avoid the graphic frame; that characteristic of text wrap seems to preclude my placing the anchor adjacent to the figure reference. Also, as I delete material ahead of the anchor, the figure moves up and up and up into the top margin of its page. It’s a mess. Is there an InDesign facility (or hack) comparable to this Frame feature? Follow-up: Is there a mechanism in InDesign to put a table at the top of a column?
This has been bugging me for some time and i'm not sure how to approach it. I've attempted several times. I'm trying to create the lines similar to the compositions in the picture shown: PS - If anyone could identify the designer who made these I would appreciate it.
I have object 1 which obscures object 2 which obscures object 3 which obscures object 4. Object 1 Object 2 Object 3 Object 4 I know I can ctrl + alt + click to select contiguous objects in the stack, but I want objects 1 and 3 selected, excluding 2 and 4. Is there a way to quickly achieve such selection without having to rely on the XML Editor? Thanks.
This question might be kind of stupid... but I am looking into creating multiple websites featuring a couple different fonts from Typekit and other places. I was just wondering... if I have a font on my computer that doesn't say "Non-commercial use only" or something like that can I put it on web without a problem? Thanks! And ask me if you need any more clarification.
If I can get an image in any size I want (for FREE), but only ONE size/format of each image, would it be wise of me to get it in the largest vector/scalable (eps) size? Wondering if it's an issue at all when converting to other formats or downsizing. Seems that I would be wise to get it in the largest size possible then downsize as needed (and change to whatever format is best: PNG, smaller jpg, etc.). Is that correct?
I'm an ios developer and created an app which allows the user to add different texts and reposition them. I would like to provide my users with a premium feature which is a font pack. I'm looking for a few free fonts that I could embed in my app and require payment for them. What kind of license am I looking for? Do you know of any such fonts? Thank you
I have Photoshop CS3 on a Windows 7 32bit machine with onboard / integrated Q45/Q43 chipset graphics. I have a problem where it seems any Photoshop element; shapes, text and the like do not align themselves properly to my 1px grid. This is a screenshot. I am fully zoomed in on a square shape. As you can see, it doesn't align properly. If I try to use the transform controls to force it to align to the grid, this happens... These are my grid settings... These are my snap settings... How can I get Photoshop to behave properly?
New to Illustrator, and perhaps I am misunderstanding the purpose of a "swatch". e.g. My understanding was that if you were doing a 4-color design, and one of those "colors" corresponded to some sort of ink out of RGB/CMYK space (maybe a metallic paint of some kind), the strokes and fills would be tied to the swatch instead of some capture of the color. Yet when I use a swatch to pick stroke or fill colors for shapes in my drawing, and then edit the color of that swatch... the swatch color changes, but the colors in the drawing remain the same. Is there a way to have the strokes and fills remember the swatch, so that when the swatch is edited their color will update to reflect the change?
Can someone either point me to a tutorial on how to do this or tell me how? I'm working on an illustration of headphones and I need to make it look as thought the wire coming out of the headphones is sitting on a table and the light source is above and casting the shadow slightly to the left.I did the below test but it looks more like you are looking at the wire from an x/y axis. Any help? Thanks!
For example, in this picture (ignore the logo): I love how the background is cute and made up of small, simple images. Where can I find resources like this background, or how can I recreate it?
I have battled a situation in the past from when I have an idea for a website I would design it. A few years back I decided to apply for some companies that were starting out in web development and posted they were seeking designers. So I created a portfolio tailored to each employer and my understanding of a good portfolio was for it to not be overwhelming and to prepare no more than my ten best designs. While on one of the interviews I was told, "we like your designs but wish they were full functioning sites". So my questions are: Is it a bad idea to use web designs that aren't coded? How do you properly sell the design to a possible employer? Is it bad to be honest that the designs are your ideas or should you pass them off as possible clients? Is their a good balance to use in client work VS personal work? Is a template design considered as personal work?
If you design a piece for print. It gets reproduced several times over the course of a few years. Then the client doesn't return for any work for a few more years. And suddenly you are contacted asking for native files (Indesign, Illustrator, Photoshop). As the client puts it, "We just want to be able to make minor changes, we aren't designers." Now, there is absolutely value in the native files. They are my "secret recipe" as a designer and anyone asking for that recipe should provide compensation for the ease of reusing, repurposing, and altering the recipe. How do you explain to this client that there is value in the native files? How do you counter the "But we already paid for the design." argument? Note: I know I own the files. I know my contract states I own the files. Heck even without a contract, US Copyright law states I own the files. What I'm seeking is an elegant, less argumentative, method of explaining the file ownership to the uneducated client. Reciting legal statutes and contract clauses doesn't often make for friendly client relations. My goal is to find a method of explaining so it is fully understood by the client without the appearance of a contract clause which forces them to do something against their will. I want the client to respect and not resent these types of contract clauses.
Up till now, my main shading technique with traditional media was to use graphite and charcoal pencils and smudge it a lot. It works fine on charcoal-heavy drawings, but charcoal has its own pros and cons - it's messy, it needs a "preservative" sprayed over it, I cant really carry it around for quick sketches, while a pencil is always handy. Graphite pencils alone don't look too good when I smudge them though – the drawing loses all texture and sharpness, the tones get unified – bright parts get a bit darker and dark parts get a bit lighter. That's why I wanted to learn hatching shading techniques. I saw some amazing works done that way, but mine didn't even come close to looking good. I saw some people recommending different, often contradictory techniques, but I can't seem to get the desired effects. My question is what are the rules I should follow when hatching and crosshatching using pencils? How to shade big format pictures (say A3 portrait)? While hatching small drawings, it's easy to cover the whole shaded area of a single shadow in a single stroke, but not quite so on big formats...
Recently I have been trying to learn some new media, and ink is one of them. I love what some people can do with it, both modern comicbook artists and old masters. I would love to achieve effects similar to what Durer did, for example like this: I cant really find any useful info on how to do that. The youtube videos I watched on hatching with ink were all about shading spheres and boxes, small ones I might add. Not very useful, when I tried to apply it to a portrait. What are the guidelines for learning and using ink for portraits and similar art? Are there any good resources on the topic? Where should I be looking for them? While someone corrected me in the comments, and told me the work I posted as an example of what I want to achieve is an engraving, it is still doable with a pen and ink - it's all black lines, and black lines are what pens do really well. I would like to ask for answers focusing on the drawing with ink aspect and ignorign the engraving thing - I have a quill dip pen and i want to learn how to hatch to get the threedimensionality and awesomeshade gradation that Durer's pieces have (ignoring how he made them). A less awesome example of how I would like to draw is this: The thing that I like about the Durer example is that it has light tones that arent pure white. The others show a lot of white - especially the Santa example has blazing white cheeks and nose right next to pretty dark shades. I like the softness of shade gradation in Durer's autoportrait. How can I learn shading this way? Are there any guidelines? Could you recommend any resources to learn from? Or maybe you could instruct me on how to learn this in an answer?
I currently have two icons I am using for list items in an application. Accept, represented by a check mark, and reject, represented by and X mark. I need to add a third icon for dismiss. Dismiss or cancel are commonly represented by and X mark as well. The context of the app and colors make it clear what the first two buttons do. Any ideas for the dismiss button?
I can't for the life of me find a way to tell Illustrator to save the files that I have currently open and reopen them after I restart. Am I missing an obvious setting?
If I run a script, is there a way to run it again without doing File\|Scripts\|My_script?
I have created a bitmap from a vector image. After editing a while, I wanted to scrap the idea and return to the vector image, but my undos have run out. Is there any way to get the vector back?
question from a non-graphic designer here. All the examples I have seen at saving slices as separate images rely on using "Save for Web". What if I want to do the same when saving for printing?
question from a non-graphic designer here who doesn't fully get the whole 'resolution' thing. From what I understand, Inkscape saves all embedded images as 90dpi. However for printing, 300 dpi is typically recommended. If I add a 300dpi image to an Inkscape document, it will appear much bigger than its correct size as it scales down to 90dpi. Does this mean that I am OK to save at 90dpi, because I am shrinking the size of the image? What about if I have a low resolution photo, say 72dpi, but the photo is large and I am happy to shrink it? Should I first change the image to 90dpi in Photoshop before embedding it in Inkscape, or can I just add it to Inkscape and resize it?
With the intent of easily updating elements across several pages I am using the content collector tool to place linked objects. I am finding it unpractical to precisely position several collected elements on new pages at their original coordinates. Question 1: Is there a way to place several collected elements and maintain their original positions? Question 2: Are there any other ways of duplicating page contents while retaining links to their respective InDesign internal source objects? Note: I don't wish to use any external links in this case, just internally linked objects, like one would use symbols in Illustrator.
The the psd file is a clean cut. Looks great (1) Still looks good when brought into Illustrator (2) But then as a PDF this ugly black line appears around the edges of the psd file (3) Any ideas what causes this because it looks really bad sending this to the client?
I've spent years drawing vector art in Flash, and recently decided to move to Illustrator (because that's really what I should have been using all along). The trouble is, Flash art is strangely difficult to import into Illustrator. As recently as CS6, the easiest way that I found was to open the FLA in Flash, export it as an FXG, open the FXG in Illustrator, and save it as an AI. Now in Illustrator CC, when you try to open an FXG, you get the raw XML, and not the image. So that puts a damper on this whole process. Does anyone have any solution that I'm overlooking?
If I create a 8.5x11in file in Photoshop, it works out to 612x792. If I want to create a resume in Illustrator or another program like Sketch by Bohemian Coding should I use that size? Or would it be wiser to use a different one (such as a doubled version of that)?
Today I have the problem to slice a map from illustrator CS6 to HTML. For example i have a map with many states like this map states Because I want to make the mouse hover to each state so that i need the area code from HTML to identity each state. Firstly, I export the map states picture to one image (map.png) -> upload this image to webpage. Secondary I use the slice tool of illustrator to slice each state and then go to File -> Save for Web and click preview in browser to get the area html code <area shape="poly" alt="" coords="275,111, 274,112, 272,113, 271,113, 271,112, 270,112, 269,112, 268,111, 267,111, 266,111, 265,111, 265,111, 265,112, 264,113, 263,114, 263,113, 261,112, 259,113, 259,113, 258,113, 256,112, 256,111, 256,110, 255,109, 255,109, 255,108, 254,108, 253,107, 252,107, 251,106, My problem is the Area of HTML parameter after slice dose not match to the map.png file when I do the hover effect. Because I guess, illustrator slice the image but it changes the coordinate axes to one partial state 0,0 instead of keep the artboard coordinate. So anyone can help the solution for me. Thanks for your patient to read this question. I am looking forward to your any suggestion.
Let's say I'm building a personal blog / portfolio site and I'm looking for design inspiration. So here is an example of a website design concept that is protected by creative-commons-no-derivatives. Let's say I love design elements contained in this design concept such as the header. Does actually creating the HTML markup violate the no-derivatives clause? Where is the line between common design "elements and stategies" like the header in our example and "style unique to the artist" that is completely protected by the clause?
I have this image: and I want to change it so it looks gray instead of black. My problem is that it has some anti-aliasing, so there are some half-transparent and/or gray pixels on some borders. If I select everything that's black and change it to gray, those pixels end up being much darker than what they should be. And if I was trying to switch to another color, like red, it wouldn't work at all. This is something I find myself needing quite often, so I'd like to learn how to do it. What's the conceptual way of doing it? and/or how do I do it with Pixelmator?
I'm writing a script to automate scene states. I using graphic styles to change appearance. How do I get object's graphicStyle? Is there a way to have a collection of objects of chosen style?
Does anyone know what is the difference between transparency and overprint? In other words: if I print 100% cyan and then 100% magenta with 50% opacity, how is it different from printing 100% cyan and then 50% magenta with overprint?
I've been building a document in InDesign, and want to collect my text into color-coded boxes and sidebars. My technique so far: Make a text box. Make a colored rectangle. Size them like I want, drag the text box onto the rectangle and group them. The problem comes when the text grows or shrinks, and I need to resize its box. The grouped objects rescale in proportion. What I want is a fixed width border around the text box of color. Is there a way to link the text box and the color box such that the color box is always X pixels bigger than the text box, rather than X% bigger than the text box when they're resized together? Or if there's a better way to accomplish having a color coded box around text with fixed with borders, I'm all ears.
I have two shapes on two different layers. I want to crop the only the part of image only according to the shape on layer 1. I want to keep part of shape on layer 2 which is in the layer1 shape area and want to remove all area outside the shape1. Please see the following image for better understanding:
I've been using Photoshop proper for quite a while, but have just recently started working with the 3d aspect. I have some tileable 2d images as source (human skin) and some importable 3d models with uv maps (human body). What i want to do is paint the 2d onto the 3d but not in a 1:1 size ratio. If I just plonk a texture in as a diffuse, it covers the whole body with one iteration of the texture. My experience with photoshop says that I need to create a material > diffuse using my source 2d image(s) tiled however many times and brush it on as needed. If at some point I need to scale the material, then I'd need to basically remake the source 2d. This however seems old-school, and google is happy to show me results for painting solid colors (not what I need). Is there a better way using current features? If there were a tutorial somewhere out on the web, I'd be happy to see it.
SnapSeed is a great little iOS photo editing app. Along with brightness and contrast, it has the ability to alter "ambiance" which does a great job of lightening up shadows while still keeping a nice deep black. Does anyone know the best way to achieve this using Photoshop? Would it be through the use of curves? Or perhaps adjusting the contrast of just mid-tones or something? Using my motorbike as an example. Before... and After... (You can open the images in separate tabs and switch between them for a better comparison.) Notice how the shadows in the top-left are a bit brighter, colours are perhaps slightly warmer, but black is still black and highlights are not blown out.
The background color of my website is a light gray. I have a stock image with a white background that I would like to blend with my background. So I picked a small rectangle of the background and pasted it as a new layer in Photoshop. Then I added a Brightness/Contrast adjustment layer to the stock image below. I moved the brightness slider until the small rectangle disappeared, meaning the colors should match, I should think. But when I add the image to my site there's still a discrepancy; the stock image background is too dark. What's the best way to adjust the stock image's background so that it matches my site's background?
I have created an Arc using Pen Tool in a new layer. I want to fill and the convert it into a shape for further manipulation. I tried "Ctrl + left click" on layer to select the stroke as well as invert select, to select shape/stroke outline, nothing happened. I'm entirely new to Photoshop CS5 and graphic design. Your guidance would be appreciated. Photoshop CS5 / Windows 7
How do i prevent this.. Whenever i group layers and try to move them around only the layer my mouse is clicking moves. What's the point of grouping then? I know it worked in cs5. Is my photoshop bugged?
I am part of Silex Labs non profit organization, and one of our mission is to bridge the gap between designers and developers. An important question is how to motivate designers to get involved in FOSS (free and open source software). As a developer I can say that I am really happy to be part of the FOSS movement because: I use technologies which I could not use in a commercial product because innovative technologies are not mainstream yet, and open source projects have poor communication so they do not attract decision makers I meet talented developers, I make new connections, new oportunities and I choose with whom I collaborate when I do job interviews, I have great things to show, many experiences when I am hired to contribute to free software - which happens because I was a contributor in the first place, I develop programs on which I will be able to keep working after I leave the company And also, it's cool to be part of this revolution of the software industry :) My question is, what motivates a designer to be part of an open source project?
I really hope someone can help! In the past few months I have been having issues with the colors on my jpg files, originating from Photoshop (not sure if this has anything to do with it). When uploading the images online, the colors and contrast are majorly affected. Please see the attached image 1, versus the image that was uploaded onto smugmug AND email. As soon as the image is uploaded, the colors go wack! However, if I download the image from email or smugmug, it looks like the original. It appears that it is just the web presentation that is affected. This is problematic for me, as I am a photographer and need my images to look like the originals when they are posted online. In my most recent blog post: http://www.heathertufts.com/blog/wedding-bells-at-the-doctors-house/ the featured image (from the wordpress account), is green and contrasty. The original is a soft B&W. I just don't get it!!! help? :)
I'm currently designing a website for a place that uses a large circular logo. Their logo contains an image as well as text. The problem I'm running into is fitting this logo into the web design while still keeping the text in the logo readable, but not taking up a huge amount of screen real estate. Circular logos are as tall as they are wide. Most logos are wider than they are tall and are easier to fit on a screen because of it. I'm thinking of incorporating it into the header of the page along with the menu but the height of the logo creates a real imbalance on the screen and the text in the logo makes it impossible to make the logo any smaller. So my question is this how do you deal with unruly logos? Is it alright to deconstruct them, or what kind of workarounds are useful in these types of situation?
I have created a composite shape in Pixelmator: it is a circle with rays around (=sun icon) - all in one layer as shapes elements. Let's say I should transform some rays by rotating them into precise angle. My problem is I cannot realise how to select subelements in that layer - sometimes I have success, sometimes I don't. It is inconsistent. Any suggestions?
I have some problems printing rich black, and I´ve spent days trying to find a solution on the internet, but there is just too much information... I´d happily spend weeks and months learning all about printing, but I "unfortunately" have to print an artwork asap, so all help will be greatly appreciated! I use an adjustment layer > black & white to convert my color photos to black and white (this is an ok option? Will this give a rich black?) But should I make any adjustments to the file -before- I do this? Should I convert it to cmyk? Change anything in Edit > Color settings? And then. When printing,.. what choices do I make in the printer dialogue? (Like, do I tell photoshop to manage colors? What boxes to tick). This is my biggest problem I guess. How to make photoshop and the printer speak the same language. I have an Epson stylus R3000 are printing on matte 180gms paper (have to be) and are using Photoshop CS3 (well I spend all my money on the printer, so...)
I want to create a T-shirt to commemorate the tenth edition of a gaming convention and I had the idea to have the names of all the games that were played during the convention form a big roman numeral X. I'm looking for a free program, app or plugin that allows me to insert chunks of text (the names of the games) and automatically sorts them to fit the shape as nicely as possible, without mixing the words in the same chunk (but if they continue on the same or on the following line it's ok). Multi-directional words forming the shape is ok too but those usually make some words too small for the t-shirt printer. Do you know a program that can create such a thing? I can easily work with the image of an X or even a raster image.
When making mockups for Responsive Web Design projects, should I separate them by Page or by Screen Size? What are the pros and cons of the following: Page based: All the home page mockups in all different screen sizes Screen-size based: All the pages for width <= 960px I'm using Balsamiq Mockups to make mockups and I prefer to store all related mockups in a file like homepage, login or 960px, 768px.
There is a highly ranked designer in DesignCrowd that posts dozens of web designs each day, with so much variations on each one. What I want to know is: Would this require using templates, and then customizing them? (Would that even we allowed on websites like this?) Could he be starting them from scratch? (Doubt it) Could he be using WordPress or some other CMS and just customizing themes? (I don't know how that would work, really). Is there a way to design websites this fast? I can code a website for 4 hours and not lose my mind. But spend 20 minutes designing a website in Photoshop? No way. And I'm very good at Photoshop.
I'm somewhat new to GIMP and I was hoping to take a logo like this: And to change the colors of the background and font as someone did here: Except I'd like to do it with different colors. Is there a simple way to do this?
I've been trying to do this for a few days now and have not gotten the results I need. I'm not sure I'm using the correct terminology in the title, if not, please feel free to correct me, and I'll update it. I want to go from this: to this (i've sampled an area of the transparency to show the k value in case that helps). Notice the shadows/highlights are there, but nothing else: This allows me to place a layer filled with a solid color below the transparent image. The result is a different color shirt, and shadows/highlights are seen: layer filled with blue placed below the transparent shirt layer layer filled with black placed below the transparent shirt layer Does anyone have any ideas on how I might be able to accomplish this? I've been able to get close to the result, but my transparency is either not enough or too much. I lose much of the shadow/highlight detail. The starting image is of filetype JPG. UPDATE: I need the final result to be a PNG like this one: This PNG looks like it has a white background but taking it into Photoshop or GIMP you'll see the shirt is transparent. I need to reverse engineer how this was done so it can be done to other pieces of clothing. What is interesting about the above PNG is the Shadows, Highlights, and Midtones in the transparent part of the image can all be selected individually. Photoshop: Select->Color Range->Shadows, Highlights or Midtones. Image below to show what I mean:
I'm looking for a software tool to slice an image into smaller ones. It will be a part of a much bigger project so the effort to export the output should be minimal. It doesn't matter if the initial setup takes time but making a change into the scene and taking an export will be something that we would be doing regularly so it should be doable with minimal effort. Here's an example of what I'm looking for in the tool. Consider the following image as my scene: The two white and blue boxes show the output slices that I'm expecting to have as exported files. The white one contains the gate and the blue one its shadow. The tricky part is that I'm expecting to have them like this: Which means that the background picture is invisible in the exported files. I have the gate and its shadow in separate layers so I can easily produce the desired output (as above) manually but I'm looking to a tool to do that for me automatically (as I might be exporting this a thousand times). Perhaps I can set which layer is visible in each slice! I mean that would be great. Does anyone know such a tool? Inside or outside of Photoshop?
I want to use a CC-BY-SA image in a printed newsletter. What is the most succinct and unobtrusive way I can comply with the license? It would really clutter up my design to slap the creator's name, the title of the work, the type of license, the URL where I got the file, AND the URL of the license either on the image itself or as a caption, so one of the things I'm wondering is if I can pare down the amount of information I include in a print application or put it on a different page, almost like a works cited. Most CC information inevitably talks about web use or some other form of computer file that allows clickable links or metadata to handle your attribution. Creativecommons.org handily offers some downloadable logos for use in print publications but not much further direction. Is there an authoritative reference detailing how to comply with these licenses on a non-clickable sheet of paper? EDIT: Let me make this applicable to my specific use. I'm wanting to use a picture from Wikimedia Commons, which has the option to generate code for web use, but it includes this suggested attribution for the file in question: By Groupe Canam (Own work) [CC-BY-SA-3.0 (http://creativecommons.org/licenses/by-sa/3.0)], via Wikimedia Commons Noticeably absent is the original URL where the file can be found, but this does include the photographer's name, the license, the URL where the license information can be viewed, and the (general) source of the image. Of course, the attribution text may be assuming internet use that involves a clickable link back to the file's original source. But would the above text, by any off chance, be adequate for print?
So at work I have been converting a lot of PSDs to web. When I need say a background image of a box I hide everything else hide all the text and content inside of said box, select, copy merge etc. Then I need to go back to my PSD for the next item, except now everything is hidden and it's a giant frustration to try to make everything visible in its original state. At this point I generally just close the file without saving and open it again. Undo doesn't seem to work with layer visibility for good reason. I am wondering if there is any way to set default layer visibility so I can quickly return everything to it's original state without having to reopen the file or go through each item individually. Thanks!

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