Split (1)

train · 96.4k rows

instruction stringlengths 18 28.6k
I am new to the use of the Rectangular Grid Tool and I created an 8-bit style background using it and the LivePaint Bucket. I'm afraid that some how, some of the lines of the grid were colored and are now showing through the image. I had the grid stroke set to none, so I'm not really sure how this happened. Allow me to show you: As you can imagine, this was not desired effect. Any help would be most appreciated. Thank you.
I apologize if the title of the question isn't terribly clear, I'm struggling with finding terminology that is adequate. Essentially, what I am trying to do is create a rectangle that looks like a piece of old paper that has torn edges at the top and the bottom, as though it was torn off a roll. Here's how I've tried to accomplish this: I created a rectangle I placed an "old paper" image behind the rectangle I created an image mask with the rectangle and image I hand drew a line with the pencil and used the wrinkle tool to make it jagged; I drew the line such that it crosses the entire width of the visible rectangle and it sometimes breaks the top edge of the rectangle as well I'm using Pathfinder's "Minus Front" What ends up happening, I think, is that the image mask is deleted and I'm left with a jagged line and an image. How can I get the effect I'm going for? (In case it's important, I need the final object to be one object so I that I can duplicated it and create a drop shadow.)
We're creating a set of user manuals with different versions. In some versions, not all the pages should be included. For instance, in version A, everything should be included. In version B, pages 6 to 8, 11 to 15 would not be included. In version C, pages 4 to 5, 16 to 20 would not be included. And so on. One way is to create completely separate INDD files, but updates would be problematic if there are pages that are common across the versions because it would mean duplicated effort. On the other hand, creating only one document would mean that we need to type the page numbers manually for each version whenever we export the PDFs. It is error prone and also time consuming. Is there a feature that could help streamline this process?
I am importing a DWG into Adobe Illustrator, saving it there as a .AI, copying by Ctrl + C to Photoshop, inserting it by selecting Smart Object in the Box that appears but... instead of giving me a Smart Object linked to Illustrator I end up with a Vector Smart Object that opens a new tab in Photoshop. Where do I make the mistake? Thanks a lot, Sara
I'm trying to create a block of text with formatting and I want to surround it with a border. I've tried the Flow into frame feature, but that removes formatting (I would like line breaks, spaces, bold, etc...). Right now, I'm manually drawing a rectangle around it and aligning it (using the align and distribute functions). Is there a way to automate this and produce consistent results? My current technique does not guarantee even spacing from the border to the text of multiple boxes like these.
I have a path with a black fill that has two curves that meet at a point. I also have a vertical line that connects the beaks of both curves. How can I combine them so the right white triangle disappears and is replaced with black?)
I have an embedded image on an AI file. The image was originally a Photoshop file. I linked it, embedded it, turned it into grey-scale, I set its colour to 100% K (black). The black and white character is the embedded image. The background is a flat PMS ink. The character should be printed using only black (K), not using white ink as well. The white area should be knocked out from the blue. If the black ink is not overprinted on the blue, its fur will look weird. It is too thin to be knocked out from the blue. I cannot set the whole image to overprint (or multiply), because then the white area would disappear. I also Edit->Edit Colours->Overprint Black but I get the message "None of the selected objects are painted the specified percentage of black" Is there a way to indicate that ONLY the black of the embedded image should overprint?
I want to select the circles in the image that are in the bottom left corner. Imagine I have 100 circles, so doing it manually is impractical. Is there a way to select objects using something else than a square marquee? I tried using the lasso tool, but I can't always grab the four points that make up each circle (the longest diagonal is partially selected). Is there a way to expand a partial selection of a path to select the entire object?
On the "what's new in Illustrator" there are some new features, but on my MacBook Pro the features 1 and 2 do not work. Could some one check them for me - do you have them working? Is there any way to enable these features? In Illustrator CC, there are enhancements to guides: Double-clicking on a ruler (Ctrl/Cmd + R) creates a guide at that specific location on the ruler. When you hold Shift and then double-click a specific location on a ruler, the guide created at the point automatically snaps to the closest division (mark) on the ruler. Create horizontal and vertical Guides in one action. Here’s how: At the top-left corner of the Illustrator window, left-click the intersection of the Rulers, press Ctrl (or Cmd on a Mac), and drag the mouse pointer to any location in the Illustrator window. The mouse pointer becomes cross hairs to indicate where a horizontal and vertical guide can be created. Release the mouse pointer to create the Guides.
I am searching for an easy way to create (in vector) something like this: essentially I would like to create lines starting for example: black 5pt, white 5pt, black 4pt, white 4pt, etc... all the way down to .001pt WITHOUT having to create each line individually. any ideas or easy ways to do this would be greatly appreciated.
I need to know what are the essential things that one web designer must have on his/her portfolios or things that really make a difference...the following is what i think is a good starting point. but would like to get confirmation and further tips and examples of professional portfolio also some general idea of new trends that are in for portfolios. I know it should show some focus toward certain niche. Have best examples and not like 50 pieces. Blog to show off other skills, and that he/she is keeping up with trends. Site Works on tablets. Look very well designed, especially if you are a designer. Give example of workflow and results. Preferably has worked out with one or two clients who have gotten great results. A way to quickly engage and get response. An outlet to network with other designers/developers. List of other designers/developers that you recommend and that they recommend you back. what else?
I have three vector circles drawn in illustrator. I want to clip off sections creating gaps in each and animate them together but at different speeds rotating on the Z. The problem is when sections are cut out of a circle, the center point of that circle changes. I need the common center point for the three to rotate around. How can I do this?
In a way to meet the Shutterstock guidelines I need to convert my Illustrator ai vector files to EPS 10 format. This conversion can create rasterised elements in an EPS10 files. Shutterstock does not accept vector files which contain raster elements, so the question is - How can I know if the converted file has any raster elements and how can I treat the issue if there are raster elements. I use gradient tool in a source ai file.
I am a bit of a newbie with using pantones and the pantone color guide. I am currently working on a branding project where we will have print material in both pantone and cmyk, and also on screen rgb colors. I would like these colours to match as closely as possible. I used the Pantone color Manager program to help me find the cmyk and rgb references from my chosen pantone colors. My problem is that there seems to be large discrepancies between the colors when going from the pantone to cmyk to rgb. Here is an example, the grey pantone 431U is slightly blue which I like and of course want to preserve but when I use the cmyk reference it looks way more blue on screen when both of them are side by side. I looked online for other convertors and I found other references that seem closer on screen then the one found in the Color Manager program. I am a bit confused and I would like to know the best way to achieve the right colors, as I won't be able to test print with the printer. Thanks Fred
The current framework I use to design webpages currently doesn't do anything to optimize images across different devices. As I see it, their are four types: mobile, tablet, desktop PC and large desktop PC to make things simple, the last three can be considered as one unit and mobile devices as a separate entity (I understand that they are not the same and shouldn't be considered in the same breath). Dimensioning is the issue I'm having. If we consider a graphic for the header that will take up 100% of the width and be a height of 500px how is that graphic best translated down to a smaller device (iPhone 5 for argument's sake)?
Using InDesign CS6, I regularly create booklets of anywhere from 8, 12, 16 to 32 pages for offset printing. For this I typically use the Print Booklet module, set to create a PDF file at Press Resolution. Occasionally I have a single or double-sided insert for which I generate a separate PDF, using the Export to PDF module, with the same Press Resolution setting. I noticed that these 'single page' PDFs look markedly different than the PDFs created with the Print Booklet function - which are far superior in terms of contrast. To make things even stranger, the Print Booklet function generates files that are significantly smaller than the Export function PDF files. My workaround has been to create a 4-page "booklet" with the same material on each of the pages, and then delete the superfluous pages from this booklet. This does not make any sense. Any suggestions, anybody?
I am trying to create a button for my website using Photoshop's rectangle shape tool. I want to add a border only on top of the button. How will get that effect?
Is it possible to create a multi-page PDF using Adobe Illustrator with various elements on a page linked to other pages in same PDF? The purpose is, we want to output semi-interactive prototypes with Illustrator. EDIT on receiving a possible duplicate: My question is about creating links that point to different pages in the same file, not an Internet address. (something like #page3)
I've got pretty simple problem. I've created logo in 3 variations on 3 A4 format artboards. I want to crop them, to get rid of loads of white space around logo, and secondly i'd like to save it with transparent background. Thanks in advance. PS. I can't find any resources of best practices when saving logo in different formats.
Has anyone have an ideao if there is a way to remove the lines like the attached picture ? These are so called 'scatter' lines on a T.E.M. slide, made by a microtome.
Image 1 is what i had first, obviously a bèta version of the design as this bar with buttons still needs to be designed / given layout. Image 2 is my attempt at (re)designing it. Image 3 is to explain further what i need, this bar will be used to display both a status, and display some buttons, this is why i started to align buttons on the right side of the bar, adding also a tabbed menu there. Now problem is i really want to make this look neat, but i'm new to designing and have no idea how to make this work, as you can see obviously image 2 isn't really good for a finished product. Any tips, visual design examples, redesigns, anything? would be greatly appreciated!
I'm having a weird behavior when trying to move a selected rectangle or polygon in a layer. I do the next: 1. Select layer. I want to move the shine that belongs to the brillos y manchas layer: 2. Select rectangle or polygon. The selection is the small polygon. 3. Then I try to move the selection: but it's not moved. The first that came into my head is that the shine didn't belong to that layer, but it does. Any idea on what I am doing wrong?
I have read several guides on how to achieve the Long Shadow effect using Illustrator, I tried both using the Transform Effect and Blend Modes, however I fail achieve it using both. When I try using the Transform effect, I get all copies of the fill simply duplicated with no continuity, like so: When I try using blend modes, here what I get: An example of what I'm trying to achieve:
This might be a bit farfetched for Photoshop, but I was wondering if there was the possibility of creating an action to make 42 rectangles by sourcing the colour from 42 swatches in the Swatches Library. So let's say we have three swatches in our Swatches Library (red, blue, green), would you be able to create an action that created three rectangles in those three colours? Any help on this would be appreciated. Thanks!
I'm using PSP 7 (I know it's old, but it serves my purposes). I am resizing a bunch of images. PNG images with alpha transparency load with black backgrounds when I first open them. I have little experience with masks. I learned that I can do Masks > Load From Alpha Channel to see the transparent areas. After loading the alpha channel, I resize the image. Usually, this works fine. However, sometimes the edges look a bit gray - kind of like if I made a transparent GIF on a gray background. For the record, the box for Resize all layers is checked. If I uncheck that, the edges are black after resize. Also, the original images are already PNG-24 (16 million colors). Here is the original viewed at 8x zoom (scaled in the browser to fit): And here it is after reszing viewed at 8x zoom: And here is the resized image viewed at 1x zoom: It's probably not that noticeable to a lot of people, but the top edge does not look smooth to me. Is there an easy way to fix this? Do I need to resize the mask separately? The last one I had like this was a white circle. So I just cropped out the edges and added a white circle behind it. This one is a little harder.
The white rectangle that contains the typography is a Smart Object that was skewed with Edit > Transform > Perspective. The problem is that when the it's skewed and then resized (smaller) the text begin to look pixelate and it doesn't work very well, especially for letter with the oval, like e, r, etc. Is there a way to make the text more sharp? I've already tried to change to Crisp, Sharp, Strong and Smooth but the result is the same. EDIT: Here the same Smart Object resized at two different sizes.
When can you use an underlined superscript "o"? I know that it is used for numero № Can it be used for company? C°
I don't know what setting changed, but every time I start up Photoshop 7 for Windows, View → Extras is checked, and a grid overlay appears on the image pane. I'd like to set the default to View → Extras being unchecked / unticked when I start Photoshop. There does not appear to be an obvious way to set this configuration within the application. How can I make Photoshop 7 not show extras when I start up the program?
I want to try and make a photomanipulation of a woman to look like a character from an anime (Konan from Naruto shippuden). For refference, see the photo. I am quite capable of handling photoshop (on a hobby-level) but I don't know how to make the paper-effect without placing and manipulating every single piece of paper. I tried this tutorial: http://design.creativefan.com/create-a-stunning-3d-liquid-explosion-artwork/ but i couldn't sort out the 3d studio max bit. To sum up, I'd like this kind of effect only using photoshop. Can anyone help me?
I am not a photoshop expert, but have used it quite a bit over the years. I thought what I am about to describe below was a doable task using select and transform selection So here is the problem..... I have a multilayered PSD file. I just increased the canvas size by 30px to the right. Then I selected the bottom layer which is a blue gradient graphic meant for the background of the image. Then I selected the right side of the bottom layer just described. Next I clicked on select and picked Transform Selection. Then I pulled the Transform selection to the right to stretch blue gradient into the empty canvas I created, but it does not pull anything but empty pixels. Am I doing something wrong? I could have sworn I did this with CS3, but I just got CC and I noticed the settings are a little different in some places, but not much.
Selecting multiple objects in MS Word is very easy. You just drag along the page and all the objects such as pictures are automatically selected. Is there the same way in Photoshop?
I constantly create square background which I should adjust to artboard size. Almost every time I miss one or two pixels (Retina is good for that), so I looked for one-click feature "click object to artboard size" and didn't find it. Probably there is a faster way instead of inserting exact parameters of the artboard to the square dimensions? Illustrator CS6. Thanks.
Is it possible to use the color range selection tool for a single layer? Right now it samples colors from all the layers to make the selection, so to select a color range in a specific layer, I have to make all the other layers invisible and then use the color range tool, which is really annoying. Any shortcuts?
I have been using Sketchbook Mobile on an android phone a little bit and, being an android (me and the device), I have located the single save file the program allows and make backups of that file on my external sd card so that I can revisit the drawing should I desire. Does anyone know what file storage format this program uses? (named "sketch" with no extension; supports layers)
I need some advice/opinions on the attached logo and what my designer should have done to make it scaleable. It looks fine at high resolution and zoomed in over 400% in AI, but at 100% and less the speech bubble is pixelated and loses definition. Here on the test site for example it looks like a dark pixelated mass with no colour detail as it has here. As we need it for the header, it's obviously a problem which he doesn't seem to see (or pretends not to) as he says it scales fine. I've attached the favicon he did too which looks awful next to the twitter logo. My questions are: is the speech bubble colour and definition shown in the larger version something that could likely be achieved at the size we need it for the header, approx. 200px? If not, what should he do about it? Any ideas or opinions appreciated.
I was browsing around on linotype.com when I came across Fairfield which I instantly fell in love with. I would seriously like to use Fairfield for almost everything I do (quite a bit of writing, not much design work) but I'm worried about the legibility. To my eyes, Fairfield is no worse than many other common serif typefaces, such as Garamond, Sabon, Minion or Janson, yet it has a little character to it. Is Fairfield generally considered legible for most writing or does it have a little too much character for that and is better suited for design work?
anyone know of javascript version of layout program like QuarkXpress? this would be browser-based tool that would have all the powerful and WYSIWYG accessible design and control tools like QuarkXpress I've found some portions of the functions written in javascript, but not an entire package. My searches of open source sites and web searches have mostly led to sites like this on stackexchange. any suggestions appreciated (maybe I'll have to re-assemble the QuarkXpress "wheel" in javascript?) Greg PS I just found a hopeful candidate program - Lucid £34.99 The escapers "designed to help you code JavaScript-powered sites in a simpler graphical interface" found via http://mac.appstorm.net 12-6-13
I am a web designer, using grids in web design is pretty easy. I would really like to try and design 2d illustrations, though I am not good at drawing. Recently I keep coming across drawings (like the one bellow) what show the use of a grid. These kind of grids seem to be "made up". For example, with the grid bellow, you can only create that buddha, were as if you wanted a grid for the apple (mac) logo, you need another grid! I am wondering A) do designer always use such grids (or is the use of such grids recommended) and B) can you direct me to some source where I can learn about these grids (I been searching in google and can't find any useful tutorials apart from images) Thanks
A New Top Bar for Stack Exchange says, The first thing you’ll notice is that it’s really black. Jin points out that technically it’s not quite black: it’s #212121. In its CSS I see, background: #2f2f2f; background: rgba(0, 0, 0, 0.8); Why not "really black": why is "not quite black" better? Similarly, for the rest of the background I see something like, background: #fdfdfd Why not pure white? I'm not asking about StackExchange specifically -- what I mean is, is this a good general rule for any/all web sites: when the design spec seems to ask for black or white, should I use almost black and white instead of really black and white? Does this 'rule' apply to any other colors too (what is the rule, exactly)? Is the rule device-dependent?
Someone can help me to identify this font used in the groups of FIFA world cup brazil 2014 Thanks.
I would like to create a irregular shape in CSS like one below . I want to avoid putting image as background completely . Please help me in this regard..Thanks Bijeesh
I'm working with Illustrator to make some icons. I use grid with step = 1px and after I scale/rotate shape elements I want them to automatically align to the grid. I know CS4+ has such an option in transform settings, but I have only CS2 at hand and I was hoping that there's some other way of aligning selected points to the grid (hidden option, script?). At the moment I'm selecting each point and manually move it up-left them down-right so that it snaps to a grid, but that is VERY slow and prone to mistakes. Is there a way in Adobe Illustrator CS2 to align all selected points to a grid? UPDATE: Changed the question details: it should read grid instead of pixel grid (otherwise it was misleading).
I have a question about pixels. I made a background for a poster for a party. Put i think when i make the picture larger you will see a lot of pixels. Can someone help me to fix this? If you can help me it would be wonderful! I made this in photoshop cs6. thx jenten
I know that I should create outlines on all the text I'm using before printing to ensure that any unique typefaces get printed correctly, and I see that there are options to also expand gradient appearances. Should I be expanding these before printing? What advantages would this have if any?
I recently came across this beautiful artwork (image bellow) and there is a youtube video on how the artist made it. The beautiful thing was that the image is nothing specific, it looks like a heart but that was not intended. I tried paying more attention to my own doodles but I feel that there must be some guidelines on how to get a good result. I'm not asking the question of "how to draw" or "how to get better at it ..." as practice makes perfect. But are there any guidelines on how to start abstract artwork? I'm thinking, like in chess, these are good ways to open a game and so forth. Image is by Peter Draws. Here is the image source - (thanks @Bart Arondson for pointing out the need to credit the source) ps. his youtube channel is fantastic :) Thanks
Creating a new file in Illustrator I should always press Command+R and Command+' to enable rulers and grid. Is there any way to show them automatically on opening or to save them ON in a workspace/template (I've tried but with no success). Illustrator version is CS6 Thanks.
I have been studying graphic design, illustration, color theory, etc, for the better part of 2 years now, including going on PDSTutsPlus, and it strikes me that higher level designers use multiple layers in Photoshop for example, of the same text layer, while beginners try to cram all their text effects on one layer and call it a day. This is a gross simplification, but it stems from me feeling like I'm banging my head trying to answer a specific question: how does the designer know to add more layers? What's a better question I should be asking myself? To clarify, some of the designs look incredibly flat, like they're using one layer, but when I create a two-layer piece, it either looks incredibly flat or amateur and garishly rendered. here's an example of a piece I think looks great, but if I tried creating something similar, it would look flat:http://dribbble.com/shots/1338030-VIKHOUSE-Logo?list=tags&tag=logo I get there's a 'practice' element here, but any tips or recommended pieces of literature on layering text/layer effects?
I am making a logo for a company that is an Ltd. - does the Ltd. need to appear in the Logo itself? The logo is a combination of text with a graphic worked in beneath it.
I want to give a workflow presentation, to my boss at my office, I don't wanna do old ppt style preso, I was thinking (since I'm out of making ppt) for a long time, are there any cloud services or web 2.0 technologies that I can use to put my idea across more effectively and fast. Earlier I worked in visio, but the style is not dynamic and user responsive like with other forms of presentations, and website you see on internet. I want my workflow to have dynamic feel to it. What are my options? Thanks.
I'm really impressed with the artwork in Braid so I'd like to learn how to do similar stuff in Photoshop. I have tried around with the brushes but haven't quite figured out how to get the same strokes. Which brushes are suitable and where can I find them? Here are some examples of the artwork: Braid Title Screen Braid Title Screen 2 Tim's House World
I'm trying to use the selection tool to cut a logo from a image, without success. The darker parts in the bottom of the logo is a big problem because of the main background color. In addition, the selection tool fails on the border around "2015" also. Is there any way to improve this process? Now i'm just using standard settings in Photoshop. Here's my image and "2015" is what i'm trying to cut out and create a transparent png-image.
Is it possible to export a PSD photoshop file to PDF keeping the layers like in here? I tried saving as PDF and checked 'layers', but it doesn't work.
So i am trying to edit an icon pack that has an index lock on it. I know to unlock it you go to image > mode > rgb color. However doing this drastically reduces the image quality. Apologies the icon above is white (on a white background)! The original is a .PNG and the saved edited version is a PNG. The original file is only 1kb not that I'd think that would make any difference. But when I save it there seems to be some little specks that appear eg the very top line on the left it seems to protude. And the bottom right inside there is a dot of white. All I've done is unlocked the index and re-saved and it just seems to deteriate in quality. Any help appreciated.
I'm trying to create a mask with a nondestructive gradient. So far I have managed to create my shape in a smart object and the masking gradient in another smart object. My mask looks like this: The image that I'm trying to mask looks like this: By setting my image over this gradient smart object, I was able to produce the following: The setup looks like this: The problem is that it's also displaying the black from the clipping mask. I have tried turning down the fill on the masking layer but it also hides the image to be masked. I need to make the clipping mask work without displaying itself. I managed to create a bitmap layer mask which produces the desired result (below) but I need a non-destructive solution. Desired result: I need a way to not show the clipping mask layer and only use its transparency. I am also open to other solutions that can do the same thing, provided they are non destructive. How can I create a non destructive mask over my target object, to achieve the effect I have shown in the final image?
I have a left-aligned lettering made of two words that is displayed on two lines. The two words are quite different in length (4 vs 7) and I was wondering if you could point me to the best way to handle this situation: should I try to condense one or enlarge the other or is it ok if the two words are different? What is the main principle to keep in mind? Thanks
I have some images with a transparent background like this: So, when applying it somewhere it looks like that: And all i want to is add a frame around it to looks like that : So, how can i do that ?
I will try to explain my problem in few words. I have an image representing a person. Thanks to my code I manage to compute the background subtraction and have the resulting shape of the person in HSV color space. Unfortunately, I have some noise (as you can see in the image below) and I should properly choose the HSV values in order to minimize them. What I should do (according to my professor) is: "Mark in Photoshop what the foreground for the image should be and calculate how far you’re off with specific settings". Now, I can try to figure out how to extract the shape of the body and reconstruct what the final image should be. But I am definitely not able to compute this "distance" between what the image should be and the image that I am provided in order to find the HSV parameters. Any suggestion? Thank you in advance! image http://imageshack.us/a/img707/2360/so85.png
I applied a radial blur of size 10 to an image and have since realised it looks awful. Is there any way I can reverse the radial blur effect I applied in photoshop?
Photoshop, Illustrator and similar graphic design software are in general bad at kerning. Why does the computer find it so hard that we need to manually go through headlines and text just to get it right?
Ive got about 15 folders (groups) in a .psd file each folder has multiple layers, together each folder makes one retouched and editted image, im aware of the export layers to files script, but is there a way to export each folder as a file ?
I want Photoshop to render fonts like a browser. TypeKit is being used on the web site, but the default kerning/letter spacing is different between the two. Can I use exactly the font Typekit is generating or in some other way achieve parity between the two?
I want to create a simple repeating gradient for a Gradient Overlay effect in Photoshop. I had to manually create this: Is there an easier way to make a repeating pattern by designing a small one then extrapolating from it? If there is no way to design a gradient like this in the Gradient Editor, is there a way to simulate it (with the style set as Radial)?
I made a custom shape using the 'custom shape' tool in photoshop. I want to convert this to a path so that I can delete certain points from the shape and make a new shape. How do I do that?
I have many computer-synthesized GIF pictures which have different backgrounds but the same sprite on foreground. I would like to extract this sprite using Adobe Photoshop CS3 without having to do a laborious task manually pixel-by-pixel. Could you suggest some techniques to do so?
Is it possible to cut a square in half without it forming triangles? I want a to dissect a square into "4 corners" and I find the line tool is inaccurate. Here is the effect I was trying to achieve: I wanted to cut a square out of another square to create corners like this, but the corners were closing paths and making triangles instead of 1 corner:
Working on a legacy .NET web application we have the following issue: graphical themes are made of hundred png files. When it comes to create a new theme (ie. same icons but new set of colors), we take each png file and change its HUE using paint.net. It a very long process with poor results (images are pixelated, transparency is hugly...). Using Adobe Creative Cloud we are trying to create a master PSD file that will contains all graphical elements. With well-named layers we will export them to individual files. We'll work with shapes and not "pixellated png" so changing color would be easy and clean. Moreover we will be able to change all icons' color in a row. Icons aren't the same size and most of them doesn't "fit" content: for instance, one icon file is 27x27 with graphical content sized 13x18 at bottom right corner. Photoshop fits the layer to the graphical content: how to force it to a size of 27x27 and keep transparent content around the 13x18 painted area? Size can be 27x27 or 20x20 or 50x10 or ...
I'm trying to convert a bunch of company logos to one single color (not just black and white). It's for a website I'm working on, for the "We support those products" type of thing. Here's what I'm starting with: What I did so far: Desaturate via Image -> Adjustments -> Desaturate Convert to grayscale via Image -> Mode -> Grayscale Convert to Monotone via Image -> Mode -> Duotone, then select Monotone and my color Make the background transparent with the magic wand tool Here's where I'm at now: The thing that I'm not happy about is that there are still multiple shades of blue there. I want it to be just one single color on transparent background. Just one shade of blue (or whatever color I pick).
I have a rather interesting issue. I have columns in my web app that look similar to these guys: I've been able to slice them up and build these guys out...but now I have an added requirement of "recoloring" the columns (as these guys might need to be in a variety of colors). Rather than updating the assets each and every time with a different color, is there a way to do any of the following? a.) Create these columns somehow through code (HTML/CSS)? And programmatically re-color the columns? b.) Programmatically re-color these columns by reducing the opacity on the background image (each slice, essentially) and instead, do an overlay that is an RGB value of my choice? (only issue I'm worried about is that the slices are square. Meaning, if you look at the top of the column, when I spliced this, the background on the actual splice is transparent. However, i'm worried if I do an overlay on this piece, it'll overlay a color and color the transparent background of the shape -- let me know if that's confusing. it's rather hard to describe this)? Any ideas on how to do this without having to create differently colored assets every time?
Every time I design a new site, I use the same kind of nav bar. As thickish border at the top of the screen, single color, with menu links inside. I try to make it a little crisper by adding an inset box shadow at the bottom, but all my nav bars still look really dull! What kind of affects can I add to spice them up a little??
In my opinion, raster graphics (GIF, PNG) is used much more that vector graphics on the web. I am wondering why? Wouldn't vector graphics be more suitable for web pages design (i.e. buttons design, custom borders etc.)? One answer which I have found, is that browsers support PNG and GIF more widely than, for example SVG. But again a question arises - why do browsers support raster graphics better? What are the reasons for it? Currently, vector graphics is not usually considered when designing a website. See this question. So, my question: why is raster graphics used more and supported better even in cases when vector graphics seems to be more suitable?
I have been given a logo from a client that they want me to 'extract' or 'cut' the text out of and use just the text with a transparent background to fit with the design ethos of their marketing. I'm using Photoshop CS6 and have tried using channels, magic wand and eraser but I can't get clean edges on the text. I'm pretty new to Photoshop and any help appreciated.
I have a reference image of the effect that I am trying to achieve using SVG. In Photoshop the effect can be achieved by using 100% opacity with the blending mode set to 'multiply' The colors have hex values of: red: #EA312F, blue: #3A5BA6 and overlapping area: #35111F I have tried a number of approaches using SVG filters to achieve a similar effect but am struggling to understand how the blending modes calculate the values. Original Photoshop bitmap SVG using only shapes no filters SVG using multiply filter on vertical bar SVG using multiply filter and opacity on vertical bar You can see the SVG code for each of these in this JSBin http://jsbin.com/iPePuvoD/1/edit I'm really struggling to understand the best approach to match the blue of the vertical bar and the color of the overlapping area. Each of these shapes i'd also like to animate using a library such as http://snapsvg.io/, so i'm hoping to rely purely on filters, rather than cropping or other operations to achieve the desired results - but am open to suggestions. Effectively, the SVG for the final attempt (4.) is this: <svg viewBox="0 0 96 146" version="1.1" id="f-multiply-opacity" preserveAspectRatio="xMinYMin meet"> <defs> <filter id="f_multiply" filterUnits="objectBoundingBox" x="0%" y="0%" width="100%" height="100%"> <feBlend in="SourceGraphic" mode="multiply"/> <feBlend in="SourceGraphic" mode="multiply"/> </filter> </defs> <g id="f_shape"> <rect x="0" y="0" width="96" height="32" fill="#EA312F" /> <rect x="0" y="50" width="96" height="32" fill="#EA312F" /> <rect x="0" y="50" width="32" height="96" opacity="0.8" fill="#3A5BA6" filter="url(#f_multiply)" /> </g> </svg> Would much appreciate some advice on this, I have found some good resources on SVG, but this area still seems quite difficult to get good information on. Thanks!
I work at a fairly large not-for-profit arts/cultural organization that hosts diverse activities from children's art camps to family cultural events and contemporary art/performance. We use Trade Gothic as our in house font on almost all things and are looking to refresh the brand. Any suggestions on typefaces that would work across such a broad amount of activities and events? Does it make sense or is it proper to have to type faces that work for the children/family activities and adult/contemporary activities separately? We've played around with Avenir in a few cases and it's worked well. Any other suggestions or experience in a case like this?
I have this image of a heart: favorite.svg and this image of a back arrow: back.svg I would like to modify the line width of the back arrow to match the line width of the heart. Any ideas on how I can accomplish this in illustrator?
This is technically not a graphic design question, but it is technically not not a graphic design question either, so here I go. I have a set of MRI scans of my head. They are 5mm slices in x,y,z (or if you prefer med-speak: saggital, coronal, axial). (I also have some sets in 1.5mm slices, but they are incomplete. I.e. only a section, not the entire brain.). My ultimate goal is to extract the brain only, and have it 3D printed. I am using Osirix (though I have Slicer, but have not tried it yet). I could hand-draw the outline of the brain in each individual slice, but apart from taking weeks to do properly, I am not sure the resulting slices will add up to anything near good enough (If I knew it would turn out good, I would consider it). But there have to be a better way. I have tried to make a 3D model of the entire head using 3D surface rendering, and the result even of that is rather disappointing: I have also tried using the "growing" tool, where, as far as I understand, I should be able to select a colour/density and then removing everything else. As I see it, there are two ideas, but they both boil down to the same: How to select one organ, when the other organs and tissue close to it are much of the same density? (the inverse approach would be; instead of extracting something spesific, then delete what is not needed). I realise that if I am ever successful in extracting the brain, there will be the voxel lego-effect (albeit in x, y, z), and I would also need to set some smoothing parameters. So. In short: What settings (for contrast/density/tissue type/bone) do I set, to make the extraction possible? Do I use the "grow" tool, and if so, how do I get it to select all voxels in all three series? If not the grow tool... then what? If I get it extracted, where and how do I determine smooting options?
I am submitting art to be offset printed on aerosol cans and plastic tubes. It uses 2 PMS colours. One plate is a 100% flood. The other one is a linear gradient from 0% to 100%. The gradient is to be overprinted on the 100% flood. The maximum density will be 200%. This is the way the boxes are printed, and it looks great. Can overprint be used on metal containers (aerosol cans) or plastic tubes? Since the material is way less absorbent than paper, I am worried that the ink might start moving around if the density is too high. I know I can ask my manufacturer, and I did, but they are in China and, although they are a very seasoned manufacturer, I am having a hard time communicating the overprint concept to them. I was wondering if it is because it is not possible to use overprint on these materials, so nobody ever asks for it.
I have a number of small icons all of which fit into a 32x32 pixel png with transparent backgrounds. I wish to create a single large png which contains each of these icons in a 10x10 grid. I create a new image in PS which is 320x320px, and set a grid with 32px spacing, then turn on snap to grid. I then open one of my icon files, select all, copy, then paste into the large image. The problem is that when PS snaps the image to the grid, it snaps the non-transparent pixels and ignores the transparent pixels around the edge of the icon. Is there a way to paste the icons in so that PS will snap the 32x32 icon into the 32x32 grid instead of snapping the non-transparent pixels?
I have been trying hard to get the same serif font that seems to be the standard my professors use to write lecture notes and research papers. Does anyone know what exactly it is? Ive tried Times New Roman but can't make it look similar to this, TNR is much thicker! Please help
I'm fairly new to InDesign for complex documents (in a past life I used it for magazine layout, but I'm now typesetting a 300 page book using it) and have probably made a rookie error. My main body text Master Page uses a Primary Text Frame which was linked across the spread. I pasted 90,000 words into it and it automatically reflowed as expected, adding all the pages I needed. So far, so good. I then did some rearranging, moving pages around (the text is a collection of interviews, which I wanted in a different order). This too seemed fine. I also inserted page breaks at the end of each interview so there was a clean break between each item. One page has gone a little weird: the page break came at the very end of a page, meaning the following page is now blank. If I delete that blank page, the page which takes its place isn't the next one in the pagination, but the next one that was originally there before I re-ordered pages. The same thing happens if I use the arrow keys and try to navigate down onto the blank page: I jump from p149 to p63, not p150. This effectively means I have a blank page I can't delete. Is there any hope for me here, or will I have to manually re-set all the text? Rearranging the pages wasn't the quickest job in the world and I'd sooner not do it again. If there's a better way to group each individual item and move them around without manually dragging pages around the spread, though, I'm all ears...
After I Arc a Path using the Warp tool to the desired Arc size radius etc. I then want to rotate the arc so that it is inverted. However when I flip or rotate it 180 degrees, the Arc returns to the original shape even thought the Original Rectangle path has rotated. Is there a way to do this so that the Arc stays locked to the original rectangle it was based on? Thanks in advance, Nick
I noticed that in the more recent versions of Adobe Illustrator the program liberally assumes that I want to convert my lines into text paths-- meaning that any time I am even in the vicinity of a line while using the text tool instead of letting me click on an open area and start typing it assumes that a closeby path is what I want to contain my text. It is annoying. I couldn't find anything in the preferences to modify the range of what it considers something I want to type on. Is there a way to do that?
Is there are general rules to align right-aligned elements on the page? Look at these screenshots: At this screenshot the search icon and the link are aligned to the right border of the "box", while the table column header and the checkboxes are aligned with some padding from the "box". At this screenshot I had aligned all the elements with same padding from the box. Is it right way to do the best design ever?
I develop sites in different CMS, wordpress, magento etc. I wanted to know, if slicing is more easy than creating everything in child theme, as there are a lot of margins, and padding involved, and peope like to see a website in pixel perfect.So isn't slicing much more convenient than writing whole css/html? I prefer the latter, as i am much flexible writing css, but too much padding and measurement gets out of hand.How do one coupe of with ever margin and spacing? or should one for slicing? I don't know much about slicing.
I want to bend some text around a circle. I can just write the text on a path, but I want to keep the side that's not ON the path in a straight line. For example, look at these chalk letterings. The top of this one is a straight line, the bottom is curved: And on this one, the top is curved, and the bottom is straight: Here is my text, including the anchor points: I want to pull the lower half of the anchor points down around a path (say, a curve for example), like the pics above. How do I achieve this affect?
I'm new to InDesign and am working on a catalogue for my company. I'd like each catalogue chapter to have a different colour scheme - e.g. chapter 1 uses blues, chapter 2 uses reds, etc. I've designed master pages, so is there a way to use those masters for my pages while changing the colour swatches used? That is to say, I'd like to be able to change a page's colour scheme while having it still use the masters. The best approach I've found so far is to override the master elements whose colour I want to change and then change it manually. This works, but it is tedious. Also, when I change text in my masters, it does not change on pages where that text frame was overridden. Is there a better way to do this? Thanks!
Can someone uncover the design process behind social network visualisations such as http://inmaps.linkedinlabs.com – and how those interconnecting Béziers are generated?
I wonder if there is any shortcut on keyboard to prevent snapping slices while re-sizing. I am talking about slices and they are jumping not by pixel, but by distance to nearest slice edge. I've tried to disable pixel alignment on slice which had no effect at all. I'm using Illustrator CS6.
This is a group of elements in Illustrator. I need to make the whole object less bright. One option is to go through each element in the group and alter the color. Another way is to make a rectangle above it with a certain transparency, but then I lose the objects alpha, which is not desirable. I wonder if there is an easier way to change brightness without losing the transparency.
I would like to stroke a path with 45 degree diagonal lines that are set a fixed distance of of 0.125 inches to each other. I'd also like the diagonals not to distort on curves- in other words, I want the diagonals to remain straight line segments that are parallel to the tangent of a curve at a any point. I hope this is clear. Is this possible? Update: This is for laser cutting a pattern - Adam's solution works nicely.
How much should I consider about copyright? Taking a animal photo from zoo and upload to microstock: -> will this call copyright problem? Tracing the zoo photo convert to "vector art": -> copyright problem? Tracing the zoo photo for similarly drawing as "digital painting": -> copyright problem? Is there a book about graphic design copyright?
How can I merge a semicircle with two parallel lines? I want to have the leftmost point of the semicircle to bind with the leftmost line in the illustration below, and I'd like the rightmost point of the semicircle to be bound to the rightmost line simultaneously: I'm using Illustrator (16.0.3).
How can one save a 2D part--that is, as connected paths--in Illustrator so that it can be "read" by AutoCAD?
Which font is used in "The Outer Limits" (1995 TV series)? I mean this for the titles, actors and so on, as in included picture. As one can see from my profile, I know mainly TeX fonts, but this one is extremely beautiful for me.
is there a Pantone book that shows tint values eg. 20% or 40% of 021c? I have looked far and wide for a Pantone Tint Selector which I seem to recall was available many years ago but now I can't seem to find it. How do you get around this problem of tint values?
we have created an interactive PDF in InDesign CC for a client with rollovers on various charts, that display extra information when rolled over. Now obviously the rollovers are meaningless on touch based devices, but we have found that the chart underneath is also not being displayed. Here it is viewed in Adobe Acrobat Reader XI: And here is the rollover in the same: And this is the same page in iOS etc: Now I understand that interactive elements are disabled in a lot of PDF readers, but is there a way of saying "if interactivity is disabled, display this"?
All values of RGB should be unique and distinguishable, meaning there are truly 256256256 colors. In HSL, however, if L=0 then H and S can be anything, but you still get the same color (black). Similarly, if S=0 then H doesn't matter, as you'll get some shade of pure grey. So it seems that the HSL model offers at best 256256256 - 256*256 - 256 colors, or ~0.4% less colors. Is this true?
I manage IT for my company and generally try to stay out of our designer's way. We are an eCommerce company, and our designers spend a lot of time shooting, cropping, and cleaning images for display of products on our website, so heavy use of Photoshop. We also make product demo videos, so we rely on Premier as well as InDesign and Illustrator for other tasks. We own several copies of CS2 and CS3, but that is the newest we have. I've looked recently at Creative Cloud as a possible upgrade path for us, as well as just plain old CS6. The problem is, I'm not knowledgeable enough on this subject to know if we do actually need an upgraded/newer CS or if the ones we have are just fine? I've heard of fancy new features such as de-blur in CS6, however we take images from a controlled environment, so de-blurring is not useful, etc. To aide me in my purchasing recommendation, is there an actual need for a newer product? What new features are available that we may enjoy, or what work-flows are improved, etc. Basically, I"m trying to decide if I should pursue getting approval for upgrades or not. I should also mention, our designers don't seem to care — however I believe this isn't because they have assessed the new options and decided what we have is fine — instead I believe they "know" their current setup and resist change. But, if the new options will help them be more productive, work more efficiently, work more easily, etc, — then it's worth the upgrade. Simply not having to learn a new program isn't a good reason - the company would pay for training if needed, etc. Question Summary: What new features in CS6 and/or CC necessitate an upgrade? What things in CS6 and/or CC make it superior to older versions (people have to upgrade for some reason besides buttons looking fancier, etc).
I want to create a ripple effect. I have an existing smart object with a black/transparent "ripple" effect. I want to turn this into a refraction effect so that you don't see the black/transparent effect, but you instead see the image below it refracted and bulging, like you would see in a water ripple.
How to fill radial array elements with gradient like this: No idea how to make it happen automatically, rather than element by element.
I'm using Adobe Illustrator CC. How can I move a handle without pivoting it, so that I can change only the length of the handle, but not its angle? I only found one way to do something similar, which is to drag the path between two anchors – but this moves the corresponding handles on both the anchors. Is there a way to move (change the length of) just one handle without changing its angle?

Subsets and Splits

No community queries yet

The top public SQL queries from the community will appear here once available.