Split (1)

train · 96.4k rows

instruction stringlengths 18 28.6k
I'd like to create a seamless pattern from the image below: I can cut out a rectangle and attempt to tile it but it doesn't quite line up: I know photomerge works really well for creating panoramas but I was wondering if there is a similar tool that works on layers instead of files? Failing that, what other ways could I go about doing this?
I thought this would be the most appropriate SE. Regularly I'm asked to convert clients logo's and various other images into vectors - for whatever reason they don't have the original files or cannot find the original designer to ask. What is the term for this process? Is 'vectorization' a word?
I am constantly needing to print out pages with 4 graphs on one page or 2 graphs and a diagram, etc.. So far I have been using LibreOffice Draw to import the images and then manually lay them out on a page and it works but it gets a bit slow and is far too heavy for my needs. By slow, I mean that it crawls when trying to move high resolution images and it is also too heavy on memory requirements when I have over 18 high resolution images to play with. I basically need a a program that lets you import images and then lets you scale, rotate and move them around on a page. It also needs to have support for multiple pages so Inkscape is ruled out (I think). I don't really want to use something like Scribus either. If it has grid based layout management, that would be even better. Oh and it must work on linux. Any pointers would be great! If I can't find something, I might just write a simple app myself. Cheers! Durand
Trying to create a vector 'ring' in Photoshop CS6. (I know there are better tools for the job and ways of doing this, but I'd like to know if there's an answer for this problem in particular. If I create a circle shape, then change it to subtract mode I can draw another selection to be deleted from my original circle. However, if I hold shift to make my new selection a perfect circle, it creates a new shape layer (which is a perfect circle). How can I stop it from doing this? Bonus question: - I'm sure there's a way, but can't remember how. What is the best way to subtract one shape from another without rasterizing first?
I can clearly identify wacky fonts like this one: to be of the "fantasy" type, but some fonts look almost like regular serif or sans serif fonts only with some strange things going on. As an example take this other one: It's advertised as serif, and it does have some serif characteristics as far as I can tell, but it also has some strange characters that seem out of place, like the lower case "a" or "f". It just doesn't strike me as being a proper serif font, but I'm no expert in type. How can I be sure a font is fantasy or not?
If I save my file from Photoshop as a Photoshop EPS is that going to be okay as a vector across the board (ie will it be resizeable in whatever it's opened in)? I know if you open a .psd in Photoshop and resize the image, it holds it's quality, so that's fine, but when people need an EPS file because they might want to print it on the side of a building one day (or whatever) is a Photoshop EPS going to be okay? Or is there something else I need to be doing? All my designs are always vectors within Photoshop, so text/shapes/designs done with the pen tool - I just need to know that they'll still be a vector for people who don't have Photoshop and can't open it in there to resize it.
I try to reconstruct this image: From http://www.shutterstock.com But, I'm failing. Perhaps there are tutorials on this topic? Maybe some advice?
As strange as it seems, I am looking for a font in which all characters look exactly the same. The goal is to obfuscate the text of passwords generated on http://enlargeyourpassword.com to the casual observer. At the same time, the user must be able to select one of the generated passwords and copy it or drag it to a password input on another page. This should be a font which contains essentially only 1 character regardless of what is typed; the same symbol should be associated with every character. I do not need a Pro font with support for lots of Unicode characters, the generated passwords contain only ASCII characters.
I was working on a logo design for a client in Illustrator CS4 when suddenly the default brushes were no longer there. The brush files are still in place but they do not show up in the brushes panel. The options to show the brushes by type are checked but greyed out. I tried a preference reset, that didn't fix it. I haven't tried any new brushes because the brush I needed was in the stock set. I know its bad form not to try everything but I needed one of the stock brushes to tweak an existing design.
This is part of my original document from Quark XPress [Windows demo] (which I am recreating in InDesign, since I'm converting manually for now, I don't need Q2ID for now, since it's just a development magazine for testing styles and designs and PDF styles etc.): and this is the original image I based the design around: I created the shape in Quark ShapeMaker (part of Quark XPress 9), with these dimensions and it worked pretty well: However, what I'm wondering is, how can I recreate this shape in InDesign. Although I can create the text box well (its dimensions are 32.5mm x 66mm in the Quark file, and I managed to replicate the same size box in InDesign), it's creating the shape which has the text "BMW 316i" and "£1,995" in which is proving more problematic. I can create a rectangle with no problems in InDesign, but getting it to match the dimensions shown in the screenshot from Quark XPress is one thing. I hope I've explained my problem well enough for you to understand - basically, it's small-scale converting manually (I use both pieces of software, I'm on version 9.2 of Quark XPress and using InDesign CS6).
I came across a photo that looks like it is being painted. I like the look and would like to replicate it with one of my pictures, the question is how is this done or created? I am using Photoshop CS6. Here is the image:
I never want my PNGs to be interlaced. So I wish I could set a bunch of option defaults in the application so that I am saving time when outputting a lot of images as PNG over the course of a day working in Photoshop. Does anyone know if this is possible in Photoshop without using Actions OR the Save-for-Web option?
In Photoshop CS5 there was a button at the top bar of the program where you could toggle rulers / grids (it was a square button and the had a ruler-looking border). I'd like to know how I can get this to show in CS6. What I'm talking about:
I printed booklets for my students in InDesign 5.5. Worked perfect, on US Letter paper I was able to get 2 worksheets per side. I'd cut them down the middle and have these great packets of worksheets. I upgraded to InDesign 6 (on both my mac and PC). And now the printouts don't extend all the way to the right of the paper. So when I cut the paper, it's a little off and everything's shifted to the left. There was an update to InDesign 6 the other day, I installed that... no help :(. Does InDesign 6 no longer print booklets properly? What can I do aside from downgrading?
I would like to change the overly clean look of some rendered images i have made as they are a bit to crisp to be "real". In the couple of images bellow there is this kind of hazy light.. is there a filter i can add in photoshop the might be able to reprudce a similar look ? ps. these images bellow are what id like my images to be like, not as they already are
Let's say I create a complex smart object containing layers, filters, effects, shapelayers, etc. Then, in the main comp I want to use that smart object to mask another layer/smart object with. However, I do not want to see the masking smart object itself. Is there a configuration, such as blend mode, or similar, that lets me do this, without just adding a layer mask and copying over the visible parts? Basically, I want to let the smart object (the mask) be fully editable, and make it automatically apply as a mask to another layer/smart object, with no manual steps other than editing the smart object. Note, I am specifically not asking how to make a "clipping mask", by Alt-clicking on the separator line between two layers. I know about this function, but if the layer above (the one being clipped) is transparent, parts of the layer below (the one masking) will be visible. That's what I want to avoid. Basically, to reproduce an example comp, create two layers by using the rectangular marquee tool, and creating two solid color layers, of different colors: +==============+ I I I I I +------------+ I \| \| I \| \| I \| \| +======\| \| \| \| +------------+ Then I want to mask the topmost layer so that only that layer is visible, but only the parts masked by the bottom layer, without the bottom layer being visible, like this: +-------+ \| I \| I \| I +=======+ With a straight clipping mask, I would still see the underlying layer.
I feel like this looks ugly. The box shadow above the image blends really well with some images - generally with images that have a lot of color or are white - but with others it looks horrible. The code: box-shadow: 0 -2px 6px -2px rgba(0, 0, 0, .2); border-top: 1px solid rgba(0, 0, 0, 0.2); What would you guys recommend to fix this issue? As I can't exactly restrict what images are uploaded to the website, I would rather make it so everything looks great.
I am studying Fundamentals of Multimedia by Ze-Nian Li and Mark S Drew. They use the term "sprite" but I don't understand the meaning. Can someone explain to me what sprites are and how they are used?
I'm working on retro-style pixel art for a video game. I would like to be able to add a border around a sprite, but I need it to be sharp and "pixel perfect". Using Photoshop's Stroke effect seems like the obvious choice, but unfortunately Photoshop does some fancy anti-aliasing and adds extra pixels where I don't want them: (Image magnified to 400%) The top image border was created using the Photoshop Stroke (size: 1px, position: Outside). The bottom image border was manually drawn with the pencil tool. The bottom effect is the one I'm after, but I'm trying to achieve it without having to manually draw it with the pencil tool. Is there a way to force the Stroke effect to behave this way? Or is there another method that I could use to automate this effect?
The images I'm using are from different sources but most of all flickr (few from other websites). When I download them in 500 pixel size for example, they look ok in Anteprima, but when I place them in InDesign doc some are really small - some with an impossible resolution, others with a lower resolution anyway. Of course this doesn't happen with images from my personal files. How can I control the resolution and solve this problem?
I have two opaque Smart Objects. Object A is black-and-white and I want to use it as a transparency mask for object B. In other words, for the following layers: IMAGE REMOVED - Imgur replaced the original image with a different one (hosted at the same URL!). I have removed it to not confuse the readers. How can I get a Red X on a transparent background without rasterizing object A? Please note, that layer B is a smart object and can be fancy (i.e. not just red). I want to be able to edit both of these smart objects and see the effects instantly.
This is the SITE and it looks great in firefox on both windows XP and mac OS10.6. But with chrome on my XP it looks wierd. All the texts are jagged and pixlated sort of. I have tried with and without clear type turned on and of, without any difference I have also tried a css tweak: -webkit-text-stroke but without luck. Does anyone have any idea? Thank you The font is Cuprum, and here's a screenshot of the problem.
In Adobe Photoshop (I'm currently using CS5), is it possible to remove the cyan-coloured guide lines? I'm talking about the ones added by View > Guides.. > [horizontal/vertical guide choice]. I can't find it anywhere on Google nor this site!
I've been looking for ways to compute the area of an irregular shape. I've found this post for tips: http://www.astutegraphics.com/blog/calculating-an-objects-area-in-illustrator/ The keypress combo mentioned - cmd+shift+option+fn+F12 - is not working for me in CS6. Any idea as to what the new keypress combo is? Or how to compute the area of an irregular shape in CS6?
I'm designing a iOS interface that had some last minute changes to the tab bar (across the bottom) and many of the screens had already been set up as Photoshop Layer Comps maintaining visibility, positioning and appearance. Now that I've made my tweaks to the tab bar I need the new tab bar positioning in all of my existing layer comps. Is there an easy way to accomplish this without having to go through each comp and adjust?
I have a 2000x1500 image created with Photoshop CS6 Extended. When I save images in different formats for re-use in other programs, e.g. PNG, the image quality will suffer. I have nice basic gradiants and layout overlays but when I save it, the transparency will suffer a lot. What to do? I would like to use PNG because I need to send that image to one company so they can print it (only PNG supported...).
Any of you who have at least little experience with graphic design software, photography or professional printing, must have -almost undoubtedly- have gone through this: 'the struggle' of RGB and CMYK colour spaces. Now, there are many questions regarding matters of 'which should I choose', 'what is what' and converting problems, but that's not really what I'm after here. As a graphic designer with only a couple of years of experience, I still have this struggle from time, and find the whole CMYK/RGB choosing/converting/saving situation quite confusing, to say the least. I do know that RGB is meant for digital end purposes, and CMYK is suitable for printing. I have always been wondering about the neccesity of this whole thing. So, my question is: why are there these two colour profiles, instead of just having one? Wouldn't it be a lot easier if printers or software could convert any RGB file to a CMYK printing document instead? I'm pretty sure it does already exist, by the way, because printing an RGB file sometimes simply prints the right colours for me. Alas, not always (doesn't seem to be related to the printer of software I print from). I have gone trough some RGB vs. CMYK-related questions and found this, a.o., (on this page), an answer of user DKuntz2 (thanks DKuntz2): RGB is a light-based theory. All colors begin with black "darkness", to which different color "lights" are added to produce visible colors. RGB "maxes" at white, which is the equivalent of having all "lights" on at full brightness (red, green, blue). CMYK is a color-based theory. All colors start with white "paper", to which different color "inks" are added to produce output colors. CMYK "maxes" at black, at which point all "inks" are applied at 100% (cyan, magenta, yellow, black). Not sure if this is entirely right, though, because some people disagreed with DKuntz2: I disagree. With RGB you start with black - the absence of light; with CMYK you start with white paper. – e100 Although this does clarify the differences fairly well, I still don't see the point of the two colour profiles(/spaces) Side question: What happens when you work in an RGB document in photoshop, then press ctrl+y? Photoshop says the document is RGB/8/CMYK, but it can't be both. Right? EDIT: Big thanks for the answers, the (current) three below are very informative and interesting. I understand the whole thing a bit better, although it's all very complicated and in-depth to me. Especially when I read about terms like colour models, colour profiles, colour spaces, colour spectra and gamut all one after another. As much as I would like to accept an answer as the desired one, I feel that my question in the core isn't fully answered yet. What I would really like to emphasize is what I asked about earlier: Wouldn't it be a lot easier if printers or software could convert any RGB file to a CMYK printing document instead?. As Alan Gilbertson explained, the reason is - if I understand correctly - basically a 'lost-in-translation' thing that makes the conversion not 100% accurate, and the colours to possibly be a bit distorted. However, I still don't see how the solution cannot be an automated conversion done by a printer. Should be possible with modern technology; if you can convert RGB to CMYK in Photoshop, why can't a printer do the exact same for you? As was also said in the answers, the slightest differences in colours and colour spaces, can not be seen by the human eye. And that's what it all comes down to: what we want to see. Be it on a screen or on a sheet of paper. The fact that this question has three very long answers, or even moreso the fact that there are so many questions about these two colour models (I now know the right term, yay) kind of proves that this is way more complicated than it should be.
Is it possible to set a PDF document using Adobe Acrobat 9 or 10 so that: Using the mouse's scroll wheel will zoom Holding left-click will pan It's an intuitive interface, kind of like Google Maps, that I would use with some PDFs...
I am a developer and working on an application whose designs I have received as a PSD file. But I am totally noob in designing. I have installed photoshop in my computer but have no idea about how to save a layer out of that. There are buttons in the PSD which I want and I have hidden all other layers except the one I need. Now I want to save it but I am just not able to do it. I have searched on google but could not find any solution. Can someone please help me? Thanks Pankaj
Programmer here, working on an app by myself. I think I'm slowly improving with my images each month, but I've never taken a course in graphics design, so there are elements of professionalism that are undoubtedly absent from my work. Here is what I've got so far. It's for a camera/food app where you can take pictures of culinary creations and share them. My icon is a camera with a cookie instead of a lens. To me, it looks complete, but I'm sure an expert will have some suggestions I can implement. Thank you! Also, if there's something I did that's good, let me know so I can continue doing that.
I prototyped my web page directly in HTML/CSS, using custom fonts for header text. The font rendering however is very different on Windows, so I would like to export some parts of the Web page to bitmap, but with a transparent background. Is there any way to do that?
I am puzzled by this combo, I use convert -command to change the size to 55x55 but I get 54x55, why? I think the problem here is that the command use geometry not pixels while I presupposed that the command uses pixels. Trial 0: -resize not right flag $ convert -resize 55x55 sky_0_1.png sky_0_11.png $ identify sky_0_1* sky_0_11.png PNG 54x55 54x55+0+0 8-bit DirectClass 3.54KB 0.000u 0:00.000 sky_0_1.png[1] PNG 59x60 59x60+0+0 8-bit DirectClass 4.12KB 0.000u 0:00.000 Trial 1: adaptive-resize not right flag $ convert -adaptive-resize 55x55 sky_0_1.png sky_0_111.png $ identify sky_0_111.png sky_0_111.png PNG 54x55 54x55+0+0 8-bit DirectClass 3.6KB 0.000u 0:00.000
I'm writing a script for Illustrator CS5 to resize my artwork (and artboards and a whole lot of other stuff in a batch). I'm having severe issues with the javascript functions resize() and transform(). When I scale my object manually inside Illustrator (double clicking on the scale tool or using the transform dialog), I can select "Scale Stroke and Effects" and scaling looks fine. I scale this down to 20%: : And I get this (which is fine): Now, when I use the resize() or transform() functions in Illustrator's scripting I get this: The simple script to reproduce: var doc = app.activeDocument; var item = doc.pageItems[0]; item.resize( 20.0, // x 20.0, // y true, // changePositions true, // changeFillPatterns true, // changeFillGradients true, // changeStrokePattern true , // changeLineWidths undefined); // scaleAbout I have tried playing around with the parameters to resize() but nothing comes close to the transform dialog in Illustrator. The original .ai file can be downloaded from here. So my question is: How can I get the same effect from javascript as I can from using the built in transform dialog ?
I have an illustrator text in Myriad Pro light 8 pt that I need to output to a png or gif. The quality degrades tremendously. What is the best practice to get a good quality screen output on thin and small fonts?
I have the following image: It is a shadow effect created in Photoshop. I need to have that black shadow with transparent background in order to be used with different background colors. The problem is that the black shadow is "merged" with the blue background. How can I do that? Thanks.
I have a black-and-white diagram (floor plans) scanned from a printout. It's mostly OK, but some of the lines are visibly faded or blurred in places, so it "looks" scanned. I've tried various options in Paint.NET so far without any success. I could download any free software that would do the job. I could probably get access to Photoshop as well (not sure which version), but I wouldn't even know where to start with that. Is there an easy way to make them into clear, sharp lines?
I've been trying to figure out how to get this to look right for the past week. We just got permission from a photographer to use some of her excellent photos of vegan food. Here's one: However, we also have an orange background that corresponds to the orange of the respective icon which leads to this page. I just can't figure out how to get this to look right on the orange page. Is there anything I can do around the photo to get away from its current gawdy appearance?
Joining 55x55 imageA and imageB 55x55 should result int a joined image 55x110 but imagemagick acts oddly. Trial 1: adding some dummy pixels, bad $ montage -adjoin sky_0_1.png sky_0_3.png sky_0_4.png $ identify sky_0_1.png sky_0_3.png sky_0_4.png sky_0_1.png PNG 55x55 55x55+0+0 8-bit DirectClass 3.32KB 0.000u 0:00.000 sky_0_3.png[1] PNG 55x55 55x55+0+0 8-bit DirectClass 5.68KB 0.000u 0:00.000 sky_0_4.png[2] PNG 256x126 256x126+0+0 16-bit DirectClass 10.9KB 0.000u 0:00.000 Trial 2: trying to fix the dummy pixels with size -flag, not working $ montage -size 55x55 -adjoin sky_0_1.png sky_0_3.png sky_0_4.png $ identify sky_0_4.png sky_0_4.png PNG 256x126 256x126+0+0 16-bit DirectClass 10.9KB 0.000u 0:00.000 I waited for sky_0_4.png to be of size 110x55, not 256x126 -- in pixel art, I need to have specific sizes. How can I do the join of images in imagemagick (notice that montage is its command)? Helper questions Suppose I have different-sized images, how can I make the block of images to have the unit size by the largest picture (meaning every block of the same size and each image centered or put to the top-left-corner)? Suppose a game engine such as old Crafty.js does not support flopping programmtically, I need flopped images. How can I get flopped images to the sprites -image (not to have so much overhead)?
I am a newbie to Illustrator. What I want is to create add a "pressed-in" effect to a shape (basically add some depth to it), so that it looks like it has been "pressed-in" into its surrounding background. What I want is kind of similar to how especially the dot of the i in the following logo looks: But I want it to be a bit more pronounced. Could anybody provide pointers on how to do this in Illustrator?
I am trying to design a site with a "ancient" feel to it, such as this example: How can I make textures, buttons and background like on those sites?
I'm trying to create 1 pixel wide borders for some web buttons. I've tried to use the GIMP path tool to do this but I can't figure out how to get it looking right. See attached image. 1 - copied from a button I found on a web-page. This is what I want - single pixel horizontal and vertical lines with feathering on the curved bits. 2 - path that I used to generate the images on the right. 3 - with no antialiasing. No good as too jaggy and corners not smooth. 4 - with anti-aliasing. Straight lines are too fuzzy as they are 2 pixel wide rather than 1. Is there a way to do this with the path tool or any other way with the GIMP, or should I try some alternative to the GIMP?
I'm trying to connect two open paths with a perfectly smooth curve. It is an easy task in CAD/3D software, But I can't figure out a way to accomplish that in Illustrator. The top part of the image is what I'm trying to do (I don't expect Illustrator to handle curve continuity, just to make it smooth is enough). When I use the Pen tool to extend one end of a path by dragging from anchor point, it always causes the original path to slightly change shape. (see the bottom part of the image). I've tried many things: connected path with a straight line and used reshape tool, created helper geometry, etc. to no avail. So i'm asking for help. Of course I can export paths from Illustrator to Rhino and back, but there has to be another way.
My old trusty HP Pavilion tx2690eo convertible died just recently, and having found myself in the market for a new digital art device I thought I'd entertain an odd notion I had. The problem with convertibles, of course, is that you lose access to the keyboard and all the convenience it brings when in tablet mode. No Ctrl+Z+X+C+V, no holding down the shift key, and typing layer names or googling reference images is that much more inconvenient. I made do with an external keyboard for years, but less gadgets is always better and now I'm wondering if there exist laptops equipped with active digitizers that can open flat on their backs. A slate tablet would do too, but since I still need laptop-like functionality whichever keyboard case I get for it would also have to open 180° (or be bluetooth.) I need a Windows machine for my purposes, but Android and OSX answers also interest me and might interest others.
Please tell me if this is the wrong stackexchange site for this and if so which one I should post it to. And I apologize if it's the wrong one. I take photographs. I've taken a lot recently due to the Isle of Man TT (Tourist Trophy) racing festival. Because the images are 21 megapixel I reduce the size in processing afterwards (also other processing as I shoot in raw). I find that in the 'Image Size' menu I have to change the resampling type from 'Best for Smooth Gradients' to 'Best for Reduction' for every single image. It's a small change, but it gets bloody tedious when you've got hundreds of images to work through. Is there a way to have it default to best for reduction (bi-cubic sharper)?
I have a paper form that I ultimately want to us as a background template in SQL Server Business Intelligence Development Studio for a report. When I scan the form, it results in a 5088 x 6600 image - which is way too big. When I try to re-size the image in PS 6 (I know, but it's all we have at my office) the text becomes unreadable. So basically I want to scan a paper form that is 8.5x11 and have it appear the same aspect ratio on my screen and also have it print out in the same size.
Photoshop is a much more powerful design tool than CSS, and given free reign to design at will, designers will often tweak things like font settings to a degree that cannot be recreated on the web. Is there any way to lock down Photoshop, or perhaps run an equivalent of the Office 2010 "Compatability report" that shows the designer where they have designed something that cannot be rendered on a web page. Something like the old-school "web-safe" colour palette, but for an overall design.
I'm recreating a Character Sheet for an RPG, but it might as well be a form. In the original sheet I notice that all the text is in capital letters. At first I thought it was in small-caps, but it isn't, it is in full capitals. It has the same letter height all the way through. Is this a good or a bad example of design? Should all caps be used for certain types of heading?
I'm designing small icons for screen, I'm using align to pixel grid. One problem I've encountered is aligning a compound path to the grid. This is the letter "O", which is a compound path, when I align to grid, it messes things up. How can I fix this?
I have used photoshop for some time and am now trying to learn Illustrator (Both version CS5) I would like to know if there is a difference in the way the blend modes work between these two apps, specifically "Hard Light", I have included an example of the results of using the hard light blend mode on a white to black gradient square on a block of solid colour. The left image is what I would expect from Photoshop and on the right is what Illustrator displayed, is there anything I'm missing here? Comparison of Photoshop and Illustrator Hard Light blend mode:
I know you can export the asset as a PSD and open it in Photoshop. Is there a more seamless way? Update: I'm an idiot. Someone else created the logo, and the shadow was it's own layer on multiply and not a normal drop shadow effect.
Do I really have to design everything in Photoshop with anti-aliasing set to "none"? I'm sure there is a better way. I'd like to have a setting so that when picking a basic web-safe (such as Tahoma) in Photoshop so I can see what it will actually look like when on the web. For example: The difference between Tahoma with anti-aliasing set to "crisp" in Photoshop and how it renders in Firefox is major. It looks nice and smooth in Photoshop and looks like crap on the web. Is there a anti-aliasing choice that is best to start with (that has the most similar outcome) when planning to have the content live on the web?
I'm sure that this is not a coincidence, that it was very well thought out by the designers of this app, but I can't seem to understand why. In the timeline, they use a sans-serif font, while in the main tweet view, they use a serif font. What are the reasons for this? .
I have a client for whom I've designed a newsletter. I did this in Photoshop, since it's the program I'm the must accustomized to (I know InDesign would've been the "right" choice). And now I need to hand over a file that can be used by my client as a template for writing these newsletters. How do I do this in a way so that anyone with just basic computer knowledge can make them? In Microsoft Word/OpenOffice for example. The file is a bit image-heavy so it needs to be versatile.
I'm designing logo for an application titled 'Healthy Lifestyle'. The app provides info about restaurants with healthy food, gyms, some workout instructions; basically anything to do with healthy lifestyle. I have some ideas to represent the 'healthy' part (e.g. the color green, leaf shape, etc). However, I am confused about how to portray 'lifestyle' in a logo. Any suggestions?
I'm new to Illustrator and it is driving me nuts. What I want to do is simply subtract a rectangle from a circle On top of it, I draw a white rectangle, and use the Subtract from front from the Pathfinder. What I get is: while I expect
I've created a path with a stroke and a fill of the same color, and I'd like to remove the stroke while preserving the size/shape of the object. Is there a simple way to do this? In other words, I'm looking for something like a "Stroke-and-Fill to Path" The best solution that I have come up with so far is to use "Stroke To Path" and then delete all of the inner nodes.
I have a bunch of social media icons that are in color that I'd like to make grayscale. I've opened them all in Photoshop and am applying a black and white adjustment layer to each one. The problem is each icon has a different underlying hue so I'm getting different shades of gray in the icons. Is there an easy way to tell the black and white adjustment layer that I want the resulting gray hue to be a specific color (e.g. #666) so all icons match or do I have to just futz with the adjustment layer settings to match each one by sight so the grays all look the same? Thanks in advance for your help.
Before you point your finger and laugh, please take into consideration that my boss is asking me to do this for him. As a faithful employee with some Photoshop skills and no experience with 3d modeling, I'm trying to figure out if it is possible and what it will entail. My Task: I need to be able to take images of furniture and rotate them in 3 dimensions so I can use them to stage empty rooms for a project. I only have one or two images of each piece of furniture, so software like 123dapp.com/catch by Autodesk won't work. My Tools: Photoshop CS6, Illustrator CS4 (and pretty much anything else CS4), 3DS Max 2013, and any open source software. My Questions: 1) With my available tools, what's my best approach as someone who has no 3d modeling experience? 2) How long should creating a high-quality 3d model of something like this or this take (again, for someone who has no 3d modeling experience but can generally pick things up quickly)? My Appreciation: Thank you very much for taking the time and energy to read this and hopefully for providing a constructive answer. I may be asking the impossible, but I see "virtual staging" companies who do this as a business, so there must be a way.
I have a set of Photoshop files which consist of a base image with a series of layers with colored overlays. The overlays are labeled using the layer names. My task is to get these overlays as SVG paths, somehow preserving the labels. (If I can preserve the fill colors as well, that would be cool, but we can define arbitrary fill colors if needed.) So far we have tried exporting the layers as Illustrator paths, and then exporting to SVG from Illustrator. This gets us reasonable SVG paths, but (a) we lose the labels, and (b) if a layer has more than one discrete section in its overlay, it is separated into several paths. Is there a way to get these layers into SVG while retaining the labels? Or should we do our Export > Illustrator > SVG route on a layer-by-layer basis? We're working with CS5, if that's important. ETA to answerers: We've long since finished this project and delivered the job, so I can't accept an answer, but feel free to pitch in your potential solutions for others.
I've got this image. To take it I had to up expose the photo to make the house clearer and the sky which is already very pale has disapeared. Normally I would just magic wand the white sky and replace it with an image of some blue sky. The problem I'm having is all the gaps in the trees at the top left and right. Is there a better approach to take when cutting around treelines? I suppose the same thing would go for hair etc ..
I have been searching all over to find a tutorial (for Photoshop or Illustrator) to create something with this look: I would like to be able to achieve this with different textures (wood, stone, glass, etc.)
In the article about DragonBox iPhone game, I've read that: the dragons were all drawn by a fourteen-year-old girl I would like to do exactly the same: ask someone to draw some images for the purposes of my game, process it in some graphics editing program and then import it into game resources. My questions are: Can you give me any advices on how the image should be drawn and scanned (again, specifically for the purpose of mobile game)? How should I process the image before importing it to my game resources? I am going to deploy the game on iOS, as well as Android mobile devices (note: smartphones & tablets, including iPad 3, which has very high resolution: 2048-by-1536-pixel resolution at 264 pixels per inch (ppi)).
I'm trying to run a batch file on a custom action. The action does one thing: File -> Export -> Paths to Illustrator. However, whenever I run that action as a batch on multiple files, it saves each file with the same name. So if I open File1.psd and save it as working/File1.ai, then run the batch on File2.psd, File3.psd, and File4.psd, what I get is working/File1.ai as an Illustrator file exported from File4.psd. Files 2 and 3 have been overwritten (as was File1.ai, obviously). Here's my Batch dialog: If I change the destination to e.g. Folder, it re-saves all the files as PSD in addition to overwriting the AI files. How can I run this export on an arbitrary number of PSD files and get the same number of AI files out the other end? EDIT: re-recording the action and refusing the dialog box gets me the dialog box on the first run of the batch, and subsequent files saved under the name I provide in that dialog (in other words, one dialog box for all files). EDIT 2: Following the answer below, I tried saving to Folder and overriding action save commands (screen shot): This produced the same results. :( Here's the action I'm running: ETA 3: Based on the comments, my problem might be that the Export -> Paths to Illustrator command does not honor the "Override Action Save As" checkbox, which means I'm just stuck with that shortcoming of Photoshop.
I'm basically trying to optimize "Save for Web & Devices" in Adobe Photoshop for pixel art. What I want is to apply an indexed color palette to all the individual images saved when using the slicing tool and "Save for Web". Instead I'm given all my image slices with huge color palettes. Any help would be appreciated on how this is correctly done.
My clipping mask was working in when it was just text. I have added an image to the text and the clipping mask no longer works even if I group the text and the image. Any ideas? I was working in Illustrator but could do in Photoshop too - whatever works!
I am looking for pointers on how to pick a set of colours (or a colour gradient) that are clearly distinguishable, for use in scientific figures. Was there any systematic research on this? If yes, I'd appreciate some links. When creating scientific figures, colour is often used to distinguish elements. One example is lines in a plot: Another example is a colour gradient to denote values: I'm interested in two questions: How can I pick the largest set of colours that are still distinguishable from each other, for use in a plot? Similarly, what colour gradient will allow the eye to discern the largest set of values and detect the slightest change? Are there colour schemes made specifically for this? I'm looking for something that works well both on-screen and in print. How can I pick a set of colours (or a gradient) that are still distinguishable enough when converted to greyscale, but the contrast is enhanced when they're viewed in colour? Is there a colour gradient that is not much worse in this respect that a full-white to full-black gradient when converted to greyscale, but gives significantly enhanced contrast when reproduced in full colour? (Take e.g. my example figure from above with the rainbow colour: it has excellent contrast in colour, but it's unusable in greyscale. Many scientific journals will publish figures in colour online, but ask for figures that are usable in greyscale too, in the print edition.)
I am trying to "transfer" my signature from paper to the computer. Here is the procedure I followed, yes you may laugh, I know it. My question is, is it possible instead of the hard lines I got to have solid lines?
So I have got the .ai file from our designer and I have to save it to a specific size to then be used on a website. I have aligned all shapes to pixel raster (not sure if this is required) and I have changed the reference point to left-top (in order to avoid blur). When saving for web I choose Optimize Art and I save it as a transparent PNG-24. Now, why is there a mysterious, vague line next to one shape? When I look at it in Illustrator, that same line is visible, but when I zoom in you can see that the shape is perfect without the mysterious line. In case it might help, the line is there from bottom to 50% of the shape (vertically), everything else is perfectly sharp. What am I doing wrong? I hope I used the correct terms, as my Illustrator is in a different language.
I'm not sure if there are any typography gurus here that might be able to answer this question, but I don't know where else to look. I'm looking to add text hyphenation into one of my projects, and after doing some research, there are a few curious points I am unable to connect. I want to know when and when not to use hyphenation, and if screen width is a major factor in this decision. I'm curious as to why in Apple's iOS Safari "Reader" feature (where you tap the Reader button and it converts any web page into a nicely formatted reading friendly page), they do not use hyphenation on the iPhone, but use hyphenation on the iPad Safari Reader. So on the iPhone, they do use hyphenation in the iPhone iBooks app, but do not in the reader app (so I'm unsure as to if this has anything to do with screen width. iPhone Reader in Safari (no hyphenation): iPhone iBooks (hyphenation): iPad Reader in Safari (hyphenation):
I would like to make this image to have 4:3 ratio, so it then later can be scaled up so it completely fits a 400mm x 300mm paper when printed. It can not be cropped any more, so the size is 780x500, which is not 4:3. Question As it needs to be scaled up when printed should I scale it down horizontally so I get 667500 (remove pixels) or should I scale it up vertically so I get 585500 (add pixels) ?
I'm using 123D (a great 3D suite from Autodesk) that generates .obj files. I'm trying to open them in Maya 2011, but to no avail. It's strange because both applications are from Autodesk, yet they don't use compatible file formats. (That goes for 3D studio as well) Any ideas? I've read many google results and forum threads, but still got no clue on how to do it.
I am trying to create an animated gif where text drops down and smashes into the background and cracks it. Whenever I try and transform it though, the transformation is applied to all frames. How do I prevent this? I'm using Adobe Photoshop CS6 (64-bit)
I'm trying to make the bottom edge of a layer curved / look like waves. Here's an example of what I'm trying to achieve but it is just hand drawn: (image no longer available) As you can see, the curve is not symmetrical. What tool or method is guaranteed to get a perfect symmetrical, consistent curve along the edge?
I'm creating a newspaper for a small association, and have run in to a problem when creating the ToC. The paper has a few different types of articles; "Info", "General news", Articles on this issue's theme and Buy&Sell. Each page has the type of the page's article in the header, and then a title (and a bunch of text). Now I want to create a ToC which lists the articles grouped by type, something like this: Info Editorial 1 Meeting minutes 3 General news Article 1 2 Article 2 10 This month's theme On the greatness of themes 4 They are really fantastic 6 Buy&Sell Stuff for sale 8 I want to buy a... 9 Note that the article types are not necessarily on consecutive pages. I created a Table of Content style which has the page header paragraph style (eg General news) as Level 1 content, and the title style as Level 2. Now, if I generate a ToC, I will get for each page an entry for the page type, and for pages on which an article begins also the title of that article. Something like this: Info Editorial 1 General news Article 1 2 Info Meeting minutes 3 This month's theme On the greatness of themes 4 This month's theme This month's theme They are really fantastic 6 This month's theme Buy&Sell Stuff for sale 8 Buy&Sell I want to buy a... 9 General news Article 2 10 This has two problems, first that they are not grouped, and second that since the page header is on every page, it will have an entry for each header, even if there is no new article on that page. If I update the Level 1 style to be "Sort entries in alphabetical order" I get somewhat closer: Buy&Sell Stuff for sale 8 Buy&Sell I want to buy a... 9 General news Article 1 2 General news Article 2 10 Info Editorial 1 Info Meeting minutes 3 This month's theme On the greatness of themes 4 This month's theme This month's theme They are really fantastic 6 This month's theme But still the types are not grouped. Is the Table of Contents feature powerful enough to do this?
I am, like so many other graphic designers, very excited about the new MacBook 15" with retina display. But there is one thing that I really am concerned about. With 4 times the pixels as on ordinary screen, how can we be sure, that the preview of an image, is what we really get? When images are optimized for web usage, how can we be sure that the optimized image, is what the end user (with a non-retina display) wil be seing?
Save for web feature in Photoshop for image size reduction, would this be the simplest way for a beginner (like myself) to try and save on (some) loading time without losing too much quality. I am using images for my menu buttons, background, header, post page, etc etc I have only just found this save for web feature and I was wondering does it really help in image size or does it not make that much difference. Is there any other option? (website for reference: www.kizzieskorner.com) PS: if you mark my question down please could you give an explanation why so I know what not to do next time - as I am new to these question forums too!
I'm setting out a template in PS 1280x700 px 300dpi (I know web is 72 but I like more clarity when working in PS). My main problem is the way the text renders; I'm using Helvetica Neue Light 15px and it's coming out quite jaggidy. Is there a way to smooth / use it as a font instead of following the pixel grid so it would look like it will on the web? My second question is when setting out a nav is there a better way to separate the text headings? At the moment I either just use the space bar 5 or 6 times to break them up (which is really bad when you want to go back and make changes as you have to change all of them) or I make each heading a text layer and space them on a grid, again not great when I want to make changes.
I'm working in Illustrator CS4, and when I save from EPS to SVG I get these messages: Foreign artworks are expanded (I see this error when I save to SVG) clipping will be lost on roundtrip (And I see this one when I open the SVG I saved) This SVG opens fine in illustrator, but some of its parts disappear in Firefox. What does this clip path mean and how can I fix it?
When designing a horizontal menu for a website in photoshop (like the img attahced) whats the best way to space them ? In html/css i would just use float:right; margin-left:20px; but in photoshop the only way i can think of doing it is spacing out the text using the spacebar or making each peice of text its own text box and then spacing the using guides. Neither method is great as if you want to go back and make a change you have to change the spacing between each word/button. Please also bare in mind that some buttons have two words in them ie."ask question" so you cant really use a method that leaves a huge gaps between all words.
I have recently upgraded my version of Illustrator to CS6 but have run into a problem. I batch create EPS files for print and then hand them on to a supplier. They however don't have CS6, but CS5. Rather than batch creating all of the files and then individually re-opening them and changing the EPS Version manually, is there an alternative/way to set the file version default? Or is there another alternative? Thanks for your time
Frutiger 55 was the winner of the crude typo-battle I hosted in my mind this week (I felt really sorry for poor Gill Sans, one of my top-5 of all time). I want to use it for a Web App that is hosted in different client's servers (client buys the app, the app is hosted in their server, although it can be accessed from different regions), and I'm a bit confused about which license is the correct one. According to Linotype, Frutiger 55 is NZ$ 53.00 for a standard License (maximum of 5 computers at one single geographical location, or a single LAN). Last time I checked, it didn't have a Web version, but it now links to fonts.com, and they say it can be self-hosted and used in an unlimited number of sites. Which font/License would be the one I need in this case? Since users are not going to have the font installed in their computers, is a web license the right way to go? Or should it be a license per server? This is Linotype's list of desktop licenses, maybe it's the Webserver License? Thanks! Edit: I'm quite sure it's NOT a Web Server License because the font will be "read only" Edit: I found some more info on licensing fonts for apps but it only applies to MyFonts.com.
I have around 150 SVG files created in Inkscape. Is there is a utility that can export all of these to multiple PDF or PNG files? Exporting individually is too time consuming, so I was wondering if I could do it in a batch with some utility/software. Windows preferred.
Web fonts can sometimes look great on one machine, but awful on another, due to differences in rendering not just between browsers, but also with the same browser between operating systems. Most commercial web font services have a try-before-you-buy preview feature, where you can see side-by-side screenshot images of the fonts rendered at various sizes on different browser and operating system combinations with default settings (e.g. on Typekit (click 'Browser Samples'), and on Fonts.com (click 'Web Font browser/OS samples' tab)). Google Webfonts doesn't have this feature, and since the fonts are non-commercial/open source they are rarely/never available on these services. Assuming you don't have a convenient stack of Mac, Windows XP, Windows 7/Vista and Ubuntu machines sitting under your desk, each with a variety of browsers installed, and that you don't have the time, resources, know-how and patience to set them up on one machine using something techie like Virtualbox (not even sure that would work...), how would you go about ensuring that a font you were interested in doesn't have rendering issues? A good answer could be... A service that simulates browser/OS rendering for any font or for Google Web Fonts specifically (I've not found one) Knowledge about typographic features to look out for that are known to render particularly differently or badly on certain systems. If an example would help, a font I'm particularly interested in is Lato 300, 400 and 900, mainly at 10pt, 14pt, 22pt
Who is responsible for creating such products? Are they usually done by the props team? Or are there companies that specialise in them? Here are a couple of examples. It's usually easier to find logos, so I'm more interested in good examples for graphic design such as product packaging, printed material and such. Logos: Packaging, Sin City Booze bottle: http://www.chericocreative.com/images/photoAlbum/readImage.aspx?x=CvDI5DuXJOPXb733IVuGRbSftzA8rNbRaw5IwegkMF5BJbaHWVBlQ8bCrahex6IW7Qco9Kw2a9%2fnkCaL%2fHID4%2bOJJ7mKrQp%2fxxzqS06fnifLJU35VSBX5922xnzKtbTrsxVJaYmmzsTkyY92RHkijre5dG7O391P Packaging, Dharma Initiative:
how can I clone an object in Illustrator so that a link remains to the source object and modifying it alters all the copies as well? Thanks
Batch -export means that I may need to add certain transformations such as anti-alias, contrast-fixes and resizing. SVG here means I am using Inkscape. One layer here is a sprite. I currently export each layer individually to bitmap, File > Export Bitmap -- but it is time-consuming. Is there some way to programmatically batch-export layers from SVG-file? Or does there exist some batch-export-button in Inkscape? I specially need the same custom area for each sprite, the same as clicking many times the menus but it is stupid -- perhaps some macro for this?
I'm trying to add some text to a SVG file. The text is dynamic and shown over a rectangle which acts as background. Since the text is dynamic, the width of background rectangle also needs to be dynamic. So, to be consistent, I'm using a fixed-width monospace font (Droid Sans Mono) and calculating the width of the background rectangle by using the expression - (x6.4)+4), where x is the number of characters in the text, and 4 is added for padding (2 left, 2 right). Also, assuming that 6.4 is the avergae width of each character in the Droid Sans Mono font (just a guess). So, for text Ruby on Rails, number of characters are 13, so the width of the background rectangle is 136.4+4 = 87.2. Which works perfectly in browsers (Firefox and Chromium) on Ubuntu. However, when seen in the same browsers (Firefox and Chrome) on Windows, the text overflows the rectangle. So my question is that, how can I ensure that the image has consistent look across different operating-systems? The image does has consistent look in all browsers on same operating-system. I'm including an example image for reference: UPDATE Maybe I should rephrase my question - Inside an SVG file, how can I make a fixed-width font take same number of pixels across all platforms, assuming the SVG file is not affected by any external CSS styles and the zoom level is normal? Also, I understand that alternative technologies exists (PNG etc.), but not every SVG question should end with replace it with PNG. Also more than a solution, I'm interested in understanding why this problem exists with SVG. I am using a fixed-width font which is supposed to take same number of pixels on all operating-systems (Is this wrong assumption? Why? What can I do about it?). Screenshots Ubuntu 12.04 amd64 / Firefox 13 Ubuntu 12.04 amd64 / Chromium 18 Windows 7 32-bit (inside VirtualBox) / Google Chrome 18 Windows 7 32-bit (inside VirtualBox) / Firefox 13
I am trying to make a speech bubble. My attempt consists of a rectangle and then using the pen tool to establish three points. They are not filled and only have a border. Here is what I have: This is what I'm actually shooting for: I don't see why the pathfinder tool can't remove that one line. Does anyone have any ideas, or am I going about this the wrong. I've worked with Photoshop for about two years, but only worked with Illustrator for a few weeks.
When I'm coloring a drawing in PS, if I set the opacity to 50%, color, then lift my brush, then nick the same area, it stacks the opacity for a more opaque results. I want it to all be the same unless I increase the opacity, and I see this in a lot of YouTube videos. Right now coloring is nigh on impossible because all the colors stack and I have a weirdly shaded photo just from coloring.
Why doesn't type look crisp and clear in Fireworks/Photoshop etc? I am the only one working on a PC at my work place, I've noticed that the text in my Fireworks looks a bit ragged on the edges, its not so crisp and clear as it is on my work mates computers... Now I know this is an issue about text rendering, and it is because of something called anti aliasing, i know what that(antialiasing) does from games, it makes the edges smoother so that the whole shape looks crisper, its like a pixel splitter :P (windows has something caller Clear Type that does that for text)... My problem: How can I make the text look better? How should I set up windows? How should I adjust Fireworks/Photoshop settings? Screenshot:
I have got hundreds images of products with clear white backgrounds. I would like to change the white background color to become transparent. Is there a means of batch processing this particular process with Photoshop or any other applications?
Im looking to discuss ideas on how to represent the "evaluation of a user". You the evaluator Users to be evaluated Based on score border around user profile is different color How could this be represented in 1 single image? Attached a Concept wich is not clear enough I need something thats more catchy.
Im having this big horizontal bar see image above, and want to "guide (read force)" the users from reading the text on the left to clicking the join button on the right. Are there any thoughts on how to originally design this guidance from left to right? I know the general thoughts on call to action and the principles I've read a lot about in terms of design and page layouts. But the problem is I cannot come up with something better than a join button on the right and I would like to graphically "guide" the user to the right side , so they cannot resist and have to click ;)
I like digital art and paintings. I want to create my own. Which software/tools do I need to accomplish this?
I am designing a website and am planning on slicing up my template in Fireworks and then exporting it to Dreamweaver. When this is done it does of course go into a table. I have a title and nav bar with a left section to the right of a main content section, with a footer at the bottom. I was wondering if it is possible to make it so that if the main content section expands (with for example a blog), I can make the footer move down and the left content section to stay where it is (using slices)?
I'm presently working on an iOS application and I am attempting to reverse engineer their standard alert dialog window. I have managed to figure out what the alpha value on the background it uses is through some color sampling against a solid black view, and a solid white view. Given this information, using GIMP is it possible to just "erase" the background color, so that I am only left with the original, unblended alert background? I only have the alert view in image form as a screenshot from a running app.
I would like to create a sexy-trending curved or blended shadow using Adobe Fireworks CS5. How can I do that? I would like to achieve a shadow like the following sample:
I need to do a poster, 8m width by 3.7m height, consisting of photographic elements that will be seen from varying distances. I've talked to the printer and they can do it at 150ppi's. The issue here is how to work it. Using this calculator I've came to: poster measurements 800cm 370cm 150dpi = 47244px vs 21850px memory requirements memory required = (number of pixels in image ) X (number of bytes per pixel ) 47244 x 21850 x 3 (24 bits) = 3096844200 bytes = 3GB And I'm working on a 3GB computer that, understandingly has to page some information to virtual memory, so it would take some time, however it keeps crashing. How do professionals work this out?
I have this picture, where I would like to fill out the green in the top with the background from the picture, so fix that the picture have not been cropped in 4:3. Can a background like this be cloned?
What is this font on David Guetta's T-shirts? "Its the way you love me - I wanna go crazy". The same streaky-paint style font is used on the David Guetta album, "One more love".

Subsets and Splits

No community queries yet

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