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I have this image which I want to re-draw/reverse engineered so that I can use it at different sizes as resizing it cause it to look bad. But I can't seem to figure out how to do it. The drop shadows on two sides and with the amount of shadows increasing from less to more as you go further out. Do I, just for example, take a rect and play with the drop shadow settings? I tried that but I am not even getting close. Just need a push to the right direction.
Does anyone know of a font suitable for the title of a newspaper? It is also the type that's used for the first letter of a chapter of a book (and is so calligraphic, you can't tell if it has serifs or not). I am looking for something like the one used by the "newspaper clipping generator" at fodey.com: Generated at fodey.com
I once read, that one should use optimized/specialized fonts for headings and titles. The claimed reason was, that a kerning which is good for reading is not good (or optimal) for titles. I tried to google this issue, but only found collections of 'free fonts for Big and Powerful Headings[tm]' and one Q/A on ux.stackexchange regarding using different font families for headings and body Do the fonts for titles differ from their 'normal' brothers and sisters in features like kerning and x-height?
On Google's search page there is a visible vertical scroll bar even when it is not necessary. This can be avoided by deleting the following style from body selector overflow-y: scroll; When this is done, there is no vertical scroll bar on default and when the height of browser window is not enough to display entire content, vertical scroll bar appears. Since Google is known for their obsession with minimalism on their search page, why aren't they doing this? I tested this behavior on Chromium 18 (ubuntu), Firefox 13 (ubuntu) and Internet Explorer 8 (winxp).
Can I legally use Microsoft Office icons in designing my site? For example:
Most university map apps on Google's Play store seem to just use their university's logo or a generic map icon. Neither way seems ideal, but I'm unable to come up with a better way myself. How do I come up with different ideas for an icon design?
So I downloaded some free custom brushes to draw some hills. The "default" size of these brushes are ~850px so I change it to 35px. But if I use another brush and then switch back to this, then it always scales back to 850px. So, if I change a brush size then how to achieve to "stay" at this size forever? (sorry for my English, if something is bad)
I am new to the graphic design chat here. Please provide any feedback/critique on the poster available via these links. One is on a colored background, the other is on a white background. Which is better? Are there glaring design issues here? There are no designers where I work and I could really use some constructive feedback. This cafe is located in an academic library and is primarily targeted at college students. no other stipulations, really. My idea was to use the color scarlet (the college color) and show larger than life bubbles as a nod to how bubbly life can get when you visit the Scarlet latte cafe. Here is my attempt. My design concerns: One of the responses mentioned that there are too many design elements here (the 3D bubbles, the coffee-stain/textured circles, etc.) I was also concerned that the design lacked a certain cohesiveness. How is the placement of objects on the poster? I have not used a grid, and honestly don't know how to create one and design on it. I do use guides quite scrupulously in illustrator though. I guess this leads to the question, when designing posters and flyers in the future, how can I do so using grids so the nothing is askew and every thing is aligned well? I am not using InDesign and that might be part of the problem. Finally, does this look professional?
Consider the following two images: The second image is my desired result: the artboard dimensions perfectly match the layer/selection/content. However, I had to resize the artboard manually. Is there a way to do this automatically? Ultimately I'm saving the file as an SVG. Rather than resizing the artboard, is there some setting that tells illustrator to export a file with the final dimensions being the size of the content or selection? Some googling suggests that this was possible in CS3 using Save for Web, but I didn't see any option like this in CS6.
I have 2 layers: first layer is just regular layer with some graphics, and second layer has additional graphics which are on top of the first and it has blending mode set to "Overlay". What I need is to produce third layer (or just convert second layer) which will have blending mode set to Normal and if it will be displayed together with first layer it will give the same result as I get when first and second (overlay) layer are displayed. I need this for splitting graphics to separate images for iPad/iPhone application I'm writing. If I just export overlaid layer, I'm getting wrong result in application.
Have several copies of the same object moved around to different areas in the artboard. Decide you want to scale them all by 75%. Select the first object, do the scale. Select the next object, press Command + D. The object is scaled, but moved in position relative to the original object. Not on top, but near it. How can I stop this behavior? Using Command + D is a great shortcut, but it defeats the purpose if I have to move objects around again. Perhaps there is a setting I'm missing? Note: this only occurs using Transform->Scale for me. On the others it will work correctly.
What do you think are the objective features of Yahoo's well known emoticon set, that they use for mail, instant messaging etc., that make them so much better at communicating user's feelings and subjectively look so much better than most other emoticon sets seen on the web or in desktop software? (Explanation: I thought I was the only one liking the Yahoo emoticons much more than all the other emoticon sets on the web, but I asked a great number of regular user's and they all feel the same. On an imaginary 1 to 10 scale of evaluating emoticons based on "looking good", being "easy to understand" and actually having a way to "graphically communicate emotions", Gmail's square emoticons would probably rate 0, the other emoticon sets from Gmail would be somewhere like below 5, together with the annoying overly animated ones that some people get from weird email clients of adware-ish toolbars, the Skype and MS ones would be somewhere at 5 and Yahoo's would be much higher than all the other's, let's say at 10. And I want to understand what makes this particular set of little faces so much more appealing (especially to white European and American users).)
The concept of a focal point seems to be a fundamental one in web design, yet doesn't a focal point mean a page cannot be balanced? Surely by definition a focal point means that the page's 'weight' is shifted towards this focal point?
When choosing File > Scripts > Export Layers to Files.. in Photoshop CS3, why can't I select a png format (png-8 or png-24)? I cannot trim layers using any of this. :(
You may know me (not that I am worth knowing) from my first question. I am a noob in web design, graphic desgin, font theroy, color theory, guess all of the mixes that are crucial. My expertise (whatever level that maybe) is in web coding (html, css) and RDBMS with strong skills in Database Modeling. Having successfully (to some extend at least) designed a logo, letterhead, small and big enevelops (maybe a corporate portfolio?), I was asked by the customer to design a company brochure as well. Having learned AI-CS5 (to some extend atleast) and helped by the Graphic Design Community (a million and three thanks to them), I designed the brochure in AI-CS5 and was very happy (as a noob) since it came out really nice (to me & the customer atleast). The problem as it happens, comes (as it always comes when new knowledge is acquired) when I read that most if not all brochures are designed in Adobe InDesign and not Adobe Illustrator. That really put a halt (stop! you are going to the wrong road) in my learning of AI-CS5. Please see the below images for samples of what I have come up with. Now I will try to put my question. Why are the brochures designed in indesign rather than illustrator OR more importantly do I really need to or have to "re-design" the above in indesign due to the benefits it offers (as some say given my readings on the net)?. Does it mean I am going to the wrong road and using the wrong tool for the job. You really can't teach an old dogs new tricks and it has been difficult for me (not that I am excusing my short comings of which I am well aware viz. I have not creative talents and am dull as ditch water) to learn AI-CS5 and now I have to shift/move to InDesign just because (beacuse what?).
I am trying to create a bevel effect similar to the attached image. I have set the depth to 30%, size to 1px and soften to 0px, but the final effect has bevels which are not as crisp as those on the attached image - the bevels look very slightly blurred. Any advice on the necessary settings to recreate the bevels seen in this image please?
I followed this solution to make Polish ogoneks in InDesign through GREP style BUT every time I use it, the negative tracking is also be applied to the space or next character which immediately follows it. Is there any way to prevent this from happening?
I've tried searching for an answer to this, but I have no idea what terms to even search for. I'm creating the artwork for a repeating pattern that is going to be printed on a large quantity of fabric (think 100 meter rolls). I'm wondering what the normal way to present the artwork for this would be, since it's not just one block of artwork, but rather a block that is repeated both vertically and horizontally. At the moment, my plan is to give just one full swatch of the part that repeats, with a bit of extra bleed area, and put in crop lines. Does anyone have experience with this or know how this is supposed to be done? (PS-I'm working in Illustrator.)
What effect is used in this image? Bigger photo.
I am designing org charts using PowerPoint 2010 (because they will need to be edited by people without design software) and it's becoming maddening. I decided to use the smart art feature because it seemed flexible and easy at first. I'm using the hierarchy preset. When I resize a box, it resizes and even moves all or some of the others. The way it will react is unpredictable. Is there a way to disable this feature so that I can resize boxes independently and still keep the good features of smart art, such as lines following the boxes when you move them. I've contacted Microsoft and worked with one of their chat people and it led me to this: http://answers.microsoft.com/en-us/office/forum/office_2007-word/smart-art-re-sizing-issue/068cea45-7ee6-4883-89e2-f434dfcdc006 Others have been unable to resolve this problem. Can SE do it? Thanks, Ian
My department recently upgraded from CS5 to CS6. We are preparing an InDesign print publication for this year and are repurposing last year's Illustrator and InDesign files which we produced with CS5. When we save each Illustrator file, Illustrator displays the warning message "Saving to a legacy format may cause some changes to your text layout and disable some editing features when the document is read back in. Do you want to continue?" So far, we have been choosing "OK" to continue. My question is: What is the best practice here? Our illustrations are all statistical graphs using the exact same colors, typefaces, line weights, etc. as last year. All of the people working with these files have CS6. If we continue to save to the legacy format are we likely to have problems? From your experience, would it be better to "save as" Version Illustrator CS6 now?
I have read this article by Doug Avery where he explains how to disable Color Management in Adobe Photoshop and the follow-up article in response to the uproar of the commenters arguing against it and supporting sRGB, although I am still not convinced on what technique I should apply in my personal workflow. From what I've gathered while reading the article (please correct me if I'm wrong), the correct way to deal with this would be to have Photoshop manage the colors as sRGB and making use of Proof Colors when in need for a more "faithful" preview of the your work. At the moment I have an entire website project that has been designed with color profiles disabled. I started on it that way because months ago I had noticed that the colors Photoshop rendered, although reported correctly by Photoshop's own Eyedropper Tool, did not correspond when measured from a screenshot to what I was seeing in Google Chrome when opening the image exported as a PNG. After a quick search I came across the post I cited earlier and applied its suggestions blindly (without even noticing the follow-up nor reading about the problems with it). Since then, I've had no problems: I take screenshots of my work in Photoshop and I upload them for the developer to make use of. He gets to see the same colors I see and use when developing the design, and I don't have to jump through hoops to see what I'm actually doing. My questions: Is it really necessary to use sRGB in a web design (I understand the implications of not using it in something like photography or print) when it only adds more work by forcing you to use Proof Colors? (That's just how I see it, please correct me if I'm wrong) Since saving with an ICC Profile will lead to some browsers correctly applying the profile while others ignore it, the article also says that it's probably the best idea to just design with sRGB and then save without the ICC Profile. Doesn't that defeat the purpose of using the color profile in the first place? Or am I misinterpreting what the article says?
Is it possible to create this in inkscape? It would be very useful in flow diagrams. At the moment I have two arrows and it becomes a mess when it needs to be repositioned: I tried drawing two connectors and combining them, then using snap at midpoint feature to some what connect them. It produced a decent result: But I am having problems scaling, to have it fit a certain space while maintaining the line thickness.
I currently have an on-screen table that is ~250 rows long. To make it easier to read, I've decided to go with zebra striping. From what I can gather from this question, the ideal alternate color is something that doesn't contrast too much from the base color (in this case white). The rest of the UI has a pale blue color, something along the lines of (226, 237, 253), We are looking to maintain a corporate and conservative feel. What colors would you suggest as the alternating color? Keep in mind that they should not contrast too much with white, but just enough to be significant.
Given the following setup: File: SomeFilename.ai Which contains artboards named: Artboard_01 Artboard_02 Artboard_03 At the moment if I export the artboards Illustrator insists on prepending the filename to the artboards. So the files generated would be named: SomeFilename_Artboard_01.png SomeFilename_Artboard_02.png SomeFilename_Artboard_02.png I would like them to be named: Artboard_01.png Artboard_02.png Artboard_02.png Obviously I know there are a multitude of options for batch renaming files, but this doesn't fit into my workflow. I do a lot of UI design (iOS or CSS) which involves creating a large number of graphics in Illustrator then exporting them. I often shoot back and forth rapidly between Xcode or a browser and Illustrator tweaking graphics. At the moment I can't just export and rebuild/refresh. I have to find the file and rename it before it will work. This is a major speed-bump.
Is there a way (possibly via a 3rd party plugin) to read/write PDF annotations/comments in Illustrator? We use PDF comments heavily in our workflow with Illustrator. The problem is to add/edit/view these comments we need to use two programs. The comments are used to embed markup language that our custom software which converts it into a web based template. This is why is it is so critical to be easily accesed from our primary design tool (Illustrator).
Is there a way in Illustrator to know the exact dimension of shape in pixel and possibly to resize it down to different (but precise) dimension?
I've worked with single and dual monitor setups in different situations in the past, but it's been a while since I last had two. Right now, I'm using a single Dell 24" that seems enough to handle adobe and web developing programs (I got used to just alt-tabbing my way through them), but I'm wondering if I should grab one of the smaller spare monitors in the office and add it to my workspace. Last time I had two, I only used the second one as support, for displaying complementary information (mostly thumbnails and previews). The main disadvantage for me was that both of them were inevitably positioned in a diagonal, something that I found quite annoying. To those who use dual monitors, are there advantages regarding efficiency (I've freelanced for most of my life so my work process is kind of... personal) that I might be missing? Or is it just a question of preference?
I have a font which has six styles (Black, Bold, Extra bold, Light, Medium and Regular). For each style there's an OTF file. If I install all the OTF files, the font shows up properly in the Fonts panel in Windows, it shows as a family so that if I double click it, then another window appears with each style. However, in Photoshop, when I choose the font, only the "Regular" style appears in the style menu, which is grayed out, and does not let me choose any other style. I've been twiddling with FontCreator and some other font-related software, trying to properly set up the options for each style, with no luck. So the question would be this: how should I edit the parameters in the fonts so they keep being from the same family but Photoshop recognizes each style, just like Windows does?
Photoshop's pencil tool has a setting for "auto erase". When set, clicking on a pixel of the current foreground color causes it to draw over it with the background color. This is great if you're drawing on a colored background, but useless when the background is transparent. How can I set the pencil tool to erase pixels (replace them with transparent) instead of just drawing the background color over them? Or if this is not possible, is there another tool that can be set to draw a single pixel in the foreground color and then auto erase to transparent?
I have photos of a product and I would like to create a white background behind it. See it here: I have tried playing with levels and the brightness but that also messes up the product itself. How do i do this?
I'm designing a web application which has lots of data tables with business information both as numbers (sales, hours etc) and text (product names, region names etc). What fonts are great for dense information displays? I've played with usual suspects like Helvetica, Helvetica Neue and Tahoma, but are there others that would add a splash of unique feeling, but still would be an excellent choice for displaying tabular data?
First some background... We have a custom piece of software that requires PDF files to auto generate web pages. These PDF files are pretty typical, the only special thing about these is that hey have proprietary programming codes added to the comments/annotations that instructs the 3rd party software on how to transform certain things. To any tool capable of opening PDF files it just sees a bunch of plain text annotations/comments no different from any other PDF. Because we need to create hundreds of these pages and manage them in a source control system we are considering working directly with the PDF file. Previously we have had an .ai file that is exported to .pdf then the PDF is "marked up" (has the special codes added to the comments) finally the file is commited to source control. This means we have two files to manage keeping in sync. This is why we are investigating using he Illustrator option "Preserve Illustrator Editing Capabilities" so we can work directly in the PDF files and avoid the storage/management of a .ai file as well as .pdf file. Our current graphic designer claims this option limits his ability to edit the file (despite the obvious message to the contrary in Illustrator) his predecesor claimed it worked fine. As I am just a programmer who is having to manage this graphic design process I am wondering if in fact the option works and if anybody knows of any "gotchas" with it.
The graphic designer for my club created a red and black logo (major color is black highlighted with red). Everyone thinks it looks great, and I agree. The issue lies with designing the site. We've been trying to design a red and black site around the logo, but everything we've come up with looks dark, heavy, and saturated. Is there a trick to designing dark-colored sites? I've looked at other sites that use red and black (for instance, these), but they all seem to be graphical, rich-content sites, as opposed to a simple text-heavy site like we are trying to design.
I am trying to create a gif of a growing line, which changes direction. I drew the line using the path tool, so I need a way to animate drawing process of a Beziér curve. Essentially I need to create a similar animation to the the following one (just the red line and the black dot, however the black dot is optional):
I've got a bunch of puppies i need to mask in the same way as below, where each puppy will be within a shadowed circle: I got the first one working using a layer mask, but now i want an easy way to apply the same mask layer to all my other puppies, and I can't figure out how. The current mask is tied to this specific layer, like so: How would I create a single mask that I could apply across many puppy pics, and modify in one place if need be. Update on this: I discovered I could apply a mask to a group, like so- however, I can't apply filters on the group-level mask. So I'm closer, but not there yet...
Metalista is a modern blackletter font (afaik :)) designed by Suitcase Type Foundry as a tribute to "the persistency of the metal culture." What other typefaces (used as subtitles) would mix best with Metalista (used for the title)? In case that's too broad a question, here's an example narrowing: How well does Steinem go with Metalista? To give you a bit of context, the above question(s) arose discussing a "steampunk" YA book cover for which Metalista is a good choice.
Everytime I create a new shape in Photoshop CS5, whether on a new layer, document, whatever, it's always starting out with a drop shadow. I can't figure out why this default filter is being applied?
I know how to trim a document to get rid of surrounding transparent space, but is there a way to do this only for saving off to web & devices, without impacting the actual document?
I would like to reconstruct a simple bitmap to vector, so I have put a grid and a layer on top of it. Is it possible to e.g. use the fill tool, to just fill out one of the grid squares at a time? Or is there a better way?
Is it possible to find out what compression algorithms have been used for images in a PDF document?
A friend of mine uses PDF as the default format for saving Photshop files. For both master and working documents. He never saves anything as a PSD. Is this good practice?
I know this is all subjective, but I'm hoping there are general principles here that will mean this is a valid question. Take a look at the layout below. In the past (before I tried to learn about this stuff properly) I would have made the text line up with the left hand side of box 1. However, I think it looks more balanced where the text is now. Is this the correct way to balance these elements? (or a correct way rather). (A follow up to my question: How can a design be balanced and yet have a focal point?)
If I want to use the Arc Tool, I click & hold the Line Tool icon and then I count, 1 Mississippi ... 2 Mississippi ... And then the submenu appears. Is there a way to reduce this lag? Or is there a keyboard shortcut to open submenus?
I've cut and pasted vector art from Illustrator to PhotoShop and chose "smart object" when I pasted it. Is there a way to convert the smart object to a shape layer now so I can edit the very simple art directly in PhotoShop?
I've gotten errors when I attempted to use Inkscape, GIMP, and Uniconverter because I don't have access to the proprietary software. Perhaps the file corrupt? Thanks for any advice, this is a charitable cause ("Feed my Starving Children") if that is extra motivation for you! I'm trying to convert the .eps which is part of this .zip. Another way to get to the file is to start here, and scroll down to the three "Mobile Pack Logos"
I can't find much about using fleurons/hedera as bullets in a list online or in Bringhurst, but I did find several "floral heart bullets" in Unicode. Are these still only for decorative use? Would their use in a complex list be a faux pas?
We have roughly 55 cards that all have the exact same text. The titles and backgrounds differ among the cards. So I've made just one AI with the different backgrounds and all the text as one copy in a layer on top. Now I can just hide each background layer and save as PDF. But even unchecking preserve editing capabilities, the file sizes let me know that it is still including the images and backgrounds for all the hidden layers. Doing a quick test and deleting all the hidden layers brings the file sizes done considerably. I was under the impression that saving as a PDF without editing capabilities only saved what was needed for that particular PDF. It seems I was wrong. Do I just have to keep deleting the hidden layers for each copy?
I've a Wacom Bamboo Fun Touch & Pen to draw on the PC. I also have some old designs drawed on paper that I want to draw on the PC using Photoshop. The problem is that the paper design is bigger than the drawable surface of the graphics tablet. I want to redraw the designs overlapping the paper on the tablet, so that I can trace the design. So, my question is: How can achieve this? I've tried slicing the paper using a pencil and redraw the designs little by little, part by part, but the final result is awful... Thank you very much in advance!
Sometimes when using Adobe Illustrator I need to get a range of tints from a certain color, so I'll drop the opacity to, say, 75%, 50%, and 25% on a white background to get there. It's the quickest way to get what I want in that moment, but then it comes back to bite me later when I put something underneath and then I have visibly overlapping layers. What I want to be able to do is get the value of the color that I'm seeing. In Photoshop I'd do this by putting a white layer underneath, merging the two layers, and then sampling the color. Is there some sort of trick I can pull in Illustrator to do the same thing? If not, is there a different (and preferably simple) way to add white to a color? Changing S and B values in the color picker is the only thing I could think of in that regard and isn't always terribly simple to do...
I am new to illustrator, if this is too basic do provide links for me (tutorial). I've made a shape, and I put styles on the layer, gradient, color overlay, opacity reduced, I know how to copy the shape, but to get the exact same gradient, opacity, how to do it? it's like a blend of styles.
Some time ago I managed to add this text (see below) to a logo at 512 x 512 px. I reproduced the black text using Arial Bold 200 with kerning at -20 in Paintshop Pro. However, if I try to feather, expand or contract in Paintshop Pro or Photoshop, I end up with a much more rounded inner area (shown in white below). I've also tried using a smaller font, but I can't get it to match the right size of the black border. My question is, how do I produce the outlined text (as shown below), where the black text is at the size mentioned above, in Paintshop Pro or Photoshop? I need to generate a much larger image, 1024 x 1024 px, so I can't just scale it up as it will look awful. Note that although I have scaled up this image for the benefit of this question, the text is anti-aliased in the final image.
I'm having problems adding text using the type path tool in illustrator within a round vector. Every time I go to type on a path though the background colour disappears. Here's an example: If anyone can help and it's the blue area I want to get circular text within. I also tried saving it as an image and creating new paths, but get the anchors lined up without the background turning white...any small suggestion on how I could do this would be great.
Possible Duplicate: Life size image in Photoshop I'm designing my first business card for a client so this question is a matter of printing. Here's my question; how come when I make my canvas 3.5in x 2in (at 100% zoom) it's not as big as the business card when I hold it up to the screen?
I use the typeface "Lobster_1.0_.otf" in my Android application, but the problem is, that some of the letters appear "hollow", with a black&white outline. You can see the problem on the following image: Another typeface (CasLonItalic.ttf) had similar problem: only the character "l" was hollow. So I think there is something with the typefaces, but I don't know what. I'm a basic user of TypeLight 3 (added Hungarian glyphs to Lobster), so I can make basic modifications if needed.
It's very quick (a few seconds) to add bevel to a shape in Photoshop but when I do the same for a graph object in Illustrator the Mac I'm working on takes an age to render the artwork. Why does this happen?
I want to make a business card in illustrator. Here is my design: Question 1: The design labeled (1) is perfectly aligned from back to front. I've downloaded a template for illustrator here. The problem is when I export as tiff, the image doesn't follow the guides, the lines that are already in illustrator. Instead, it saves the whole image, I mean they didn't cut just until bleed line, or am I misunderstanding something? Question 2: If I want to print there and to have it perfectly match the design labeled (1) I must follow this right? So do I have to make the design in illustrator like the design labeled (2)? I'm having a difficult time matching these up.
So, you can have a heading running on each page that varies automatically based on the most recent heading (or, occurrence of any other paragraph style) by putting text with InDesign text variables based on the Running Headings text variable type ( type > text variables > define). Example tutorial. So, for a textbook, novel, etc, where chapters span multiple pages, you could have the title of the latest chapter run in the header of each page automatically: For a book like a dictionary, where each page contains multiple headings, you could get running headers that show the range of each page, by using two Running Header text variables, one set to "First in page", one set to "Last in page": My question is, what if you have an awkward book or report with sections that have very variable lengths, which can be very short (several on a page) and can be multiple pages? Imagine something like an in-depth dictionary or encyclopaedia, where most entries are short, but a few are necessarily exceptionally long. The ideal result would show just one running title where there's one or less header on the page (where the result of the "First in page" and "Last in page" lookups are the same), and the first and last where there is more than one (where the result of the lookups is different): I can't find any way to do anything like this, however - even with manual input. Using the Dictionary-style method like above gives ugly duplication in cases where there are one or less entries: Re-jigging the content of the book or changing the heading hierarchy isn't an option - they're all of equal importance, regardless of their awkwardly varying lengths. I'm fine with answers involving scripting or some way of manually varying text from one master page text frame between pages - but I'd really not like to need to manually set a whole different text frame in the same place with the same style on every page then manually type into and adjust all of them as independent elements...
Just wondering if anyone has hammered out any good solutions to presenting PNG screen comps to clients, especially if there are more than a dozen screens. Adobe Bridge has some half decent HTML gallery output options, but I was wondering what other tools and techniques people use to remotely and reliably present full-quality comps. Any advice?
I read this question regarding Fireworks layers, where it said that master pages have to be applied underneath other layers. Is this true for InDesign as well? If not, how does one put the Master Page content on top? I was playing out a scenario that another user presented where you'd have one piece of text and different backgrounds.
I've been trying to draw a beehive graphic in illustrator. My approach has been to draw an ellipse in yellow and change it's perspective. Then on top of that adding a copy of that ellipse, resize it slightly, make it black and place it over the first yellow ellipse so it forms a banana like shape. I do this slowly getting smaller all the way up to the top, alternating yellow and black where I finish with a full ellipse. This approach has been working and the result I get is good but I've found it hard to make the beehive a uniform shape all the way up....simply adjusting the size of the ellipses by hand means that I end up with uneven gaps of black between the banana like sections and slightly uneven banana sections. Any ideas on how I can draw this with more accuracy? I'm very new to graphic design. I've attached an image that was taken with a mobile phone of the screen. I drew the image at home and took a picture for a friend. I'm now away from my computer so don't have access to the original image - hopefully this will give you an idea of the problem though. http://img687.imageshack.us/img687/1984/hiuve.jpg
Is it possible to roughly select an area (with the Export area tool) around an image you are working on and have the bounding box automatically shrink to fit it? to I have to do this a lot and manually drawing the bounding box is v. fiddly, and it is easy to click outside the handles and have to start again! I usually can't use 'trim' on the whole page because there will be other elements. Thanks!
I was wondering how I copy selected paths of a shape in PS CS6. I start selecting the paths I want to copy by clicking on them and holding SHIFT. I then press ALT SHIFT which only copies one of the selected paths. How can I copy all of the selected paths, not just one?
I'm converting hand-drawn and scanned letters into vector paths via live trace. So far, so good. The next step I need to do is break up the live-traced letters into individual objects, so I can move them around, independently of each other. But after live-tracing, the object seems to have the dimensions of the original .psd file it was copied over from, and I don't see a way to ungroup or otherwise extract the different letters from the trace are. Is there a way to break there letters out of the traced object so I can manipulate them individually?
Is there any way of converting a illustrator file with text and logos to one only. As I'm working for a client that only wants to print with one-color?
I would like to be able to copy a layer, then find a different group and paste it there. Right now when I duplicate a layer it appears right under the source layer and I have to drug it through the whole list of groups and subgroups to place it in the proper place. (you see how painful this can be with a lot of groups.) The obvious Ctrl+C only copies the transparency. Is there simpler way to copy the layer and place it in a different location in the same document? edit: working with shape layers
Possible Duplicate: Is there a faster way to save all layers in PSD to PNG? This is my first attempt at Photoshop. I have been taking photos of my daughter for 6 months and I want to create a timelapse of my photos. Here is what I have done so far: I inserted 200 photos as different layers into my photoshop document then I lined up the eyes in each photo. Then I took each layer one by one and exported it as a PNG with all the layers behind it showing like they are stacked. This took hours to save them all one by one. Then I pulled them into Final Cut and made a 6 month timelapse in 30 seconds. Here is the current rough cut, this should give you a good idea of what I trying to do: https://www.youtube.com/watch?v=petLbaHFwlg PROBLEM: There are a few photos I need to adjust or delete, but that essentially means reexporting everything by hand after I adjust. I don't want to do it all over again. QUESTION: Is there an action script I can run to get ALL 200 photos at once with the previous layers showing behind them? Example: That means that the photo on layer 100 needs to export with the size of the frame fo the video and show layers 1-99 behind it. I want to figure out how to do the same thing that took me hours to do but automatically. Thanks
Is there any way of converting a Photoshop file with text and logos to one only. I want to print to only one color.
I am actually trying to save all pages in the pdf as a png image but here i can't open all pages in one time. i have read here for how to open pdf pages I have to open one by one and then i am saving it as png image. this is taking long time to finish. Is there any shortcut to open mutliple pdf pages in photoshop and save as a image
I was given a .ai file to do a simple change. Illustrator won't let me save to .ai After saving the file this error message occurred: When spot colours are used with transparency, changing them to process colours outsitde of Illustrator can generate unexpected results. Also An Unknown error has occured These warnings also showed. "Only fonts with permission bits will be embedded." "The Document Raster Effects is 72ppi or less."
For example I have 10×10px icon. I want to produce 100 squares with correspondent color and location each. Actually, the question is how to make exact pixel mosaic out of raster image. I tried Live Trace but it added some distortions to squares.
When should I use them, and how do I pick one? (NB: I know the answer, but think this question fills an important gap.)
Artist Tauba Auberbach produced this recently: It's called RGB Colourspace Atlas, and is a physical, printed book of what it implies is the whole RGB colour space. Is there an existing commercially available ink set that could print something like this? Naturally, CMYK printers couldn't do it because they don't cover the full RGB gamut - they couldn't reach the pure reds, greens and blues. And for spot colours, mixing and blending them is a Bad Idea - not what they're normally designed for - so it's hard to see how they could be used in the complex hue gradients. Could a hexachrome (CMYKOG, Cyan/Magenta/Yellow/Black/Orange/Green) ink set manage this? Or CMYKRB (.../Red/Blue)? Or anything else? (Bonus points if anyone somehow knows how this exact book was printed, and hat tip to blog Flowing Data) Edit: just saw these after DA01 and Brenden's answers, which suggests that Hexachrome gets close to the sRGB gamut but doesn't reach all the blues and doesn't quite reach all the greens: Source ...and this which suggests HP Indichrome 6-colour doesn't reach all the reds and blues, and quite a lot on the greens (so you'd expect Indichrome Plus to get close to, but not quite reach, the RGB greens): Source
I made a circle, and above that I put a compound path which I download from internet, a custom B, I want to just take the circle without the custom B, I did it before, let say a circle with star above, if I want to take the circle without star I will use path finder, but it seems not working for compound path any solution?
Are there any particular coloring techniques or principles that are used in the popular game Angry Birds? I've noticed the number of colors used on each colored area is four, most of the time. A base color, then shadows and highlights, and a little bit of glow Are those colors related somehow? Could these be generated programmatically as a color pallete?
Older versions of Photoshop had ImageReady that allowed you to import GIFs and load each frame as a layer. Apparently that doesn't exist anymore and I really need it. I'm using CS4. I have tried loading it into GIMP and saving as a PSD, but that resulted in the layers being flattened. I tried many image converters, but they either only converted the first frame, or created a separate PSD for each frame... Help!
How do I replace a single Color in photoshop!? All, and I really mean all, sites I find with Google either use the replace color tool box (which just replaces hue), the replace color tool (which just replaces hue and saturation), or use color adjustment layers, colorize, gradient layers, select color range, etc which all modify a (fussy) range of colors and can't be applied on a specific part of an image without going through extra trouble (layers). I just want to quickly replace a single color, (eg. red 255,0,0,0) with another color (eg. Green 0,255,0), and do this often because I work with pixel art most of the time. To illustrate it with Paint Shop Pro, this is what I want:
I used photoshops cs6 3d extrusion on a path I created with angled lines and the paths are jagged / pixelated. Is there a fix for this that anyone knows of? See the issue here: pixlated 3d arrow
I'm a professional graphic designer, new to freelancing, and I am preparing a proposal for an identity project. The project includes a logo, a business card design, and an electronic letterhead template. I am going to transfer the copyright of the logo to the client but I'm wondering whether or not I should assign copyright of the business card design and letterhead template as well or instead provide an exclusive license? I don't plan to copy or reuse the design of the business cards and letterhead template for another client, but business cards and letterhead often look pretty similar and I wouldn't want to be accused of infringement for creating a similar layout for another project. Does anyone know what the standard practice is in this situation? Thanks.
This plugin to open and save as .ico in Photoshop has been around for a while, but I can't seem to make it work for CS6. According to this question in the Adobe Forums, the plug-in works if installed in C:\Program Files\Adobe\Adobe Photoshop CS6 (64 Bit)\Required\Plug-Ins\File Formats but it's not doing anything. Do you know of any alternative plugins for CS6? I'm using win seven 64 bits. EDIT: The plugin does work, just not for images that are bigger than 256px x 256px.
I am facing some problems with font rendering in different browsers. I tried to add a custom font and font get distorted in browser like firefox, chrome, IE http://demo.techanveshan.com/triprental4/listing.html Following is the CSS tried : @font-face { font-family: 'Museo 500'; src: url('../font/Museo500-Regular.eot'); src: local('☺'), url('../font/Museo500-Regular.ttf') format('truetype'); font-weight: 500; font-style: normal; }
Are there any online/standalone editors or template collections for designing Android application?
I'm working on an Android project, and we have a splash screen where the user logs in that has a background image that takes up the entire screen. What is the minimum set of assets needed for this? The documentation suggests to provide different bitmap drawables for different screen densities, and to use size and density-specific resources. We also allow portrait and landscape orientation, so my designer gave me 18 bitmaps to cover large, normal, and xlarge screens each with portrait and landscape bitmaps in each (mdpi, hdpi, and xhdpi) density. This seems a bit excessive to me. Any suggestions?
I apologize if this has been covered a thousand times, but I'm new to AI and I don't even know the technical terms of these things to find anything in Google, I've been trying. When you select an object to resize it and hit the command button, the object is supposed to be "framed" with that blue line and the resize handles and transform controls are supposed to pop up, allowing you to resize the object as you see fit, correct? Now when I select the object(s) and hit command, the resize box/bars don't come up. I'm sure there's just a setting that I'm overlooking, but I can't find it. Can anyone help me, please? The resize handles aren't showing up when I select an object and hit the command key. This is the second time that this has happened to me now, and the first time, it got corrected somehow on its own. (Or I unwittingly did it, ofc.) Thanks in advance. If it helps: Macbook Pro Late 2011 Mountain Lion 10.8 Adobe Illustrator CS6 Tryout 16.0.0
Which is the best Way to Build & Design Buttons, Icons for Mobile application of Android and IOS platform.
I am using Adobe Fireworks CS6, and the maximum width I can set of my image is 5900 pixels. Attempting to resize it larger than this results in no action. The PC I am on is high-spec. Does Fireworks have a built-in maximum image size? I think I will try Illustrator to get the image up to the required 10000px width.
I am searching for a laptop with a screen that is suitable for digital design purposes What I am particularly concerned about is a statement made by a poster (on here): (the objective is to) make images in any color space show up correctly in the device's inherent, native color space How can this be accomplished? Which laptop screens on the market are most suitable for this end? Unimportant: Fast response time Semi-important: viewing angles (should be good enough - not severe color distortion due to slight tilting) Preferred: RGB-LED As it is not being utilized for print design, or even for professional level design - is sRGB color space suitable (good enough)? Which laptop screens might you recommend?
I have this scanned image from a magazine that I have scanned myself, from this image I want to obtain certain colors, and I want them to be from a Pantone pallet, is there a way to do this? To be more clear I want to do something that this tool does: http://www.pantone.com/pages/products/product.aspx?pid=1032 Is there any kind software for this purpose ?
In a large PDF document with several hundred pages there are abour 10 embedded fonts used. Can I exchange a specific embedded font against a system font (like Arial or Courier) with a single command everywhere in the document? (Of course I would try to use a font very similar in size and style to the original)
I have a document that I created that now categorically crashes ID. I've tried opening the file on multiple computers (Windows) and multiple versions of ID (7 and 8). The document opens, and then, the app locks up. The last time I was able to work with the file, I was resizing the bottom of a text box and the app malfunctioned (there's a bit of a bug with resizing / reflowing text files, maybe it's my graphics driver). The app crashed, and since then, nothing. Anyone have strategies that would allow me to recover this file?
Do you have any good examples of academic poster design? Most posters look exactly the same (I don't want to pick on anyone in particular), and from my experience at conferences, almost nobody reads them. There's a good article on this here. What I rarely see is: Clean layout - everything is wrapped in boxes and coloured backgrounds Nice typography - it's rare that the text is legible from a foot or two back Data that doesn't look like it was copied straight out of Excel Consistent use of colour Can you share any examples of good design?
We have been using Mac Pro computers and are being asked to consider mini or iMacs.
I'm doing web design (not print or photography) and I'm wondering if I should spend extra money on a display that provides more accurate colors. I'm already set on buying IPS since they're easier on the eyes, but I don't know if i should just settle for 6-bit or be more concerned about color accuracy and go with 8-bit.
Possible Duplicate: Photoshop curved Shadow I've seen these a lot recently and I want to learn how to create them in Photoshop! Here's the image I'm talking about:
The rules is simple. One name in answer, up to three links to design examples. You can put one image in the answer. This image should be in public domain and must not exceed 335 pixels in any dimension.
I have a quite complex draw in Illustrator (let's say, lots of vectors and that), and I have to make a mosaic for printing a hole page of them. It's complex enough to be memory-heavy, so when I try to fill the page by copypasting them Illustrator runs out of memory. Besides, there's no need to create copies of the objects - I just want replicas of them which I won't modify. So I remembered Flash symbols, and that's exactly what I want. How can I get those in Illustrator? Can I convert my draw to a symbol? Rasterizing's not an option. Is there any better way to make a mosaic? Thanks PS: I've seen in Does the usage of symbols improve illustrator performance? that they talk about symbols, but couldn't find anything else about them.
This is a section of a poster from the 1960s for the James Bond movie Dr No. Just focusing on the colour only, and not quality of the black lines, it has rough and uneven quality. It's somewhat blotchy. In addition, there's a kind of of a canvas texture as well. I have an image that has a layer of colours, with some broad shading. What I'm trying to do is push those colours and shades into the direction of something like what's in this poster. I've experimented with the default Photoshop plugins available in the CS2 version, which is what I'm working with. The rough pastels texture seemed to come closest, but it has a heavy horizontal direction to it. The poster I'm referencing doesn't go in any particular direction. And I can't figure out how to get the "blotchiness" of the colour at all. What filter, or combinations of filters, or techniques might I use to try and modify my existing colours to have the same look as the colours in the example Dr No poster? Just to be clear: I am not expecting one big magic button filter. That would be nice, but I would expect it would be more of a process, a set of steps, or a series of techniques. Whatever it takes, I am looking for a specific result. I'm not biased about the method.
This is an section from a poster made back in the 1920s or 1930s, that was made using an airbrush: What interests me most is that it has a rough, spattered quality. It's as if the airbrush didn't work very well and sprayed unevenly, resulting in varying dot sizes where the paint landed. I've tried to get this kind of effect with the airbrush tool in Photoshop, by manipulating scattering levels and trying various brushes. However, I can't quite get it. However, when I've searched for Photoshop tutorials, anything under the term "spatter" is way more exaggerated than I need, and anything with a "vintage" or "grunge" level is about the overall style, not specific brush settings. At least, not that I've found. How can I set my airbrush to get a gradient quality like the example picture, or something similarly uneven in quality? Additional This is a section of a poster from the movie The Rocketeer, which has a similar effect:
How can I use the InDesign direct selection tool or pen tool on a path that has a text wrap over it, without just hitting the text wrap contour? So to recap: in InDesign, when you apply a text wrap to an object - pushing away text above or below the object (or more often, only below if you change the Composition options in Preferences) - it creates a path-like object (a text wrap contour) that marks precisely where text is prevented from going. You can edit this path like any other path using the Pen tool or A direct selection tool (white arrow). Using the V selection tool (black arrow), you can select the original object and its text wrap contour, moving or transforming them together. Holding down alt (opt) with the Direct Selection tool - which makes it act like Illustrator's Group Selection tool, adding more elements to the selection up the tree with each click - you can select the whole text wrap contour and move it as a unit. Great, but there's something missing from all this. Assuming the original object is a vector path, how do you select individual points of the original path, not the pale, lighter coloured, greyed-out looking path of the text wrap contour? And how do you add or remove points to it with the pen tool? The normal way just grabs points from the text wrap contour, even if it has been sent to the back of the stacking order. A few options that kind of work, but aren't ideal: Turn the text wrap off, manipulate the object, turn it back on again. Potentially a big pain and not suitable if you want to change the path but not the wrap. Select the whole text wrap boundary, hold shift, hit a cursor key in any direction making a big nudge in that direction, edit the original path, then big nudge it back into place. Not a bad option, but a bit of a pain. Surely there's a better way? Is there any way to toggle or specify whether it's the path, or the text wrap contour, that I'm interested in?
I am trying to design a site with a couple color schemes. I am looking for a way to make color schemes that match mathematically. For example, I know that #FF0000 matches perfectly with #00FF00 and #0000FF. Is there some kind of equation to get, for example, the yellow version of #509cc0? I also have the RGB values and the HSL values on hand.

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