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How does one change the opacity of the extrusion for a 3D object in Photoshop CS 6 Extended?
I frequently record Illustrator Actions. My actions are quite long, but they all involve three common steps: Assigning Notes to shapes Assigning Swatches to shapes Selecting shapes that have a specific notes I often need to re-record my actions to repeat all the steps, but to change the notes/swatches that are selected/assigned during the action. Illustrator has a re-record command. This command is great for changing the value of the note in number 3 of my list. However, it does not work for items 1 & 2 in my list. For these items I have to delete the old step in the action and then record a new step with the new swatch/note. This is quite cumbersome and I was wondering if there was a better way. I know Macros in Microsoft Office have an editor which allow you to change values in actions. Is there anything similar for Illustrator actions? You can save an Illustrator action and open it in Text Edit. However, all the attribute/swatch values are saved as weird strings, so I don't know how to change them. I know you can write Javascript actions, but that's too complicated for me! It would be great if I could just more easily edit the actions I already have.
if I save image 3.5x5 inches with 72ppi and then print it from my website, size is incorrect (about 2 5/8 by 3 3/4) If I save with 300ppi - it's huge and won't fit on one page when printing... How do I save one image that will look right (correct size) on both paper and screen ?
I have a Layer which i have adjusted Hue/Saturation with a Hue Saturation Layer in CS 5.1 . I want a solid black border around it. Now when i go to apply stroke to it in blending options, the stroke gets Hue corrected too and its not coming as a solid black border. I know that one work around is to create separate black border layers and keep on top of the hue saturated layers. Is there a better way ? I have added images for clarity. These squares are all separate layers. I need to have a solid black border around each of these boxes. But currently the layers are stacked like this. So if try to use stroke around it, i get something like this instead of a solid black border. Is there a way to get a solid black border around these tiles ?
What I'm looking for is a tool (online/offline) to create reviews for layouts (in my case: mobile applications layouts) - i.e. make comments/annotations for graphic designer that would be assigned to a view (PDF's page). The perfect solution would also allow me to make comments for certain areas of a PDF, f.e. comment for an image acting as a button.
Working on creating a table of contents. It's right aligned, and since the page numbers go into double digits, I wanted to have a tab in between the page number and the page title so I know that the titles are flush right to each other. So, I start with a left aligned text frame (first one below) with a tab and then the number. This works as expected. But, when I change the alignment to the right, it behaves like the second frame below shows, which is not what I expect! It pushes the titles to the left of the frame, and no amount of left- or right-justified tabs were able to affect that space. I want it to look like the third frame below, but I don't want to have two text frames to do it, because I want to have the table of contents automatically generated into one frame if possible. Does anyone know how to get the result I want with tabbing only?
I want to make an effect like this: How can I achieve this? The thing I'm stuck is the striped border. I want to know how to make it in Photoshop and Illustrator.
I have some circles and line to make a cloud like the one below. I know i can use the path finder to make some unions. But how to make some gradients with a 3d effect ? (like the example) Thanks in advance (i'm using Illustrator CS6)
I made an icon with a border, but I don't want the border. If I remove the border, the icon loses it's thickness and doesn't look right. Is there any way to make the border into part of the shape?
I'm starting out as a freelance designer (and no job experience at any company before) and I decided to join "contests" held by freelancer.com's users. I've joined several of them already and I can tell that my designs are really good, I read what the client wants and doesn't want, etc... But instead my designs end up getting rejected or having only 2 stars and 1 star. My head really hurts right now as I spent hours crafting it with all my heart and it end up getting beaten up by some crappy designs. Thanks for sticking with me so far and sorry for making you read my rantings, and also for saying others' designs are bad, but I just can't accept that my designs got beaten up by crappy designs. Have you guys gone through this before? What advice would you give me? Any response would be really appreciated. Thank you :)
What are your biggest software grips as a graphic designer? Some examples might be software that: is unnecessarily complicated doesn't allow you to accomplish what you really want to do doesn't have very good documentation or customer support crashes or malfunctions Why I'm Asking I'm doing some preliminary anecdotal research into how software limitations limit the creativity of creative professionals. I thought I'd ask here to see what kind of response I'd get.
Could anyone suggest a good font or combination of fonts that I can use for my online business survey? I have access to typekit, so would be great if the font choice was available from them. I'm looking for safe bet as it's a business survey, any combo that looks professional and is easy to read would be great. I know very little about fonts so please if I can provide any more information let me know.
I am using a clipping mask to cut out some shapes. These shapes are composed of a rectangular "base color" and then some extra shapes overlaid for shading. However, with the clipping mask I get bright outlines where the base shapes show through the shading. See the attached pics: Is this the wrong way of doing this? Is there a way to fix this? I thought it'd be convenient to define the shape in a single clipping mask, so I can modify the shape and coloring/shading separately.
I'm creating a gradient programmtically with HSB Colors. My Question is what kind of colors do fit good together in a gradient? Which of the Values H(ue), S(aturation), B(rightness) needs to variate?
I'm looking for the easiest/quickest way to crop the image below to remove the transparent border in Photoshop CS5. Source image available here. I have lots of these so I'm looking for some consistency where I can batch convert several at the same time. Each image is exactly the same size (with transparent border 512x512 pixels) and the remaining image should be the same size for all them so I can resize the image down to 32x32 pixels whilst retaining square proportions. Steps I've tried so far Rectangular Marquee Tool to select as much of the red as possible Select/Similar Image/Crop The problem is that it's a little inconsistent as it either doesn't select properly (see Image1) or it still leaves a small transparent border (see Image2) and so is not always square. Can anyone advise a better way to do this which I can run as a batch against lots of similar type images? Thank you
I get the feeling that I do not really want Data merge, but something similar... I want to merge a .csv file into my InDesign document, have it formatted in a similar way as if I was using Data merge, but then generate the all the records at once and dump them into the document. Is this possible? The application is for having a member phone list. We have generated a .csv from the membership system, but we then want it all in a big list in our newsletter. For instance, given the first two rows of the csv is First name,Last name,Phone number Carl,Pettersson,123 45 67 John,Doe,234 56 78 I would like to specify a template <<First name>> <<Last name>> <<Phone number>> And apply styles and whatnot, then have inDesign either create a lot of individual text frames, or paragraphs within a single frame, giving an end result something like this: Carl Pettersson 123 45 67 John Doe 234 45 67 This would be generated directly, not via "Generate merged document", preferably. Is there such a feature?
I have lots of problem with inkscape connectors incluing these 1. when Icopy/pase a connector everything changed! 2. can not break a connector alone! now I do not know how to creat some organizational chart like diagrams
I've got a few fonts I've purchased over the past few years. These are decent quality fonts with, on average, 8–15 different faces for the family. The problem I have is each face is listed separately in various applications (Photoshop, Indesign, etc.) Rather than simply one item with a submenu for faces. For example I have: (fig. A) FontA Bold > Regular FontA Bold Italic > Regular FontA Italic > Regular FontA Regular > Regular Rather than: (fig. B) FontA > Bold Bold Italic Italic Regular What tool on the Macintosh can combine these faces so they are all listed under the family name? As in the figure B, above. I know there are a couple of high-end apps (Fontographer, FontLab). Are there any basic smaller apps to simply edit the font info without editing character and other tables? I don't want to edit the actual font data specifically, merely the titles and naming structure I believe. How do I do this with the tool suggested, specific steps please? Notes: Running Mac OS 10.7, but can boot to 10.6 or 10.8 if needed. I am not absolutely looking for freeware. If there's a paid app to do this, I'm fine with that. If someone wants to outline steps in FontLab or Fontographer, I'm all ears. These are commercial .otf fonts.
Ok, I have a fresh Illustrator document. Pasted some copied text into the "artboard" (the clipboard is severely broken, but that's for another day). The textbox that gets pasted is one huge line that goes from here to Timbuktoo. So I need to resize it to 1/3rd of the page. I presume, as happens in every other sensible tool in the world, the text would flow to the width I give the textbox. The text itself will NOT get resized. However, this is not what happens. THe text gets scaled completely. No exceptions. I've been googling for the last 2 hours. Nothing works. Some posts say I must "show bounding borders". Doesn't help at all. Other posts say some nonsense about main selection tool and direct selection tool. These tools do nothing. Both the arrow-icons, when used to drag the corners of the box, lead to the text getting resized anyway. Someone suggested that when I copied and pasted text from a text file into Illustrator, this became an object, not actually text. Well, in that case, how should we paste text? Not everyone working on an Illustrator document is always and forever expected to write all the text manually, is it? Seriously, how does this work? Any preferences I need to change? I used to work with CS4 and I recall it was much easier. Would appreciate any inputs. Thanks!
The artist in our company has a lot of problems (crashes, corrupted files...) with Adobe Flash CS5 (last patches installed). It's really a pain in the neck... With Flash CS4 the situation was not better... Is CS6 stabler? Which version do you prefer?
I need to use a specific font (Nanum Gothic Extra Bold) for a certain project. Illustrator knows I have the font: If I start typing the name in, it autocompletes. But once I hit return, it selects a different font. And the font doesn't appear on the list. What's going wrong and how can I get access to this font?
Hope someone can help. I have designed a template where the text flows into four columns per page, and there are four pages in all. So in all 16 columns, and the text flows beautifully. The problem now is that because these 4 pages need to print on front and back of a folded A3 paper. Much easier to explain visually: Which means, I need to "unflow" the text from those columns, because Page 4 and Page 1 need to print on one A3 side (because, when folder through the center in landscape, A3's Page 1 and Page 4 will be on the same side), but I cannot easily split the pages and rearrange them as the text is flowing across. I would love to some idea from experts about how to manage this? I bet this is a common problem in the DTP industry -- the text must flow between pages, but printing wise they need to sometimes be not in sequence? Thanks for any pointers!
I have been given a font that has a .afm file with another file that doesn't actually have a file type. I'm unsure what the file type is meant to be but, on my Mac, when it installs it, it can read the font fine, without the .afm file and it doesn't need to use a file type. I need this converted to use for a client on their website (they have paid for the licence) but I'm unsure how to convert it. Are there any programs for Mac/online websites that will be able to convert this for me? I have InDesign and the whole Adobe Suite and have heard some ways of creating your own fonts, maybe this will be able to export the font properly? Any ideas or useful links would be appreciated.
I'm a bit of a n00b to Illustrator (at least I think so anyway)! I have a bunch of text that is columnar and need to create boxes that stack (one above another) and serve as a container for this text. So basically boxes in the background that are basically a box around the text. All of the margins and boxes need to be equal height & width. Instead of creating a shape, copying it and manually fixing the margins so they're all equal, is there any easier way to accomplish this? I tried using the Grid tool but no dice. Thanks for the help in advance!
I have a RAW image taken with a Canon 5D, so the image's resolution is 5,616 × 3,744. I am going to display a different resolution of the image depending upon the requesting user's display. I'm utilizing this library ( https://github.com/scottjehl/picturefill ) The RAW image is imported into Lightroom. For each of the following display criteria, what should I be exporting the image as in terms of resolutions, pixels per inch, etc? (min-width: 400px) (min-width: 400px) and (min-device-pixel-ratio: 2.0) (min-width: 800px) (min-width: 800px) and (min-device-pixel-ratio: 2.0) (min-width: 1000px) (min-width: 1000px) and (min-device-pixel-ratio: 2.0) Thanks in advance.
I have a rectangular shape(in fact a label) which is 100cm x 84cm, now I wanna create a cylinder. PS CS6 has a cylinder preset, when I want to scale that preset cylinder it becomes something that in fact is not a cylinder. My question is how can I create a cylinder that I can cover it by my label? How can I create a cylinder from a rectangular shape using PS CS6?
I read somewhere that before you save your photo you should merge the layers, including watermarks, before saving then save. My question is this: Is there any benefit to merging the layers (or merging a copy of the original layers) before saving the photo as a JPG? Note: I am using Photoshop CS6 and PS's Save for Web
I typed out text in 14pt. I then typed another letter in 131pt out. I was hoping to have my 14pt text wrap around the 131pt character...but to no avail! I clicked on both items (and my 131pt. letter was above the layer for the other text) and clicked on "Text Wrap > Make". Nothing happens. Am i not doing this correctly? I even tried to follow a tutorial...it seems so obvious and simple...yet might this be a bug in CS6?!
Adobe Illustrator's graph tool is... special. A veteran of many software updates (successfully surviving all of them unscathed...) one of its many quirks is that you cannot resize a graph object that hasn't been ungrouped, other than by using the Scale tool (S). So, if you have a graph like this: ...and you need to adapt it to fit in a smaller vertical (or horizontal) space, you end up with something like this: Note the ugly squashed distorted text labels on the Y axis. You can select just the text labels, using the Group Selection tool (white arrow with plus sign, no keyboard shortcut) and clicking twice on a label. Is there any way to tell each of these to reset their scaling? (Transform Each is greyed out because it's a graph and won't settle for any of that new-fangled nonsense). Or, any other way of scaling a chart that keeps the text labels in the right place, at the right dimensions? Some options I'm aware of, all of which are a bit rubbish: Replace them. Setting the fill for the labels to none, and just putting your own labels in, aligning and spacing them with the tools in the Align palette. This is a pain when you have lots of charts or need to update the charts frequently Bodge the Y-axis scale. Changing the Y axis scale of the chart, instead of scaling it. So in my example, I might under Graph type > Value Axis > Override calculated values set 'max' to 4,000, halving the height of the chart, and doubling the amount of divisions. Then with the direct selection tool, I'd drag the vertical axis line down to the 2000 mark, and set the fill of everything above 2000 to none. This works (and is my current favoured option), but it's a serious hack and scatters my files with invisible chart debris (and the direct selection tool work needs re-doing each time the data is updated). Abusing Illustrator's type tools to compensate. For example, if you scaled the text vertically to 50%, setting the 'Vertical Scale' option in the Character window to 200%, hoping the two distorting scalings will cancel each other out. Sounds like a recipe for horribly unclean type. Start again. Deleting the chart and creating a new one at the appropriate size. This is sometimes the easiest way, and results in no debris, but it's obviously not an ideal solution. Any other / better ways?
I found a royalty free SVG image on the net. I'm experimenting with web design using SVG. The problem I'm having is that the SVG background is white. How do I delete / remove the white background, using Adobe Illustrator?
Let's say I have a layer with color and another layer with texture over it. That top layer has a blending option "Overlay". How do I rasterize that top layer, but keep the overlay effect?
Is there a shortcut for the selector tool in Photoshop (the very fist tool in the tool bar, the one selected when opening Photoshop) ?
I am attempting to create water spraying from a fire sprinkler. I am not having the best time getting the water to look realistic. I have attempted this tutorial but I am not happy with the results. I have also attempted to use multiple rain and water brushes but they just do not have the effect I am looking for which is spraying water. (The rain brushes come the closest but not quite there.) My question is how do you create realistic spraying water? (Think of a fire sprinkler spraying water) I am using Photoshop CS6 and if there is a brush that will work great for this I would like to see it.
I use gimp for manipulating images for my software projects. I am used to working in a coordinate system where 0,0 is at the bottom left of the screen. Gimp uses 0,0 as the top left; Is there a setting in Gimp where I can change this, so when I mouse over an image, for example, the coordinate displayed is relative to the bottom left?
I have an existing custom brush library I created in Illustrator (CS5). I just created a new brush that I would like to add to this existing library. How can I do this? Drag and drop does not work. There is no fly-out on the custom brush library panel allowing me to add a new brush. I can't overwrite the existing custom brush library like I can in Photoshop. Is there a simple way to do this or am I stuck having to recreate the entire library again in the default brush panel just to add one more?
I've got several documents using Candara that I'd like to shift from Microsoft Word to Google Docs for collaboration; which font is going to be the closest match when using Google?
What would be the best way to create an effect of "keying" someones name into a piece of wood in photoshop? I've used a hard 2px brush with a tan color and it looks good. Just not believeable. What do I need for that "wow" factor... to really make it look legitimate? Kinda sorta like this:
I want to achieve this sort of an effect on my own. As you can see, there's sort of a non uniform glow (in terms of color) to the text. Simply using the gradient option in the Outer Glow blending option makes the gradient appear from outside the letters to further beyond them. I'm looking for it to appear horizontally as the text continues. I'm using Photoshop CS5. Any tips?
What is the command for inkscape (called from the terminal) to convert graphics to greyscale? I was not able to find in in the manual. I use the following command: inkscape -f drawing1.pdf -A grawing2.pdf
I'm using a software that has a very annoying auto-reduce-spacing feature, so that all the characters are close each other, that is highly unreadable. I can't change the spacing, but I can change the Font, so my question is do exist any font with a default spacing bigger than normal?
I'm attempting to ascertain the maximum file size possible of a jpg to detect when someone has hidden additional data (viruses etc) within it. Assuming that you have an image that is 640x480 with no metadata (no camera make, gps data etc), what is the maximum size that that file can be? Is there an formula for calculating this with other jpg dimensions?
So I'm trying to create a few simple buttons in Adobe Illustrator for work. I'm not a gphx artist and just know the basics of Illustrator. I tried creating a pin icon, like dropping a pin onto the map. I created my 20x20px document, dragged a rectangle and a circle. This screenshot shows my pin, and two of Apple icons next to it (trash can and action button). Apple's documentation says this to describe creating buttons: The images displayed on the bar are derived from this image. If this image is too large to fit on the bar, it is scaled to fit. Typically, the size of a toolbar and navigation bar image is 20 x 20 points. The alpha values in the source image are used to create the images—opaque values are ignored. I feel like my button just isn't sharp like theirs. Is there something else I need to do in order to make my pin look sharper? Thx!
I have iphone/ipad app design as PSD file, Most of layers in this file are linked with shapes in order to support retina display. Each shaped layer has blending option like outer glow or external shadow, to export each layer as a separated PNG file I did the following: Select the shape. Go to path pane and convert the path to a selection Press Ctrl + Shift + C : to copy flatten version of the selection. By following these steps I lose the outer glow and the external shadows. The first thing I tried is to expand the selection to cover the outer glow or the shadow and export my PNGs following the previous steps, but as you know the shadow blended with the background as multiply and by expanding the selection by 2 px for example these 2 px are exported from the BG (which is a patterned BG) and when I applied the exported PNG to my ipad app the BG in my app and the 2px of the BG comes with the PNG image don't match. ........................................................ UPDATE : 23-09-2012 Please check this psd file and this png file : In the psd file : I added a shaped layer with outer shadow, the shadow looks blended within the bg. I create a (New Layer Based Slice) over the shaped layer and the shadow is taken in the consideration, then I exported for web, I got a folder with pngs inside it, I took the png file, which represents the slice I created, I imported the png file into the psd file as a new layer, the shadow now looks very-white and not blended within the bg... this is what I have in my Iphone app exactly, so please help me.
Consider the following two files. Background: Background with some content on top: How do I get a flat image that is content-background? ie. the result should be white text with the blood stains on a transparent background. The underlying issue that I am trying to solve: The layers "Layer 27 copy 3" and "Layer 55" (the blood stains) use "multiply" blending mode, therefore simply merging these with the text will result in:
I clicked Create Alternate Layout in my InDesign CS6 document without really understanding what it was for, to try and fix a margin problem I was having trouble with. Now the document has been split into three parts, A4, A4 V2 and A4 V. Undo did not remove this partitioning, and I cannot get it back to how it was before. The document was separated into three groups, with each page being in only one of them. So they are not duplicated, as I understand it they should have been. So the original pages 1-14 are in one layout, 15-31 are in another, and 32 in it's own. What are the consequences of having alternate layouts, and how can I get back to a single one?
How to draw crystals like in Bejeweled ? Is it rendered in 3D and then Photoshop or vector graphics like Corel Draw
I'm having several different parts of a publication I'm doing where I'm presenting essentially a list of compound data. Examples are contact specifications (data points are [Name,Phone,Email]), recent and upcoming events (data is [What,When,Where]). These are then enumerated in some way in the document, most often by just having the data entered as text in one text area (possible being linked over several pages) with some paragraph styles to make the items look separated. This feels kind of strange, since the "paragraphs" are not really paragraphs but rather separate entries. I have tried in some instances to instead have one text area per data entry (ie one box per contact). This feels more natural, and makes it easier to get creative with placement around images etc. On the other hand, it is a major pain to introduce a new item in the middle of the lists, since all subsequent items must then be moved (esp when the layout is columnized), possibly in such a way that it needs to be done manually on every item. Same problem if the boxes are a bit unregular in their size requirements, or if they change. What are the best practices for this? For instance if you'd be creating a phone directory, how would you do it? Long text areas, or one for every entry? Why? When using the "single-box style", I have tried using anchoring and auto-resize to have automatic layout help for the changing sizes problem, but this only works when I know that they won't cross a page break (as far as I've come so far, at least). Can this be refined to cover more situations? EDIT: I've found some mentions of stories in InDesign saying that they are a collection of text boxes. Is this relevant? It sounds like it could join the two above strategies, or am I mistaken?
I am designing and developing a 2D-platformer and I'm having trouble with the look and feel of the game. The game is about an inventor who is kidnapped for warfare. Theme: Childish but sad. There are three other layers: the blue cracked sky, the pillars, doodads (like the missile) and the tiles. (The hairy guy in the center is the protagonist.) What should be changed to make the character stand out? What should be the palette of the tiles, the font, and the background to make the character the center of attention? What colors should be there revolving around the character and the theme? Edit: This is the revised color palette. Should've studied color theory before I went drawing like crazy.
I've got some Images like this one: Now I need to find out the color which will become the orange in the right center of the image when drawn on a new layer with 50% opacity (The Background is the grey color). Sadly I've no idea how to do this.
Suppose that I have a font in a modestly popular format (.ttf, .otf, etc.), and I have the legal rights to modify it. As it stands, it is a normal font with different charaters (glyphs?) varying in widths and spacings. How would I go about turning said font into a monospaced font (e.g. all characters are same dimensions, etc.)? If possible, are there any automated tools that can do some of the guesswork for you? (The results don't have to be perfect.) The font may be large (many characters), and editing it could be tedious. Any suggestions on the problem are much appreciated! :) Disclaimer: Sorry if this is considered a simple howto, but Google has very little information on the subject, and for a programmer that doesn't deal with graphics or fonts much, it sure isn't simple. Also, sorry if my terminology is off... :P
It's been a few years since I've visited this topic, one which has been one of Apples biggest issues since OS9. Font management. I have been using Font Explorer however I've never been very impressed as it crashes a lot and my font database has corrupted a few times which is infuriating. Can anyone suggest their favourites and why? Thanks very much indeed.
Is it possible to copy an object in Illustrator so that if you make a change in any of them the changes will apply in both? Actually I have this situation where I have a lot of instances of the same object and I need to be faster on changes and copy-ing again and again is not a proper solution, but consumes a lot fo time. Thank you for your time!
Is there a tool like Poly (iPad app) available for Android or Windows systems? I'd like to turn images into polygones/triangles like shown on the app site.
I'm a regular user of Photoshop since the CS3 times, and this is the problem that haunts me from the beginning, regardless of the PS version, and the platform - when I do a transformation on a layer (Scale, Skew, Distort, Warp... but not Rotate), sometimes a copy of the layer is created and my transformation is done on that copy, not on the original layer. I say "sometimes" because I can't find any regularity in this behavior, sometimes it happens, sometimes it doesn't. Weird thing is, I can't find anything about it on the Internet, like it's happening to no one but me. Anybody knows why is this happening and how can I prevent it?
I want to release an AI file saved as a PDF for email blast. When I save my file as a PDF and turn off the editing capabilities it does not seem to work when I open the PDF in Illustrator. I have turned the "create acrobat layers from top-layer levels" off and changed the settings to "PDF/X-4:2008". The compatibility is Acrobat 5 (PDF 1.4). Even with all these settings I am still able to manipulate the image in illustrator when saved as a PDF. I'll take any suggestions!!
I'm fairly new to Ps and I'd like to create an effect whereby a window looks as though it's jumping out of something, leaving behind a trail or streak with blur, so that it looks in motion. I've been playing around with various blur effects but don't seem to find a good one. I created the attached image which hopefully will illustrate what I mean. I want something where the motion is continuous as opposed the image here where you can tell that there are three copies. Any help would be much appreciated.
I've seen many blogs highly recommend using a grid like 960 for prototyping in newer version of Fireworks. I'm using CS6. When I create a new fireworks document from template, I select the Grid12.png, 960.png, etc. When I try to add objects to another layer, they are not snapping to the guides or the vertical grid paths. I've enabled snap to grid, guide, smart guide, 9-slice scaling, etc. I would assume that most people would want the ability to snap to these guides. Am I missing something?
I have been implementing mainly web and desktop applications and this is the first time that I actually started working with a graphic designer on a web site that is for public use. In this case the graphic designer is not doing HTML + CSS, but using Photoshop. What kind of material is normally provided as an end result in order for the design to be actually implemented? For example, should I get something more than just PSD files? How about different states (like link hover, active state etc.) or responsive design? Am I expecting too technical details? Any help appreciated.
I am using cs5 layers to modify and then exporting layers as files. While saving CS5 automatically adds some number sequence at the end thereby modifying my original filename. It automatically embeds a number sequence prefix to the exported layers, thus rendering my own file naming convention useless. Is there a fix for this? Is there an option somewhere called 'dont auto-renumber my files' or 'use layer names as file names"? I DO NOT want this numbering. How to prevent this ?
I would really appreciate help identifying the font used in this image please?
I have a PSD comp for a website and the titles are in ITC Avant Garde Std. What's a good replacement font? It should be available for the web, either free or on TypeKit.
The non-profit organization I contribute to has decided to stop spending money on professional print services and use black & white photocopys for any campaign (recruitment, fund raising, etc.). I think that will make difficult to communicate with our target, diminish our corporate identity and, in short, result on a waste of resources. The problem is that I am unable to persuade them, and I think it's because a lack of scintific knowledge about the effects of "cheap" supports over target individuals. Or maybe because I'm wrong and that ugly dirty papers are great... So the question is: what are the PROs and CONs of using low-cost supports as photocopies?
I have a question for seasoned graphic designers. I'm designing a logo and a stationary including the letterhead. The back of the letterhead uses a very dark background. The question is, is it risky to use such dark background as it will show through on the other side? Or is it risky only with certain paper types? If there is type of paper that is safe to use? Any paper type/brand would you recommend? This is the stationary: External image link
Is there a way to copy all the text within a Photoshop text layer without having to "open" the layer. I'm hoping there's a way that I can just select the layer and then have some shortcut that copies all the contents of the text layer without having to use the Text Tool or double-clicking the layer.
This site seemed like the best match for my question. So I'm about to graduate college, and I made a nice resume in Word. I used a kind of fancy tabling system that took me forever (I had no idea what I was doing), and threw in a small touch of color on the headings, converted to a pdf, and promptly lost the original document when my computer crashed. I'm trying to avoid remaking it entirely. So I have this pdf, and it was perfect except that it said I was looking for an internship, which was inaccurate. So I photoshoped it to say a full-time job, and now it looks perfect. So I go to upload it to my school's recruiting server, and it says Max FileSize Exceeded. I check the pdf's filesize: 35mb. You should have seen my jaw drop. I really don't ever use photoshop, or do any sort of editing work. Not my area of expertise. Can anyone explain why it's so huge, and is there a way to get it back under 500kb? The pdf has no graphics...except a smattering of very softly shaded table cells.
I need to extract vector paths from Photoshop into SVG format (or anything else Inkscape can use). I don't have Illustrator, and buying it just to convert file formats seems silly. So how can I get paths out of Photoshop into SVG? If needed, I could write some code to manipulate files directly, but I'm not even sure where to begin to get the paths out.
How do I vertically center text in a box in Illustrator CS5? I cannot find a way to do that; in InDesign, it's a click away!
I really hope it's okay to post this. I am currently doing a pretty simple brief on collage/composition and so far it's really fun cutting up magazines and such but there is one exercise I'm a little confused about. I'm working on a double page spread (220mm x 190mm x 190mm). As it states in the brief here is what my tutor is asking of me: PERIMETER The perimeter is the outer edge of a page or spread – an area often considered to be dead space. Content placed within this area can change the overall feel of a design and introduce the sensation of movement. Exercise 3 uses: two images, three areas of body copy and a line of semi-display type. You are to create a composition where at least one or more edges of one image bleeds off the page and the other image is framed, to explore the difference between an active and passive use of the perimeter. What exactly does he mean by the dead space of the page? I feel like the answer is really simple and staring me in the face but my brain is going NOPE. Does he want me to place my image/composition on the very edge of the page? Can somebody explain in greater detail what the perimeter of the page is (or show me an example)? Out of all 8 compositions it's the only one I'm having a bit bother with.
I am currently working on a lot pictures (around 1000) and would like to automate some tasks: define a crop region that correspond to specific aspect ratio. For example if i have a width/height = 16/9 i need to find the best fit in an image that can hold this aspect ratio. crop the image. save the image as a png file. can i automate this in photoshop or lightroom with a minimum of user interaction? Is there some better alternative than photoshop or lightroom to realize this task?
I am trying to produce a design which can be used to make a stencil of teardrop and heart shapes of various sizes. The basic design is created by an equation in "Graphmatica" and inserted as a .bmp in paint.net where the lines not needed are removed and the shape selected with the smallest rectangle possible. This is then copied and pasted into a page in Inkscape, with multiple copies scaled and placed to fill the page. It saves as .svg without problems and opens when the program is restarted. However, I need a .eps file for the machine to cut the stencil, and when I use save as and the .eps option available the file produced "failed to load" when reopened. I have little graphics experience and less of vector graphics. Any clues appreciated.
Question: I'm currently taking a Japanese History course, and typing up (what I believe to be) a very pretty set of course notes. However, I'm having trouble finding an appropriate font. I'm currently using one of my Chinese fonts which has a medium calligraphic style to it, however it doesn't have great Japanese support. I am strongly preferential to free fonts, for the obvious reason of being a poor university student. I've searched for Japanese fonts across the internet but I'm having significant trouble finding a Japanese font that matches my body text (EB Garamond). If anyone can point me in the right direction that'd be amazing. (Please pay no attention to the grammatical/spelling errors, this is from the latest class period and hasn't been edited yet) OP's comments: This was originally on the Japanese SE website, but they quickly closed and deleted it without consideration of the fact that their community was probably the single best resources for this topic.
Possible Duplicate: What software is best for GUI design? Which is the best way to create Icons, Buttons for Mobile Application development ?.
I have just noticed that if you place a RAW image in a PSD(CS6), then tweak the RAW image using Camera RAW, the changes are not picked up by the PSD. I always try and keep my PSDs as open to change as possible and placing is a big part of this. Usually I place an image in a PSD, then if I edit the image outside the PSD, the changes are picked up in the PSD. With RAW this doesn't seem to happen. I have the following file-structure: -- someFolder -- somePSD -- someRAWFile -- someRAWFIleXMP What I'm doing: I drag the RAW File into the PSD. I open the RAW File and tweak it. Photoshop does not reflect the changes I drag the RAWFile into the PSD I then have the same placed RAW File with the changes reflected as well as the old placed RAWFile without them. So even though both placed images are the same image, they reflect the RAW File at the time it was placed, not at its current state which is surely the whole point of placing a file. It seems that the image is encoded with the RAW settings at the time it is imported, but these are never updated. What am I missing? Is this a bug or is there no point placing a RAW file? [Note: Please could someone with enough rep add 'RAW' as a tag as it's inexplicably missing]
I created a custom Facebook icon using Inkscape and saved it as an svg. It uses the same font as the title of my page, which uses the font "ubuntutitling-bold-webfont", which I have referenced as a .woff in a CSS file. The title functions, but the svg does not - it displays the "f" in some sort default font. The font file is located at ../fonts/ubuntutitling-bold-webfont.woff in relativity to the CSS and image file, and at fonts/ubuntutitling-bold-webfont.woff in relativity to the web page. I fount How do I embed Google Web Fonts into an SVG?, but I am a bit confused on how to apply the code to the SVG, if I even need to. Can the SVG use the .woff font referenced in the CSS file? Was the way I manually changed the font inside the SVG file correct? Here is the code for the SVG: <?xml version="1.0" encoding="UTF-8" standalone="no"?> <!-- Created with Inkscape (http://www.inkscape.org/) --> <svg xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:cc="http://creativecommons.org/ns#" xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#" xmlns:svg="http://www.w3.org/2000/svg" xmlns="http://www.w3.org/2000/svg" xmlns:sodipodi="http://sodipodi.sourceforge.net/DTD/sodipodi-0.dtd" xmlns:inkscape="http://www.inkscape.org/namespaces/inkscape" width="80" height="80" id="svg2" version="1.1" inkscape:version="0.48.3.1 r9886" sodipodi:docname="New document 1"> <defs id="defs4" /> <sodipodi:namedview id="base" pagecolor="#ffffff" bordercolor="#666666" borderopacity="1.0" inkscape:pageopacity="0.0" inkscape:pageshadow="2" inkscape:zoom="1" inkscape:cx="26.573808" inkscape:cy="42.478414" inkscape:document-units="px" inkscape:current-layer="layer1" showgrid="false" fit-margin-top="0" fit-margin-left="0" fit-margin-right="0" fit-margin-bottom="0" inkscape:window-width="1619" inkscape:window-height="611" inkscape:window-x="165" inkscape:window-y="301" inkscape:window-maximized="0" /> <metadata id="metadata7"> <rdf:RDF> <cc:Work rdf:about=""> <dc:format>image/svg+xml</dc:format> <dc:type rdf:resource="http://purl.org/dc/dcmitype/StillImage" /> <dc:title></dc:title> </cc:Work> </rdf:RDF> </metadata> <g inkscape:label="Layer 1" inkscape:groupmode="layer" id="layer1" transform="translate(0.75006053,-981.36219)"> <rect style="fill:#000000;fill-opacity:1;fill-rule:evenodd;stroke:#000000;stroke-width:10;stroke-linecap:round;stroke-linejoin:round;stroke-miterlimit:4;stroke-opacity:1;stroke-dasharray:none;stroke-dashoffset:0" id="rect2987" width="70" height="70" x="4.2499394" y="986.36218" rx="10" ry="10" /> <text xml:space="preserve" style="font-size:109.44319916px;font-style:normal;font-variant:normal;font-weight:normal;font-stretch:normal;line-height:125%;letter-spacing:0px;word-spacing:0px;fill:#ffffff;fill-opacity:1;stroke:#fffffe;stroke-width:2.73607969;stroke-opacity:1;font-family:ubuntutitling-bold-webfont';-inkscape-font-specification:ubuntutitling-bold-webfont'" x="25.989071" y="1096.0118" id="text3757" sodipodi:linespacing="125%" transform="scale(1.0381556,0.96324674)"><tspan sodipodi:role="line" id="tspan3759" x="25.989071" y="1096.0118" style="stroke-width:2.73607969">f</tspan></text> </g> </svg> Thank you in advance.
I used Photoshop and Illustrator to draw a black circle of size 44 x 44px. For some reason, the edges aren't smooth. I've exhausted myself of all techniques to figure it out. It looks particularly ugly within the iOS app where I'm using it. I noticed that circular icons of similar size in IconFinder have same issue. Jagged edges. http://www.iconfinder.com/search/?q=black+circle# Why can't the edges be smooth? If they can, what's the trick?
In following this tutorial on Using Text as Container which essentially explains how to create a path from a letter, I've run into difficultly when trying to follow this on any letter that has a counter... like a, b, d, etc. When I right-click inside the original text, and convert it to a work path, and then I click inside the work path to begin typing with a new type tool... letters! lose their counters and the path is defined strictly by its outer edge. See the screenshot: How can I adjust the work path so that the counter is preserved and you can see the hole in the letter a like you'd expect?
What exactly do you ask for from your graphical designer for your iphone apps? I asked my designer exact measurements of images in Photoshop, which turned out to be not such great idea because I need to ask for new images to support the new iphone 5, and if I want add ad-support I'd need new images as well. What do you ask from your graphical designer to avoid these common scenarios? I talked with my graphical designer and she said that it's possible to make high resolution images - higher than let's say bigger than iphone's 5 resolution, which is 1136x640. Then I could scale down the images size using Photoshop/GIMP as needed. Another solution was to create the image in Illustrator, which from what I could understand, one can always change the resolution without altering image quality.
I've edited some images in Photoshop to be used in a .pdf I'm creating in Illustrator. In PS, the images looked great and were saved with the following settings: .jpg/CMYK/Image Options: 10/Maximum. I "placed" them into the Illustrator file, everything still looked great, but when I exported the whole file as .pdf, the images came out slightly blurry. I've used standard, High Quality Print, and Press Quality settings- didn't notice much of a difference between them. Any ideas on how to have crisp, clean images in the .pdf?
I know that having a music player on a website isn't necessary nowadays. But I have a client that really wants one on their website. The problem is making the music player play constantly (the user can control it) between pages without it reloading when you click a link. I would like to achieve this without the website being entirely built in Flash. Thanks!
I want to give my screenshots a 3d, realistic photograph effect. Something like this: I tried using Skew but it didn't bring me desired result. Can anyone help me through?
I would like to be able to move the two handles for the bezier curve with the direct select tool the same way they are moved on initial creation of the anchor point. When a new anchor is created, moving the mouse both extends the bezier handles and rotates them. When selecting an anchor point's handle with the direct select tool, both handles rotate, but only the select one extends. Is there a way to extend both of them simultaneously without creating a new anchor point?
I've made a vector graphic of a donut. See . But I'd like to add an effect of a glaze where the glaze has differing opacity throughout. How can I achieve this?!
I would like to create a bevel effect in Inkscape. I am going for a very subtle bevel, that looks something like this one which was created in Photoshop: First I tried the bevel filter in Inkscape, but there is very little control and most of the bevel types are unsophisticated. The closest one I could find to what I'm after was the "combined lighting" bevel filter. However, like all the bevel filters, it has no options to control the depth or width of the bevel, or to control the direction of the light source. The default light source comes from the top left, but I need it to be from almost directly above. This is what it looks like: I can build a crude bevel manually by adding 4 shapes around the square I want to bevel, which, in a simple example looks something like this: But this method is crude, as there is no subtle gradients at the corners, and in any case, it would be maddening to apply this method to a complex shape like this one: So, how can I get a nice subtle bevel effect like the first image in Inkscape that I can save as an SVG?
I have a list of colors as RRR GGG BBB in a text file and I need to use only those colors to create my images. I'd like to be able to load those colors to Photoshop's color palette (swatch). Is there a way to automate swatch creation process from within Photoshop or some other way to create swatch file from a list of colors as a text file? (P.S. there should be tags such as Palette and Swatch) Upd: I have lots of colors in the list and my list is not the only one, users are supposed to have easy way to convert the list into Photoshop compatible swatch file so we can all start drawing right away.
By textured shading, I mean the character is shaded with a texture that is filled with a gradient. Thank you.
I'm creating an illustration in Ai CS3 heavily using symbols. I need to create derivative symbols, out of other symbols, with lighter colors. The transparency tool is for color seek, but as soon as I get the right color saturation, I need to have the colors (including gradient stops) recalculated, as the objects have to be opaque. For example 100% black * 0.4 transparency has to become 40% black with 1.0 transparency. I tried Flatten Transparency, but the product gets over-complicated (the shapes are lost, Ai creates additional groups and clipping paths). So, what would be the easiest way to flatten the transparency the way I want?
SlavaSoft Paint Express is an image editor that I try to use for re-shaping one of my Android app's assets. It takes in a .png file, auto-convertit to .bmp (it can't work with PNG format), I do the reshaping, then save the .bmp file. Re-opening the file in SlavaSoft reveals the image file exactly how I have saved it, however, opening the same file in Photoshop, ABitmapEditor or attempting to convert it to .png via zamzar.com all produce the same erroneous output - they do not show the alpha channel. Tried using the reshaped asset inside my Android app and the same - no alpha channel. What is going on here ? how come SlavaSoft sees the alpha channel while other tools do not ? Thank you
It's an old question, but an important one. Let's see if we can get a good, nuanced, ideally evidence-based answer. So, old-school wisdom (certainly, how I was taught back in the day) says that serif text improves the readability of long passages of text. The eye passes over the text more easily, there is less "fatigue" on the eye, and reading speed is improved. As I was taught, this is the reason why book typesetters almost always use moderately florid serifs like Garamond. Sans-serifs, according to traditional wisdom, are better for legibility - the letters are simpler, less room for error - and so are better suited for short text, like road signs. Within the last decade or so - certainly since reading on screens became commonplace - I've seen an increasingly common viewpoint that this is an outdated myth - that actually, serifs are faster for reading long text for no reason other than that we are historically accustomed to reading long passages of serif text, and that long passages of well typeset, well chosen sans can be just as good for readability and fast reading, as people become accustomed to it. There's also a third viewpoint I'm aware of, which says that the second viewpoint is a myth that comes from the fact that serif fonts tend not to reduce well on pixel screens, making sans type the better (least worst) choice for long passages of on-screen text or poorly-printed reproductions, but serifs still the best for long passages of printed type. Hence the popularity of websites with sans body text and serif headers, and of printed materials with serif body text and sans headers. Essentially, it characterises the arguments for the second viewpoint as merely pointing out that good (well produced) sans type is better than bad serif type, and maintains that, for extended reading, all other things being equal, good serif type is better than good sans type. And finally, there's a fourth viewpoint that it doesn't matter anyway - that there are no differences between serifs in general and sans in general that are not merely artefacts of the differences between the example fonts and typesetting used in any particular test or comparison. There's certainly a case to be made for this in the context of legibility, but I've not seen anything convincing on this for readability. All other things being equal, do serifs on a typeface genuinely make lengthy body text easier (faster and less effortful) to read? Readability (as defined by the speed of error-free reading) is something objective that can be, and has been, measured. This is a factual question. Can we give it a solid, rounded, nuanced factual answer? A couple of asides relating to common arguments I've seen: There's an old-fashioned justification for serifs based on the idea that the eye follows a line of text, and the serifs, by hinting at a cohesive horizontal, help the eye along its way. The first part of this is simply not true - the eye moves in numerous extremely fast jumps ('saccades') we are not consciously aware of, and the motion between jumps is too fast for any information to be taken in. It's 'Jump-focus-jump-focus-jump-focus', leading to one awareness of the area covered by the jumps. However, this doesn't completely nullify the gist of the argument. It's perfectly possible, for example, that serifs could help create implied cohesive horizontals in the blurred areas of vision outside the fovea which could help the reading process by guiding saccades and/or making word boundaries more distinct. A point is sometimes made about serifs being a cultural artefact. That's undoubtedly true - but it's interesting to note that many scripts have optional equivalents to serifs which, like Roman serifs, mark significant protrusions and corners, and which in some cases have a history that can't be put down to simply following popular roman typefaces. For example, they're historically important in Chinese (and therefore also Japanese) writing, and interestingly, give a sense of direction that is both horizontal and vertical (makes sense as historically these have been written in a variety of directions). So, it's not grounds for dismissing serifs as just an artefact of one cultural heritage. Finally, a related topic has been touched on over at the UX site, and second answer has many interesting references, but that question has no clear focus between readability and legibility, and so doesn't give a definitive answer on the readability front.
I want to set the shortcut ctrl + < to use as my "flip horizontal", and it works fine until I restart. Then photoshop replaces it with ctrl + & and I have to re-set the shortcut everytime. Any clue how to make the keyboard shortcut stay as ctrl + < permanently?
I have 3 images which are of the same size and color (gray) and PPI and I want to put them in a new image together vertically. so I simply cut and drag each image to the new Photoshop document. it seems that the first image has the same color as the original image after transfer but for the second image (that is right below the first image) the color is a little reduced (lighter gray compared to the first one) and for the third image, that is right below the second image, the gray color is even lighter than the second one. can anybody tell me what should I do about this? thanks
On Photoshop CS5, I had it set up so that whenever I saved a .psd, whether it were through cmd-s or the file menu, it would also save a file as a .png with the same name. I upgraded to CS6 and now I have no idea how to recreate this. Sadly, or stupidly, I uninstalled CS5 so I can't attempt to troubleshoot that way. Does anyone know how to do this? I don't want to have to run an action every time I want to save a psd as a png, I want it to happen automatically, every time I save. I appreciate all and any help here. Thank you, Jacob
Let's say i have an icon in grey scale, and now I want to change it into a certain green tone instead. The icon is anti-aliased around the edges, so it doesn't look too rugged, and I want to keep this anti-aliasing, but now in a green scale. Basically I want to define that what was black should now be a specific green, and every lighter shade of grey should be an equally lighter shade of green. Like the scale shown here, I'd like to change the scale of an image from [black to white] to [green to white] How is this possible i Photoshop? Am I right, that this could be called a monochrome image? Solved It seems that "Gradient Map" does exactly this. Image -> Adjustments -> Gradient Map. Here I've applied a Gradient Map Adjustment Layer to the grey scale
I am using Adobe InDesign CS5.5 and / or CS6 (depending on if this feature can be found in one or the other program). Does anyone know if there is a way to batch update multiple image links in InDesign CS5 or CS6? In other words, I have edited loads of images that are already linked to an existing document and would now like to update them all without relinking to all of them.
I have a QA style article where a question is posed, then answered. Community News: How are you today? Tom: I'm doing great! CN: I'm doing well today. Thanks for asking. I'd like to apply a grep style to each of the interviewers questions, but I haven't figured out how to apply the style to the entire paragraph. The below grep finds the specific words and applies the style, but nothing I've tried applies the style to the entire paragraph ^(Community\|CN:)
I'm trying to merge 4 different coloured shapes so I can apply a warp to them. By warp I mean; make them look like there going off into the distance. However, pathfinder turns the shape into one colour. Is there a way to merge the different coloured shapes?
When I took pictures using my digicam, it saves those on higher size (over 1 MB) JPEG files. What I usually do is that I open them on some image editing application such as Paint (windows) or Preview (Mac) and then save it to another file using a different filename. I end up having the same quality like the original (although I'm aware its not the same quality anymore) file but only to have it on a smaller size version. I naturally suck in the graphics field and didn't have any inclination to learn the details back then, until now that I'm interested on starting a blog. Could anyone enlighten me on this?
The splash screen at the moment for my application is far from catching, but I'm no graphic designer and apart from the fact it looks bland and boring, I can't really work out what I need to do in order to make it look more appealing and modern. I've tried to change the background to an image, but that seems to make it look quite busy - and I've tried changing the font and position of the logo but I've never been able to come up with much better. Any ideas? And also in general, what principles should be followed in order to create a good splash screen? I've found articles about designing various other things such as icons, logos and so on but never found anything referencing splash screens in particular.
How do I make a "arrow" with "flat edges" in illustrator? Made this in Photoshop to describe what I want. I tried to do this with the "line segment tool" by making two lines and then join paths. But that didn't work, of course. I know it isn't the description of the year but hopefully it's enough.
I've been wondering if it is successful to have two or more designers work on the same graphic design. I have tried a few times, but I ended up with a design that was not good enough, even though we are good individually. I think that's because everyone has their own touch. Should I ask to design by myself, or should I learn to do it successfully with a group?
Is it standard practice to create negative copies of a companies logo if they don't provide one. I'm asking as I'm creating a website which will have a companies page where I would like to list the companies I have worked for as B/W logos (and color when hovered over). Suggestions?

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