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We're beginning our work with InDesign to create technical documents (reports for customers) due to its XML/import capabilities. Our document has a pretty traditional structure: Title page, TOC, heading, subheadings, footnotes and an index. One problem that we're experiencing is that if we define a new Master (or even use the existing Master), and don't "thread" our text boxes, numbering isn't preserved between the text boxes. Ideally what i'd like to do is have the text boxes numbering be independent of whether or not the text boxes are threaded. Is this possible? I currently see two ways of doing this: Manually numbering (using "Start From") Threading Are there any other ways i'm missing to get this done?
I want to convert a OpenType (PostScript flavor) font to an OpenType (TrueType flavor) font. This is because Office Word cannot make pdf´s using a OpenType (PostScript flavor) font. To make it more difficult, I also want to maintain the openType typography tables.
I have this shape and I want only the square corners to round. When I round the whole thing, it affects the circle part...
I'm more of a programmer than designer so forgive me. I am looking to sharpen my UX design skills though. I found plenty of websites that give impressive sets of glyphs and icons, but I've been looking for one that has eluded me for days and it seems really simple. I need a simple white flag icon, but more than just 2 rectangles also. :) Something like this but a little more refined: http://upload.wikimedia.org/wikipedia/commons/thumb/5/5d/White_flag_icon.svg/250px-White_flag_icon.svg.png Any ideas where I can find one or perhaps convert the above to something that would fit into a Glyph set like this (http://www.icondeposit.com/theicondeposit:24)?
When designing logos in Adobe Illustrator, what is the best way to save all the separate versions of the logo? In separate project (.ai) files or in separate artboards?
I don't know how to describe it but how do you create that nice textured look with css? Seen in the background: Also seen a bit on the left hand dark navigation of: Thanks for your help Follow up: 1) Is one method (css/or whole image) better suited for mobile? 2) Could you link to a quality source for these small bitmaps? 3) Is the a pure css method of achieving this noise effect? Last Follow Up: 1a) You mentioned the CSS transformations have a much heavier toll on RAM. Is this a 1 off price to pay when the layout is initially rendered? (assuming no zooming or animation of the div) Or will it continue to to be a drain on system resources as long as it is present? 1b) This is a hard one to answer, in a low ram environment how cautious should I be about adding another div to my project. (assuming no crazy css transformation or excessive box shadowing) Should I think that every div makes an impact? or every 10? or 100?
The title says it all. What is the effect used in this image and how are there any good tutorials to do it in Photoshop?
Possible Duplicate: Is there a good resource or tool to help build a palette/color scheme around colors I select? Is there any way or tool to choose the best color scheme for a web site? I'm looking the best colors to use for a corporate web site. I'm just in the beginning of my design process.
Possible Duplicate: Name and possibly a tutorial for this inset rounded rectangle technique I'm looking for some special effect to accomplish in Photoshop for both text and a rectangle. Please have a look of below screen cast: http://screencast.com/t/TSeeuWAfgMyh You can see rectangle with some inside effect and seems empty area. Can anyone guide how to get this effect in Photoshop?
Is there a way to do this with Adobe Fireworks? I know its possible using Photoshop with this tutorial.
Well it depends you say-and I agree with you-It varies depending on the page, how complex it is, the style, how much content, graphics used, effects etc. So let me eliminate some of the variability, and ask, how long would you say it takes to design this specific page http://www.ehow.com/. The reason I ask this is because I've been doing some freelance design for a few years, but am thinking of looking for work at an agency and wondering what an average workflow might look like. For me personally, I'd say that design might take 8-12 hours (and that would be going full throttle); maybe someone could give me a bit of a sense of what a common expectation might be for an agency. Thanks. edit- branding,discovery or code not included; so just for design phase that stretches from wireframes to finished psd.
I'm a starter practicing front end web design. I'm having hard time finding solution with the Photoshop "Save for Web" function improperly displaying color. The colors of the Save For Web window do not match my Photoshop document. I've already followed the recommendations of Doug Avery in this link which corrects the monitor view and sRGB thing in PS but the output in the browser doesn't change. The image I cropped has a white-colored layer as background in the wrapper, another layer for the brown gradient in the upper and lower edge, a brownish layer for wood color, and another layer for its woody texture. I made the image output in jpg run in my browser but has same incorrect color result. I used Chrome and Firefox and both browsers are displaying the same desaturated color. Here are my questions: Is there something wrong with what I've created in Photoshop? Are there any other tools I can use for more accurate output of elements when migrating from a psd to an html file?
The question really says it all. I want to apply brush effect on the stroke once it looks like text. All my tries have resulted in stroke being outline of the text.
Possible Duplicate: How do so many app menus get that finished textured look? I'm still a beginner, but I really like this texture and have been trying for hours to recreate it. Question: How can one make this kind of texture in photoshop? (the black background behind the navigation menu) It doesn't seem to be a standard color+noise combination. At least not one that I was able to come up with. For use in a mobile app, I assume it would be best to just 10x10px png and repeat it x/y?
Is there a way to retrieve your work after a crash, if you haven't saved for a while?
The more I'm using shared layers, the more I believe there's no real difference between 'Share Layer To All Pages' and master pages. Except for layer sharing being way more flexible, because you can put a shared layer on top of all the others. Are there any benefits in using a master page?
So I want to make a seamless repeating background pattern using the line and dot in this image below... Is there a name for this type of design? (sidenote) If you have any other suggestions, I'm trying to convey a corporate feel to big social media data. I'll submit a nice grayscale/monochrome image to a design blog or subtlepatterns or something once it's done. Thanks!
I have a document with several artboards (7), which I resized, but now my grid (cmd–") is not centered or zeroed correctly (please see photo). I need to adjust the elements on the artboards, and I need the grid to zeroed correctly, otherwise there's no point in using it. Any and all help is greatly appreciated!
I have a large vector .eps file of 8 logo samples. At 100% zoom, it is crisp and gorgeous, about 4 inches wide and 1.5 inches high on my laptop screen. I tried object > rasterize with CMYK / 300dpi / type anti-aliasing, but lost quality and it was pasted into a new art-board at a much smaller size. I want to save it as PNG and EPS (yes 2 files) but in a larger size, 500% zoomed for example in the original EPS file when exporting to new file, without losing any quality, especially when I downsize it and the fonts should not lose quality at all. I'm new to Illustrator and it is different from Photoshop function wise. How do I export a PNG version at that size and quality?
Possible Duplicate: Choosing colors that work well on projectors Photoshop “Save For Web” Color Shift problem Hey guys I'm having a really tough(since yesterday) time figuring out why my output in PS "Save for Web" is always in monitor RGB. This is really a nightmare for me (a beginner) for I'm trying to apply a job as front-end designer. This is my second time to post question regarding this topic. And this one is more specific than the previous one. I don't really know my exact problem why my output in PS Save for web is always like this: After saving to web/device, the output is drastically changed from this: My PS Current Color Setting is: Even if I play the color RGB in sRBG, Adobe RGB, and my Monitor RGB or ticked(Convert to sRGB, the output is always i monitor Color like this: Until I came up with this site (How to Fix Color Profile - "proof colors" - Conflict In Photoshop). But the PS used in this site is CS2/3. Im using CS5. I did not yet uninstalled one of the color profiles because im afraid to mess out my display. My Color Management Setting is: Is there a conflict with my color management that causes my photoshop result even not "Save for Web/Devices" monitor color. My Image Configuration is: Im really desperate to find a fix to this problem so that I uploaded these images. I would like to apologize if this page loads slower. By HTML output is very dull colored. And Im not satisfied by it. So I really need a help of a pro who can help me fix this. My laptop is ASUS K45VD. I just bought this laptop month ago. MY OS is Windows 8. Your reply regarding in this matter will be greatly appreciated.
Possible Duplicate: eps file vector quality issue I have a large vector .eps file of 8 logo samples. At 100% zoom, it is crisp and gorgeous, about 4 inches wide and 1.5 inches high on my laptop screen. How do I export it at that size and save it in the same quality, but png format at the same size? I'm new to Illustrator and it is different from Photoshop function wise.
When a symbol is not aligned to pixel grid, the origin is not aligned to an intersection of the grid. Thus it becomes very difficult to create pixel perfect symbols. Paths that are snapped to the pixel grid are then redisplayed offsetting from the origin, causing bleeding in the isolation mode. This makes symbols essentially unusable as it becomes impossible to align objects scaled down to look good at the pixel level because such objects do not have easy to work with dimensions. With original objects it's somewhat reasonable to correctly align them numerically. There is absolutely no reason I can think of why this should be the case and it renders using symbols virtually impossible. This is a bug unless there is a setting to fix it. Essentially the pixel grid is not aligned to the ruler.
I am trying to figure out how to make an artboard automatically snap to the size of an image. I know that you can draw a rectangle, then go to the Artboards window and choose "Convert to Artboards" from the flyout menu with the rectangle(s) selected. This does not work for images. The problem I have is that I have about 25 images that I've placed into an Illustrator document (buttons for the design of a site) and need to have them all be in their own artboards. Of course I could do this by hand but I was wondering, for future reference, if there is a way just select the image and have an artboard created to its dimensions. I couldn't find an answer everywhere (all searches took me to how to make a rectangle an artboard, not an image). Thanks!
This is less of a question with a definitive answer and more of a request for some tips. I am hoping that some of you may had had this problem yourself and can offer some advice. I have been designing for myself and occasionally freelance for a number of years and I have always gravitated towards a monochromatic/muted approach, reserving colour for information, link/rollover colours etc. I started working as a web/UI developer around 6 months ago and am now designing a new web front end. Layout is nailed - I have zero problem with that - but I am having some trouble with the colours that I have to use - 2 shades of blue. I feel these shades really cheapen the whole look of the site; replacing this colour with a more metallic colour or subtle shade instantly changes the site for the better. There is something about blue that really bothers me. So I suppose what I am asking is: How can I practice using colours that I would never choose myself? Are there some techniques I can use to make it less about the colour and more about how the colour has been used? I apologise if this is a vague question; I am genuinely concerned that my inability to use colours that have been given to me well is going to cause a problem.
I'm using a bitmap API with Java in an effort to make a Mondrian-esque painting. This is my result: This is what i want to achive: How can I try to make the image I generated more like a Mondrian painting? I imagine an overlay and off colors would help? Is there anything else?
I have a number of typefaces for which I'd like to find free or open licence alternatives to. Rather than ask a series of "What is the best open license font to substitute for 'Goudy Catalogue'? 'Univers'? ...?" here or elsewhere on the net it occurs to me that what I'd really like is a typeface/font comparison service similar to http://alternativeto.net/. Does such a beast exist? If not, what is the next best thing? Background: We have a number of inherited historical projects using fonts we aren't licensed for, and we need to bring ourselves into legal compliance. We don't have the budget to simply purchase all of the fonts used.
Is there any convenient way to synchronize Photoshop settings like keyboard shortcuts, actions, swatches, custom layer sytles, etc.. across several computers, preferably in an automated way? So far, I have occasionally synchronized some of the above mentioned by dumping them to my cloud service of choice, but this is a bit too cumbersome and again and again requires figuring out what folders goes what, especially as I am synchronizing between different operating systems. Any suggestions on how to automate this, so I would have the same settings on all my machines, no matter where I change them? Advice for other programs like Illustrator, InDesign, Flash, etc.. is welcome, too.
Working on a file with a mirror layout where the inside margins are bigger than the outside margins. When creating a new page in the middle of the file or changing page positions, objects are automatically adjusted relative to the margins except when those objects extend beyond the document (trim) size. (see image below) Is there a way to avoid this. Working on a 400 page book where this pretty much happens in every page. I dread the moment when the edits require a page to be added or removed because I have to realign all the objects that are supposed to be cropped out of the pages. I know I must not be the only one with this problem. I've attached an example image. Thanks in advance!
I need to buy a new Pantone color swatch. I need one that says which percentage of Pantone colors are needed to create another Pantone colors (read: formula guide). Now, I read that newer color swatches pages are very thin, I'd like to have heavy cardboard pages, like in old guides. Maybe the DESIGNER FIELD guide has heavier pages? I don't really understand the difference between the two guides.
This is a legal question and I want to know if I can continue the way I work in a commercial environment. This is not about if I can blatantly take images from the web and use them as they are. What I do is mostly icons and iconographic imagery where in the end no one can tell if I used an image that doesn't belong to me as a starting point. Here is an example. See, technically I stole. I'd like to know if this is perfectly okay and counts as a new work or if it's sort-of okay because I might not get into legal trouble. Or maybe I should be really careful. I actually don't know.
Do Google's fonts function just like any other font? I've only gotten a few but they look a little poor in quality when used in print applications. Has anyone used them for a print design and did it come out accurately? I know they are optimized for the web - is there a way to identify which ones will look alright on print?
I'm exporting PSD layers to PNGs for a game's texture atlases. When I'm doing Copy -> New File (RGB 8-bit) -> Save As PNG, the resulting PNG is quite heavy and Finder shows white background instead of transparent. But when I'm using Export Layers to Files (24-bit PNG), the resulting PNG is 70-95% smaller. I don't need any compression by Photoshop - my texture creating software can do it well by itself. But I'd like to export layers by script instead of saving them manually. What makes Saved As PNG that heavy? Do exported images lose any color information or are reduced in quality? Why is transparency different?
I am not very good when it comes to creating images. So, I decided that I wanted to learn. The reason is, I am creating a chat program/game where I want to be able to create some pictures. I was wondering what type of program you guys think is best to use when creating new pictures. What I am looking for is a program to create pictures like these: Also since I'm kind of new it, it would be nice if the program wasn't too advanced
I'm testing CS6's new video features. One issue I found is that when I add panning to text, it does not pan smoothly. It seems like the kerning is adjusted slightly for each frame and it looks pretty bad. I could fix the problem somewhat by rasterizing the text, but then I lose the ability to make changes to the actual text. Is there a better option for making text pan smoothly in CS6 videos?
If I import a psd file with smart layers into Fireworks, is it possible to edit one of those smart layers the same way you would be able to in Photoshop?
So I'm trying to set up templates for other designers to use to adhere to design guidelines, and I want to know if there is any way to specify objects in illustrator and photoshop that do not show up when the image is exported or printed. I know it is possible to make non-printing objects in photoshop, however I would like the objects not to show up when using save for web or exporting a pdf/eps also.
Say I want to create a glowing button for a website. I would like to have the possibility to dynamically change the color of that button by changing the color of it's background. For this I need to create some kind of transparent layer from my original image that i will then superimpose over a colored background. Imagine I create a round button with an external glow such as this one : The image I need to create from the image above is the one below : By superimposing this transparent layer over a colored background, I could "re-create" the first image, but with the color of the background. Is there a way I can create the second image from the first one using Photoshop CS4?
I was recently asked for help with digitizing a large set of photographs - tens of thousands of the things, that need to be digitized so they can be sent to book publishers and possibly other types of clients. So I needed to work out how much space needed, which raised the question of how high quality the scans would need to be. That's just an example situation, my question is a bit broader than that: in general, in which industries and situations is quality the most important? One thing I was curious about was what file formats are typically used. Personally I see no visible difference between a 100% quality JPEG and lossless file, but how do professionals feel about that? Is there every a situation where that minute difference becomes important? If so, is it just being overly fastidious, or does it genuinely matter? Recently, I also heard about photography sessions running into the hundreds of gigabytes. That just blows my mind, wouldn't the images need to be hundreds of megabytes each? What would ever make them that large? I hope my question isn't too broad. To break it down into more concrete chunks: When does the lossless/high quality lossy distinction matter? Can you provide a rough comparison of what's considered an acceptable DPI in various industries/situations, or in your particular industry? What file formats are typically used? Just JPEG for lossy and PNG for lossless? Or are fancy domain-specific formats preferred? If so, why?
I am have been spending a good amount of my time to learn how to do design. My friend is a designer and helps out when he can he often comes around and shows me tricks that make things like text and images look "better". For example: As we all can agree the second one is clearly sharper and better looking. That being said what subtle techniques do you use to make your art work that much better. I have learnt enough to place the images and components in my design but lacking that subtle touch. Like the simple shadow in my example above. What subtle techniques do you use? I would love to see the before and after as well!
Our agency's workflow for creating a website normally consists of: discuss content-design with client we create wireframes (with optional, depending on client, approval) we create one or more pixel perfect "layouts" in illustrator / photoshop client approves with corrections return to step 3 begin coding. Now, since we are slowly approaching the year 2010, and we're pondering about RWD ("Responsive Web Design") and "mobile first", it's clear that our workflow wouldn't work without adding a ton of costs for the client (considering the technical CSS overhead isn't THAT large). What is the best workflow which works with RWD and mobile first? Also, are there any specific tools that may help?
I'm looking for online resources, image libraries, Photoshop actions, tools, or any other means of getting or designing bokeh images (those highly blurred pictures, with colorful circles) for use as backgrounds in web design. Here are some relevant use cases for the aesthetics I want to recreate. One example from that site: I tried searching these bokeh-like pictures on Google, Flickr, Dribble, Stock Image, but most of them have very low resolutions. I'm looking for pictures that share the same attributes as those relevant cases I linked above: not too bright (just so I can use any kind of text on top of that layer and still manage to make it readable) and with people on it, although highly blurred.
I'm trying to draw a pony in MS Paint (please, suggest me some Better drawing software) ... but everything is going just wrong... That's the real question I can say my troubles one by one (instead of software): I just don't know where to start [draw queue] ( I always start with eyes but then I fail in other parts ) Vector lines vs Weird broken manual drawed lines ( look in example, I see every line is very clear like some machine was painting it, not a human hand, for sure not a human hand with mouse, If I must make every like like a vector, how should I connect the lines? ) I often see how people make some kind of skeleton ( In examples I see how people use some spherical skeletons ) - is it really must have thing here? How should I clear skeleton after draw? So what I want to find is some pure step by step manual how to draw a pony for dummies What I want to draw is something alike:
I have to design a document for internal use that needs a unique serial number on copy of the sign off sheet. I'm aware that InDesign has a numbering function (to number book/magazine pages) but what I'm looking for is something that's a but smarter than 1,2,3,4... I need it to put out a serial number mixed of letters and numbers preferably adhering to a set pattern. Is there a way one can insert a variable into a pdf or InDesign doc so that each time it's printed it will print a unique serial number onto that page? The only other way I could think of doing this was to make a web page html/php and have the serial number done on the server and the print page styled with a print style sheet. But this seems like a rather long way to go around the issue.
Which software allows to draw one shapes inside another ones with clipping? I need this to be done automatically, I know I can draw this in Illustrator with Pathfinder. Is there automatic ability somewhere? NOT A CLIPPING MASK Many graphic editors have clipping mask feature. But it doesn't match me since mask does not hold the content. I.e. if you move the mask, the "content" will stay in place. In need the content follow the container like window content following the one.
Can I create a document in Illustrator without attaching to the notion of paper with finite size? Can you DELETE the ARTBOARD? I reduced the artboard to some small size and remainder drawings persist. Can I delete the artboard at all?
Disclaimer: I realize there is not a perfect "formula" for this question. I'm looking for your experiential working practices. If you don't have any, I won't hold it against you. Over the last couple of years, webfonts have finally gone mainstream! Browser support is good enough and the market has broadened to the extent that designers have an excellent range of possibilities. For my performance-focused clients using webfonts has some nice benefits beyond visual/branding: Getting type out of images makes greater image compression possible and content and style updates much faster. The question today is: At what point do you make the break from live html text to graphics? Especially in the context of a site with high performance requirements (loads of traffic, logic, and third party assets loading). I'm walking the line in a few projects now and having a hard time deciding in some cases. I'm wondering what formula others have come up with. If any. We need to balance several factors (I know there are more): Typographic integrity Asset requests made to the server SEO and accessibility Responsive design (where applicable) Complicating matters, rendering still varies widely by browser and OS. Compare IE 8 to 9, for instance or, more dramatically, OS X to Windows. Obviously, your market may negate concern for some of those issues (I unfortunately still support back to IE7 in a big way on some projects). And while webfont OpenType feature support is pretty good in Firefox, it's still lagging in virtually all others.
I built out some shapes to test out a font icon idea. I drew them in Illustrator. I set my art-board to pt at 1000 x 1000. I filled the objects and moved the ruler so that 0 was the baseline. From Font Lab studio, I went to file > font-setup > Metrics and Dimentions: I have changed the Ascender, x height, and caps height all to 1000 and the descender to 0. I'm just making shapes so I figured I didn't need to deal with those. >Apply - So then I copy and paste from Illustrator to Font Lab. The glyph seems to be placed properly - except that it is about 1000 pt below where it should be. To trouble shoot, I fooled around with all of the numbers in the Font Lab key dimentions again and I moved the baseline in Illustrator all over the place to see if I could get a change to happen. I could not. Here is a picture. Any help would be great! In illustrator: base at zero. In Fontlab: base at -1000 basically.
I have a background overlay on which I have three text layers on top. Now I want to move these text layers around on the overlay, but I can't get it to work. As soon as I click inside the text layer I can see that the background layer is catching the click, and if I drag I see that it's the background layer that is moved and not the intended text layer... I find it very annoying, and I can't seem to figure out what I do wrong. The thing is that it seems to work sometimes, for one Click -> Drag -> Drop, but as soon as I try and move it again it just moves the background. I have the Move Tool selected and the move is set to Move: Layer, just to be clear.
I have a Inkscape Project with about 100 Layers. Every Layer has the same shape ( with others beside that are different ). Now I would like to exchange the shape with a new one. So far I did this by hand -> selecting every layer, delete the shape and paste the new shape. Is there any trick to do this more effectively ? Can I paste a shape to more then one layer at the same time?
I'm looking for a font similar to Viga with Polish characters (Latin), preferably one from Google Web Fonts.
If you have in your mind, on paper, or on screen an image of your Web site, how should you go about implementing it? Use Adobe Creative Suite? A text/HTML editor? My understanding is that people used to "slice" images in the past, but that seems passe now. I am not a graphic designer but I design sites casually (for myself) and I want to know what the current best practices are. I intend to use HTML5, CSS3, server-side (python) and client-side frameworks (Javascript).
I'm trying to transition some clients apps to Windows Phone 8. These particular clients want their apps to look exactly like they do on iOS and Android (I tried to convince them they shouldn't look the same on those platforms either, but I digress). Anyway I was under the belief that it would be very difficult to actually create a WP8 app that looked exactly like an iOS app, and that if a developer submitted an app like that it would be unlikely to pass Microsoft's review process. I can't find any confirmation one way or the other on whether or not an iOS-like design would be acceptable the Windows Marketplace.
Check the image I attached above. I need to design a different logo. But need to draw it like this one because both the logos will be placed together (they need to match). So, anyone know how to draw the smooth line which is small in some places and large in others? How to add that effect? Im using Illustrator CS5.
I´m using .raw files in CS5 and saving them to .jpg and they are all unedited... The portrait photos are all being compressed and have low res while the landscape ones are fine, why is that? I have reset my setting in CS5 with no result. I just processed 200 photos for a client and half of them (all portrait ones) won´t print larger than a 4x6.
Is there a single text color that, when used on either dark or light background, produces a readable (or at least tolerable) output? If it makes it easier, constraints can be put on the hue, saturation or brightness of the backgrounds and/or the text color, as necessary. Motivation: Although there may be other uses of this, my motivation is from a user's point of view. I prefer to use dark themes both on my OS and my browser, but many applications and websites set only either the background or the text color, while at the same time doesn't bother with setting the other one. The default theme in my OS and browser is dark text on light backround and that's what most applications expect. I would like to select a color that is acceptable when an application is not respecting my themes.
I'm trying my hand at making a map using illustrator. I'm fairly new at it so I'm still learning the ropes. I'm trying to divide up a continent into several countries using border lines. Here's an example of what I'd like to do: ...so I would end up with two separate, enclosed figures sharing that border. I've tried using divide, but it doesn't work like all the tutorials (like this one) are saying it should. They say that when I use divide, it should keep both figures. But when I use the divide tool with the coastline and border, it cuts the left country as I want it, but discards the right, like shown below. Naturally, I want to keep both. Any help would be much appreciated. Thanks.
What would be the best practices to fix the rags on a left aligned text for print. Besides breaking lines and hyphenations, should you use tracking, and if so how much. Also, how would you judged a well ragged text? I think that rag fixing, much like kerning, is one of those things that are really subjective that you get better with a lot of practice but also good critique but there must be some general guidelines to help you start.
I wanted save some layers as PNG files and I had opened a new window for every .png file and pasted in there and sometimes crop it. Is there a way to export just a few or one selected layer and not the whole file much more easily, or maybe only save the visible part as a PNG?
I'd like to know if there is a plugin that writes down all the distances between a layer from its all four sides to all objects near to it, and then do this for all layers. Or at least write down width and height of all layers into one layer.
What's the shortcut for "Deselect Layers" in Photoshop (in OS X)?
I saw this question on the Typography site proposal and it bugged me that I didn't know the answer. I'd always treated 'glyph' and 'character' as interchangable. After reading an explanation on the Unicode Character Encoding Model page, my understanding is roughly this: Characters are defined by their meaning in language, glyphs, by their appearance. So, the ligature for aesthetically combining fi is one glyph, but two characters. So, my belief is (please correct me if I'm wrong) that the practical difference would be: Text parsers that aren't interested in the aestetics of text will read glyphs as their respective characters. So: If you were to copy and paste text containing glyphs into a plain text editor, the glyphs would be converted to their respective characters (a ﬁ ligature glyph would become f and i) Any well made automated system based on text parsing (e.g. search engine crawlers, screen readers, spell checkers) would interpret the glyphs as their respective characters. One character can have many glyphs or glyph sets. I want to say one glyph can only have one character, but this clearly isn't right as there's an example on the linked article of 3 glyphs and glyph sets that seem to each correspond to a character and set of characters. I don't quite see how this could work: surely that means there will be inconsistency or ambiguity in how those glyphs are interpreted, varying by interpretter? (or does it vary by language, or by font?) While glyph browsers (e.g. the one in Illustrator) contain the full glyph set of a font, character maps (e.g. the Windows character map) only contain characters, not glyphs that are multiple characters like ligatures (something I'd not noticed before) I feel like I'm nearly there but I've clearly misunderstood something somewhere along the line: not just the "One glyph multiple characters" thing, but also, copying and pasting behaviour with ligatures isn't quite what I expected: Copy the ligature ﬁ from Illustrator to this input box: pastes as fi (two characters) as expected. Paste in the HTML code for it (ﬁ) - displays as the ligature when not in a code block (ﬁ - which in this font doesn't look much like a ligature, but you'll see is one if you try to select just half of it), and the code when in a code block (ﬁ), as expected. Copy and paste the rendered non-code-block ligature back into the input box: pastes as the ligature character, and renders as the ligature regardless of whether it's in a code block or not (ﬁ and ﬁ). Likewise words containing it: ﬁt misﬁts (ﬁt misﬁts) pastes as ﬁt misﬁts (ﬁt misﬁts). Maybe it depends on whether the place it's being pasted understands the encoding used? How far wrong is my understanding of this? Can someone put me right: stating a clear definition of the difference between glyphs and characters (if mine is wrong or can be improved), and give clearer/more accurate examples than mine of what that means in practice?
How do I get rid of the thin artifact outlines around my live paint fills? The first screenshot shows the wireframe view (CTRL+Y) in Illustrator. The second screenshot shows the normal view in Illustrator. The white artifact lines are very thin, but still visible. The third screenshot shows the pasted result in Photoshop, scaled down. When the drawing is scaled down in Photoshop, the outlines become more evident and make the design look really bad. This is what I've been doing: In Illustrator, I used calligraphic brush to draw the outlines of my character. Converted the whole character into a live paint group. Filled in my character with the live paint bucket. Copy and pasted the character as pixels into Photoshop.
I've got an InDesign doc ready for to send over to someone. Along with it I've got an images folder full of placed images that the InDesign file references. While I was making my document lots of images went into this image file, but now it's gone through several iterations and not all of them are still needed/in use. To keep things simple when I send over this file I only want to send over the images that are actually used. Is there a simple way to get InDesign to export a copy of all its linked files into a 'master' folder?
Is there quick and easy (non destructive) way to get multiple transparency gradients on one object? For example I want a black-white gradient from bottom to top as well as top to bottom, or variants of that. There is a similar question posted, but this doesn't answer my question.
I'm looking for a pixel font which I'll use later on to convert/use on an lcd type of display and the maximum height is 7px. I've started by checking out dafont's bitmap fonts, but it takes quite a while to test all of them. I've played with a few and I'm surprised to see only a few work well when set to a small size (7px max height). I was hoping someone might have had a chance to play with more and recommend them. In the meantime I've started designing mine, just a few characters for a quick test/demo, but I wouldn't want to reinvent the wheel when it's not needed.
I've been working with FW for a little while now, and I've come to using symbols for sections of a site in my designs. Mostly things like a header or a footer and the occasional sidebar. These parts of the site don't change very often so to make things a bit more modular I make them symbols and edit them if needed and the changes are global for those items. One of the things I am trying to achieve here is to be able to make the slices I'll need for like the navigation or the cart icon of a e-commerce store. While I can do it easily, I'd like it to be within the symbol (I have made slices within a symbol but it doesn't seem to carry over into the common library symbol) that way I can keep it in my common library to basically put together the pieces of a page that I know will be there and have the slices already made if I need to make a new page for my layout on a website. I'm curious if someone has this same problem and looking for the same answer as me or even a work around. I think this would greatly increase anyone's workflow when designing a website that they want to show to a client as a prototype.
What I want to do is paste a picture to a new gimp file. I have the background layer and when I paste it puts it into the floating selection like expected. I found that I'm supposed to turn it into a new layer to be able to move it so I do so. But when I select the move tool and hover over the pasted layer it looks like a mouse, something like rotation, and then a not circle. How do I move this pasted layer?
I'm making a custom folder icon similar to the ones in the Home folder (Pictures, Documents, etc). To do so, I extracted the images from the .icns of the blank folder icon and photoshopped my own graphic onto them. I followed Apple's guidelines for icon sizing. I then packaged all the images into an .icns using Terminal. Now here's the problem: When I put my icon next to one of the home folder icons (with icon size set at 64 x 64 in Finder), it doesn't match. For my icon, OS X is displaying the 32@2x icon. But for its own icons, OS X is displaying a scaled down 128px icon. If I re-export my custom icns without the 32@2x size (so OS X is forced to use the 128 instead), it looks fine. Here is a screenshot. The difference between 32@2x and 128 scaled down is subtle but definitely there.
I'm looking for a good workflow to use the same colors in, for example, a new file in InDesign or Illustrator. is there a "best practice" workflow to use the same colors in different programs?
My app has a button to record or play videos. When there are problems with this feature, we notify the user by overlaying an exclamation point. This "red !" UI works OK elsewhere in the app but on this button the colors look really odd and clashing. Any suggestions for a visual treatment I can apply to the button and/or icon (each split out below) to make the result less contrasty and clashing?
I just recognized a big bug. Could someone please confirm or give me a hint? When cutting a shape with another shape and repasting the shape back, so both shapes lie beside each other, a small space between the shapes still exists. I expected no space between the shapes. This is catastrophic if you paint the shapes in another program and you see the small space between them! Could someone confirm this behavior?
Here's what I have... The top and bottom half are two separate objects each with their own gradient. I would like to remove the curved horizontal line going across the shape, then I would like to add a gradient to the rounded rectangle stroke. I thought I had found an answer to the first part here(drag stroke below contents) which I applied here but in addition to being kind of a work around(the horizontal line still exists), I am still unable to add a gradient to the stroke. The rest of what I've googled regarding removing part of a stroke instructed use of the pen tool to add and then delete anchor points on the part of the stroke that I want removed but I am not clear on how to do this, whenever I tried, I ended up also removing the barrier between the two halves of the object which I do not want to do. I have tried "Object > Path > Outline Stroke" multiple times in order to add a gradient to the stroke but am still left with the same two paths underneath the object's group. I expected the stroke to be turned into a new path. Any help as to how to Remove the horizontal line stroke from existence while still maintaining separate gradients for the top and bottom halves of the object and Add a gradient to the stroke surrounding the rounded rectangle sans the horizontal line would be greatly appreciated.
Is there any recommended books about using the Phi (Golden Ratio) for WebDesign? I've seen a lot of layouts taking advantage of this proportion, but it would be great to read a book with a lot of examples and possible aplications of this math (and possible others) for WebDesign. Thank you.
I have the following screen shot of an image. How can I find the original? I believe it may have come from Getty Images. I'd like to purchase the original version of this, but don't know where to find it.
I frequently see job postings for various marketing positions that specify marketing, English or communications as the degree but a skillset that includes Adobe Creative Suite, HTML, Wordpress/CMS and other creative skills. Is this a disconnect within our field and how it is being taught and perceived? How might we as a professional community begin to educate and address such an issue? Here are a few quotes from current job postings. I don't want to link the actual posts just because they will close relatively soon but hopefully this question can help others. I'm also editing out some of the irrelevant parts Advertising & Events Coordinator Requirements • The ideal candidate will have a college degree in Marketing, Communications or a closely aligned curriculum • be highly motivated, detail oriented and proficient in state-of-the-art social media and digital marketing to include Social Media Marketing, Email Marketing, FTP transfers, website CMS editing, HTML, creative design development and other campaign technology to attract high volume attention • The ideal candidates will be flexible, results oriented and a creative problem solver. Here's another one Marketing Manager – Creative Design Manager - Advertising Job Responsibilities As a Marketing Manager, you will be responsible for planning, directing, or coordinating marketing policies and programs, such as determining the demand for products and services, and identify potential customers. Additional Responsibilities of the Marketing Manager include: • Budget Managing new product launches • Developing and managing all literature, cut sheets and all POP for retail items • Organizing and managing trade show activity, developing trade show booth displays • Researching all needed market data Managing web site • Pushing web traffic via SEO and other means Requirements • Expert knowledge of Adobe InDesign, Illustrator, Photoshop, web and print production • Excellent communication and multi-tasking skills Ability to travel to trade shows Television advertising experience a plus • Bachelor’s Degree preferably in Marketing • Advanced knowledge of graphic design and printing processes • Developing and managing annual marketing And one last one: RESPONSIBILITIES: (include but are not limited to): • Responsible for all web content and updating all property websites. Coordinate web design and development with vendors. Keeping up with web addresses and domain names; • SEO management; • Development and design of all marketing collateral including property brochures, information sheets, invitations and various literature pieces; • Development and design of all signage and banners; • Design and develop all advertising campaigns including newspapers, apartment guides, magazines and web based advertising; • Work with new developments from lease up which includes image branding, collateral, signage, and advertising. QUALIFICATIONS: • Bachelor’s degree required in Marketing; • Must have proven, solid 3-4 years experience in Marketing; • Must have proven experience with graphic design. Are schools teaching these courses to marketing majors or am I correct that this is a huge disconnect that needs to be addressed?
I have created a rectangle of blue color in illustrator and then have make a swirl(yellow) using pen tool by giving it stroke. Now i want to remove the blue part of rectangle down under swirl in easy way.
I want to create a color spectrum image for a project. How do I create an image like this in photoshop?
I draw a graphic consisting of N lines. I want every two lines to have a different color in order to be visually distinct. Question: Which colors would you recommend? The longer the list, the better, because I need only first N colors, where N varies.
I am an experienced PHP programmer, but very new to Illustrator. Finally, the time has come that I need to download artwork from Shutterstock (shutterstock.com) for use on a customer's website. The file is in .eps format, and when I open this file in Illustrator CS5 I see all of the "Lorem Ipsum" text, but it does not seem to be editable - it seems to be nothing but clickable paths. Is there a simple way for me to use Illustrator to present to me the text in editable text form, so that I can proceed to edit the text? The image is:
I'm trying to find an alternative to simply "bold/italic" words that I want to enhance within a continuous block of Helvetica/Arial text. For example: Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum. Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum. Is there a specific font/type that I could use instead of bold/italic that would make those words stick out better -- without disrupting the spacing and flow of the text? Unfortunately there is no space for adding paragraphs, indentation etc.
I have selected the paint bucket tool in Photoshop, with a carefully selected foreground color, a tolerance of 8, and "anti-alias" and "contiguous" boxes UNchecked. However, Photoshop nonetheless paints over the desired region of the image with some sort of "gradient" fill - the fill color is not EXACTLY my foreground color choice. How can I ensure that the paint bucket tool fills the region with the EXACT foreground color in Photoshop? ADDENDUM: Here are before-and-after screenshots: Original image (two layers): After fill using paint bucket tool with tolerance of 8 (Note: I want to fill the regions to the right side of the arrow with a single foreground color): Here is a screenshot after using "Edit -> Fill" (as suggested by an answer): Finally, here is the color I WANT to fill with (the foreground color):
This question is about Photoshop CS6. Hopefully the feature was added in this version. Before posting I looked up Google and this and that but didn't find an answer for CS6. So the question is: Is there a feature within CS6 or a script that allows to resize a vector element with rounded corners without using the Direct Selection Tool (white arrow tool) and not changing the border radius? What would be great would be something like simply using the transform tool or something like a grid resize tool.
How do I take a gradient vector design into photoshop, add noise to it, and then return it back into Illustrator without the white background?
I would like to create a fabric pattern, like this one: I'm not very experienced in graphic design. Could somebody please explain how to create a fabric texture and overlay a wavy line pattern in Photoshop?
Does anybody know a tutorial for designing the OS X Mountain Lion background pattern? I am referring to this commonly used background pattern:
Sometimes, when inspiration hits me, I start designing a document using multiple colors. Or I use the Blend tool to create a smooth set of colors for me to work with. But it always happens that eventually, I need to start matching my colors and keeping better track of them, which I usually do with the Swatches panel. But I always end up clicking an object/path, dragging the color from the color picker into the swatches panel and then repeating for all the colors I want to keep. Is there a way for me to just have the Swatches panel add all the current colors in the document or layer or from a selected group?
Can I resize the texture pattern that applied via Illustrator graphic styles? And if not, is there any workaround to achieve this?
Double-click on the Adobe Illustrator eyedropper icon, and you get a useful panel of advanced options that allow you to control what it picks up and what it applies. Two columns, 'Eyedropper picks up' and 'Eyedropper applies'. You can set it to pick up things it doesn't apply, and apply things it doesn't pick up. This seems like a useful feature, but it doesn't behave as I expected, and I can't find any case in which it makes a meaningful difference. I thought that the purpose of this would be to mix settings. So, you could set 'Pick up' and not 'Apply' for something, and fill up the eye picker with that setting. Then, you could reverse the settings, tick 'Apply' and untick 'Pick up', and those stored settings would be applied whatever was clicked on with the eyepicker, alongside whatever other things it was set to pick up. But it doesn't work like that at all. Here are the results of some experiments... These show that, when an item is selected and the eyedropper tool is used to grab the appearance of another item, 'Eyedropper Applies:' settings appear to make no difference. My expectation was: nothing applied to A in Panel ii, blue fill black stroke applied in panel iii (picking up the blue fill, then applying the new blue fill plus the black stroke it picked up earlier from memory), and blue fill black stroke applied in panel iv (both from memory). However, in all these cases, the 'Applies...' settings seem to make no difference, and the 'Picks up...' setting appears to control both what is picked up and what is applied. It's like the 'Applies' settings aren't there. But they must do something. Can anyone give an example of different 'Picks up...' and 'Applies...' settings doing something useful that illustrates the significance of these two different settings and how they work?
Is there a way to save an Inkscape drawing so the layer information will not be removed? When I save the drawing as plain SVG and try to open it again in Inkscape, all layers are gone.
In Inkscape I first typed text, created a circle, then made two lines from the center. It looks like this now: Now, I want it to look like this with the piece cut off, which I made before: I can't make it work. Every path boolean operation is not working. How do I cut circle like a pie?
In reverse engineering a letterhead, the actual image is as follows scanned as 300 dpi. This is what I have come up with. It is achieved by placing high resolution images, drawing rectangles and creating a clipping mask. As it comes with Clients, no matter how hard I explain that the new (bottom) is actually better than the old (top), my Client made it very clear that he needs for the images to be 100% (not the term he used, but "as close as you can get them to be to show us that we are paying the right guy" was the term actually used) indenticall. I guess my question is how would I go about giving the images a fuzzy effect. I have already applied the "feather effect" to achieve the white-ish borders in AI-CS5. Maybe it is the fault of the scanner. But a ideal solution would be is to give some kind of mask/filter (I don't know these terms, but they come around often in PS & AI) to give a indentical/same color effects to all the images.
So here's the graphic I'm working on (don't hate me, I didn't come up with this one). I'm in Illy 15.1.0. You can probably see what I'm trying to get to next: I want the offset rule to follow the wrap effect. I know I could draw a path independent of the base ribbon shape. Trouble is, my team is going to be doing a lot of these. I'm trying to help them find the most efficient way to build them so they can be scaled and stretched and whatnot. Please tell me there's a method I'm missing. Here's what I have now. The main rectangle with the stroke and shadow is created with effects. Bottom line: Is there some way to carry these effects "around" the wrap that doesn't require a separately drawn offset stroke? I know the shaded part of the ribbon that goes behind will be a separate shape but I'd like the designers to just keep the stroke as an effect somehow. Incidently, this is where the team landed. You can see why I felt the need to find a solution for them ;)
Whenever I have tried making tiny tiles for tiling, like 10px x 10px in size, the only thing I have ever been able to make well is diagonal lines. I suppose it has something to do with painting principles like how we perceive tiny light and shadow (up/down,inside/outside). How can I create tiles that repeat well in Photoshop?
I've seen symbols with accents which are often referred to as diacritical marks. But what are they exactly? How many such accents even exist? And how do current typography tools (fonts, word processing software, etc) store and processes them?
I'm bit of a newbie in Adobe Illustrator and have been learning the application by trying to follow some tutorials and recreating some cool stuff I come across on the web. That being said, I'm having trouble replicating the effect found in the following image using the standard 'Extrude & Bevel' options. I've also tried copying + pasting the text in front, back, in place and that came out even more horrendous. 'Extrude & Bevel' gives me a nice approximation but nothing that pops out like in the example. Any tips on how to fine tune my 'Extrude & Bevel' settings or an entirely different method of achieving a similar effect would be very much appreciated. Thanks for your time and help! How can I create a 3D effect on my text similar to the one in the following image, using Illustrator's Extrude and Bevel tools?
I needed one font...then i found 24000. I installed all of them. My computer started to take minutes to do everything. So ... How do i browse all fonts without crashing everything..not that i think its a good idea.
Commercial or free. Something similar like these: Dribble: 3D Face Dribble: Face Proccess Dribble: Face iOS Icon I want to use them in a web site for unknown gravatars/avatars.
Want this for an invoice. Is it a brush or custom shape?
If I select Rotate tool, I can select center of rotation then and move it. After that I am able to rotate object around that center. But this rotation is imprecise. Suppose I want to rotate for 120 degrees. I can double click on Rotate tool and get Rotate dialog, where I can enter precise value in degrees. But this way I can't use shifted center of rotation because it jumps back to geometric center at the moment I call Rotate dialog. Is it possible to rotate by precise angle with dialog and have shifted center of rotation.
I'm trying to expose a silkscreen with photo-emulsion. I have an LED light (90 w) that is equivalent to a 450W - 500W incandescent light. The light is mounted 18" from the screen. I'm trying to determine the exposure time. Any ideas on how to calculate this? (I don't have a step wedge or extra screen).

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