Datasets:
mlfoundations-dev
/
graphicdesign_1000000_samples

Dataset card Data Studio Files
xet
 Community
instruction
stringlengths
18
28.6k
I have a spreadsheet with a TON of content that I need to import to layers via Illustrator. I have several columns that need to be imported for some business cards. So for instance name, email, phone, title. Is there a way to import this spreadsheet into illustrator so that I can have one layer for each row via setting up some variables in the Illustrator file? If not, this is going to take a VERY long time. I have about 100 I need to do. ** EDIT ** I initially posted this question in a general manner, using an example of business cards. Some folks came up with a great answer to this question, which was to use InDesign instead of Illustrator. Which in the example of creating business cards would have been the proper way to go. Trying to simplify my query obviously returned the wrong answers, so I'll state the more complex example of what I'm trying to do: I am creating slides for a video based on data from a spreadsheet. The guys doing the video need the file in illustrator, and they need the data from the spreadsheet on a separate layer per data set. So that's why I have to use illustrator, and why I have to do it the way that I'm trying. I got about 75% of the way there by creating variables and data sets using Illustrator. I did a sample test of 5 data sets (Like I said I have about 100 in total), and I was able to create a new layer and paste the data set. But unfortunately, the way the AI actions work, I cannot select the new layer created, so it pastes everything on one layer. In addition to this issue, I would first have to create an XML file, because the data sets cannot be imported from a spreadsheet. I haven't looked into this, but this would be another process in itself. So that's where I'm at. Thanks for your help!
I am trying to make that type of poster for my science project but i can't find any tutorials related to it. http://www.imdb.com/title/tt1790885/ Thanks.
I have finished the development of an app. Now I have to worry about the icon ;-) To align with the built-in app, I want the gradient of the my icon background looks like the built-in Camera app, i.e. a light source form the top. 　　 How can I clone the gradient in Photoshop? For example, can I take RGB values from a few reference points (top, middle, button) of the Camera icon to deine the gradient of my icon?
I can imagine a very special red color in my mind but I can't find its color code in Photoshop or any other online color dictionary. Is there any tool that for example I say: "Hey show me all possible red colors exist in nature slowly so I can compare result with my taste to choose one"?
When adjusting a selection in photoshop, the reference point is always set to the center: Regardless what I change it to, the next selection will always reset it to the center. Is there any way to set it to the top most left corner by default, so that every new selection starts with the reference point set there? Edit: I don't think this makes any difference, but just in case, I use CS5.
I'll like to use a symbol font character (upper right in the image, Glyph 5081). How can I copy the character from the Font Book and paste to another app? UPDATE: I can find the character at left, but not the one at right: 　
Is there a shortcut for switching tabs in Fireworks CS6? In case it's important, I´m using a mac with a Spanish keyboard.
I don't know if its the new OS (Windows 7) or the new monitor I just got here but I'm having a lot of trouble reading the files in the CONTENT section of Bridge. Is there a way to change the font? Right now it looks to be defaulting on a very narrow, small font. Zooming in and out helps a little but not much. If I zoom all the way out so only one file is displayed in the content at a time with a very long scroll bar its probably 11 pt Arial Narrow for the folder/file name.
Simple question: what's the convention (or, if there's disagreement, guiding principles) for where to place reference, footnote and endnote numbers that apply to a clause leading up to a punctuation mark such as a comma or full stop/period? E.g. in this example, should it be like [1] and [2], or like [a] and [b]? Lorem ipsum dolor sit amet[1], consectetur adipisicing elit,[a] sed do eiusmod tempor incididunt ut labore et dolore magna aliqua[2]. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat.[b] Before the punctuation looks seriously ugly, but after can make there seem to be a disconnect between the reference and what it refers to.
Just curious what peoples tips and tricks are for exporting mobile assets for apps with Fireworks quickly, efficiently and crisply? For multiple device sizes. Also, do you recommend keeping an asset library in one file?
I was checking guidance on where to put footnote or endnote reference characters relative to punctuation and found a really clear answer for everything except an ellipsis. It's pretty unlikely and rare that you might want to footnote or endnote the end of a snippet of text that ends in an ellipsis, which is probably why I can't find any information on it. But it's possible. Supposing there was such a case, should it be like this: However, there might be other reasons for such varied evidence. One study has even found strong evidence of conflicts of interest emerging in some cases...[3] It is beyond the scope of this paper to speculate on whether that is what happened here. ...or like this... However, there might be other reasons for such varied evidence. One study has even found strong evidence of conflicts of interest emerging in some cases[3]... It is beyond the scope of this paper to speculate on whether that is what happened here. Case for the former (note reference character after the ellipsis): It's consistent with commas, full stops/periods, etc, and strictly follows the Chicago Manual rule "note reference numbers in the text should follow any punctuation marks except the dash". (although I believe the Chicago manual has some less-than-usual guidance on ellipsis being widely spaced) Case for the latter (note reference character before the ellipsis): The other way looks horrible without serious kerning. Also, to me, an ellipsis feels more like a dash than a comma or full stop/period... (not sure how to qualify that)
I am using a pre-made vector shape (below), and I would like to fill all of the triangular paths it contains with a certain colour. I am not sure how to do this. Any advice would be much appreciated.
I'm resizing and have changed the doc setup to be A3 from A4. I then selected all elements (none locked) and grouped them. Then, when attempting to hold shift and drag them to fill the page, two images do not move in place with everything else. They stay where they were . In addition to that, the selection outline goes right down past the page to where my mouse can't control the bottom end once I've released the dotted selection box after dragging it. This means I have to move it up to find the bottom of the selection outline again, but even then, it does not allow me to move it back closer to its actual contents, it just squashes the contents. Am I missing something. Sorry I'm trying to get something print ready for a client and this is a bit challenging. I will be online to answer questions you may have. Thank you.
I am new to Photoshop. I need to make a mockup for a website. First I've drawn a rectangle 1-pixel and with pen tool a brush setting 1-pixel, but the pen tool line has more than 1-pixel and what settings do I have to change so that both elements have the same stroke? Here are two screenshots: On the shape layer the pencil has the same wrong stroke. So it has to do with the shape layer. But to do a pen tool stroke you have to add a effect stroke. The rectangle is always the same because you cant place it on the shape layer. Here are some of the other tools I used: Line Pixel Widths
I found a really creative resume when I was surfing the web this morning, and it uses some awesome sans-serif typefaces, but I don't know the fonts. Has anyone seen them before? (WhatTheFont was no help)
I am an app developer. Most of the time I will build the apps' user interface by myself, thus resulting in functional but not appealing apps :-( Like this -> one (link to AppStore) For a few projects, I was out-of-idea (probably out-of-skill) and then I became open-minded. I let the designer go with what he considers good. I take the work fully and built the app. Like this -> one (link to AppStore) However, most of time things do not go extreme. For a project or two: I had some sort of art direction in mind I talked to the designer about what I wanted The design came back with a draft I was not satisfied and asked for another version After two iterations ... didn't work out I paid the fee for the draft and I gave up (and the project was dead) Now there is dribbble and I see great design works. Every time I hit the Hire me button, I hesitate. I am so worried that I pay but do not get what I pay for. So, what's correct way to convey with designers. In software, requirements are clearly laid down with a screen flow storyboard, plus functional requirements of how each UI element work. How can I tell a designer what to design if what I want is something I cannot imagine? I almost wanted to write to a designer, "Can you build a UI for my app like that artwork on http://dribbble.com/__?" But I worried that could be offensive. Let's use a real example. I have just finished -> this app (link to AppStore) But I don't think it's good looking enough. If I am going to talk to a designer, what should I write to let him know: I want my app to look good I wish the design is minimalism The numbers and alphabets should be in font that is available on iPhone, not bitmaps (as I want to let users change fonts) I wish the design is good for both keypad layouts (one fewer keys, one more) Thanks for reading a long question.
What icon would best convey "Make a new post"? Can't think of any, considering just spelling out "Make a new post" instead.
I am writing a technical documentation in LaTeX which will also include code listings and in-text keywords set in Monospace. After reading this post i chose a combination of CharterBT for text and Computer Modern Sans Serif Bold for headings. Charter: Computer Modern Sans Bold: However I do not like the default monospaced font of LaTeX, mainly because it looks way to fancy or old to me. Which monospaced font is complementary to the fonts I am using? Note that I can not use any font that is not available in my LaTex distribution.
I have an image (below) of two hands over a black circle. All three are currently separate paths with a fill but no stroke, all on the same layer. How do I delete the shape of the hands from the black circle, so that afterwards I can delete the hands themselves, and just have the circle, with the shape of the hands cut out of it?
I just upgraded from CS4 to CS6 and am having an issue pasting objects between files in InDesign. Seems like the issue is with the styles. I'm copying a basic graphics frame but it is losing the image and rounded corners while applying a stroke to the frame. Shouldn't the characteristics of the copied object carry across? Anyone know how to overwrite or force InDesign to paste objects 'as is' regardless of what styles a file may have?
I have a SVG file with viewBox="-155.7 -99 510 510". I believe this offset the paths in Mac OS X preview by -155.7 -99. when I open the SVG in Illustrator, the paths are not offset at all. how do I export this svg such that: viewBox="0 0 510 510" and all the paths have added off set of -155.7 -99 I have tried changing the position of the artboard but the origin of viewbox is never 0,0.
I am using a image, and I would like to draw 9 patch for that image. I am not sure in which format i have to save this. Any advice would be much appreciated.
I'm a beginner in this field and I have to buy this clip from shutter-stock. This clip comes with some pre-rendered patterns and has an alpha-matte version. My question: I want to use different pattern for the ripped paper, how can I achieve that? Can the alpha-matte version used for this purpose? if no, what is it used for?
I am interested in taking the gray shapes and creating a uniform border around it; an outline with a white interior. I want to do this by scaling the original shapes and intersecting them eventually. But as you can see with the black shape in the back layer, the curves are not uniform. How do I scale this shape uniformly? Or if there is a more excellent way, do tell!
I have encountered a problem, or at least an annoyance, with the way that "Layer Comps" work with linked layers. I understand the reason for the design choice and I am not claiming it to be a bug, but I still don't know how to efficiently work around it. I have a number of layers that I want to position in different arrangements such as making a collage. I create a Layer Comp including Position for each of these arrangements. Later, I add a layer mask, or I make some corrections to one of the layers using masked adjustment layers, an Overlay layer (dodge and burn), or something else that needs to remain aligned to the original layer. I clip and link these layers to keep them together. The problem arises when I then recall one of the existing Layer Comps: these adjustment layers are not moved along with their master layer. Likewise the mask on the layer itself is also misaligned when any of the preexisting Layer Comps are loaded despite being linked to the image layer. This results in me either manually realigning all the masks and Overlay layers or (usually) scrapping the Layer Comps and starting over. There are two aspects to this question: For an existing PSD with a considerable number of Layer Comps that I do not want to have to recreate is there a clean method to add a layer mask, masked adjustment layer, or other aligned layer to one of the collage elements? When creating a new document and wishing to avoid this problem is there a better method than defensively making every layer (element) a Smart Object? I find that this considerably increases the size of the file and I wish to avoid that if I can.
I am trying to follow along this tutorial: http://www.computerarts.co.uk/tutorials/create-abstract-liquid-effect But the oil droplets in water photo the artist provides as an example does not seem available for download anywhere. Does anyone have any recommendations for a site that has similar "oil in water" effects?
Are there any better ways of vectorizing photos than Illustrator's Trace? I don't have one of them Wacom boards so I can't really do this by hand.
I made a couple of vector shapes in AI and I get this strange thin border appearing around them. I can't get rid of it. Any suggestions? Zoomed in:
I am following a tutorial and trying to mask a shape layer to another shape layer that is multiple layers down. (or has multiple layers between these two.) In Photoshop cs6 Essentially I want the white box to be masked to show only to the inside of the black box. Can someone explain what I'm doing wrong here?
I've some some great usage of photos lately, especially in website headers that are light, easy on the eye, and don't attract too much attention. How can I create this same effect on my photos in photoshop cs6? Examples here: http://dribbble.com/shots/374899-Men-s-Retreat-Flyer?list=searches&tag=rugged http://dribbble.com/shots/791728-Built?list=searches&tag=rugged
I found a nice social icon set as font: http://www.tajfa.com/projects/rondo/ What I now want is to remove the circular borders around them, but when I open them with Fontlab Studio 5 I only see a blank set. Is there a way to remove it or do you know of alternative sets?
I'm in the process of producing QR-codes for use on product packaging. The codes are generated in batch and the resulting files are typically 25x25 px PNG files. Of course, such a small image would normally be way too low res to use in print, i.e. a 1x1 inch image would need to be 300x300 px in order to print in 300 DPI. When it comes to simple images such as QR-codes (I guess this would also apply to bar codes without the digits) I realized that the actual resolution of the image is not really relevant, as I can easily resize the image to any size I prefer using nearest-neighbor resizing option in Photoshop. In a way, the resulting 250x250 px image won't contain any more information in terms of "QR pixels" than the 25x25 px version, apart from the obvious fact that the file will be larger in size. Also, when resizing to a width not evenly divisible by 25 (e.g. 70x70) the resulting QR pixels will not all be the exact same width. This has got me thinking I can simply place the 25x25 px PNG in my InDesign layout, which will in turn be exported to PDF and sent to print. This seems to work out fine when I print the file on my printer, but on screen the image sometimes looks blurred (as you would expect with it being magnified). I have found that the blurring effect stems from the anti-aliasing setting in my PDF viewer, so there is obviously no information about resizing/anti-aliasing embedded in the PDF file, while the printer will resize the image without anti-aliasing (i.e. using nearest neighbor). Finally, the question: Is there any obvious downside to using this method? Is it safe to assume that the 25x25 px image in my PDF document will be upscaled without anti-aliasing when I send it to the printing office? Would I be better off just manually upscaling it or converting it to a true vector format? Bonus question: is there a better term for what I am referring to as vector-like in the title/question, that is the concept of a bitmap/raster image being upscaled without loss of quality?
I have been designing for almost 5 years now. I have noticed something very strange in my development lifespan. My appreciation for my works decreases substantially over time. Especially in my UX works for applications, where I work almost 10 hours a day (writing code) and where I am confronted with the interface all the time. When I layout the user interface in Illustrator for example, I am very satisfied with how it looks, but after a couple months of development and seeing it over and over again, I always find something that I could improve and I kind of end up in this vicious cycle which does not seem to have an end. This is a huge problem for me because my own products do not seem to be worthy to be launched in my eyes. I also have to say that I am a perfectionist, so of course that plays a key role. Does anybody experience the same thing? How do I put an end to this cycle?
I am currently working on a GUI and iconset in Illustrator which will be exported (using a plug-in) to XAML. While GUI elements can be exported by placing them in a new file, this becomes a lot of work with iconsets. Which I want to avoid. So I am looking for a streamlined workflow to export multiple groups/artboards/layers (similar to Export for Web & Devices) for XAML (the plug-in does not support "use artboards").
There is a classical way of removing background in Inkscape using Bezier curves. This is often quite lengthy process. Is it possible to remove the background of an object based on background color (e.g. to tell only to remove yellow background)? Or some clever method that is able to detect what is object and what is background? If so, could you describe the tools that are available in Inkscape?
I came across this on the internet. Does anyone know what font it is or, as the title says, suggest anything similar? I dont mind learning a bit more photshop if needs be, as I think that's where I'm lacking:
I'm going to be making images that include hundreds of lines of text of varying lengths, each of which will have the same "background", with the exception of the length of the background, which will need to be relative to the length of the text. I want to not have to manually fit text to a box each time. The second twist is that I want the background to be reduced opacity, but I want the text to be 100% opacity. So the text will always be the same size and solid white, over a (say) 80% opacity orange background. The "padding" (inset?) on all four sides of the text the text will be constant relative to the text. All that will change is the overall width of the text string, consistent with the overall width of the "box". I have reviewed these two answers How to fit text box size to text? and Change Background Color of Text Box in Illustrator CS5 which would seem to address this but don't quite. I am using Illustrator CS6.
I'm working on a program that requires a dark interface, because it's mostly used in dark rooms. After some thought I decided to add a light version too and let the user swap them, but both still have the same requirement: They need to be very kind to the eye, because we are talking about many hours inside a dark environment. What are good colors (both light and dark) to avoid eye fatigue/strain?
Does anyone know any other fonts similar to Helvetica Neue (free for commercial use)? I'm working on a big website project where 'Helvetica Neue' is used heavily. I need a font that looks almost the same, is free for personal and commercial use, and looks good even when used with copytext (e.g. fontsize for copytext = 11px, for headlines = 16px). Also there should be a condensed-font style included (if possible).
I am trying to follow a set of instructions and am looking to copy and paste a vector mask to a gradient layer. For some reason when I simply do cmd c and cmd v to the gradient layer nothing is happening. Here are my instructions: Method 1: Color Overlay on Gradient Layer Create a Gradient Layer. Choose light grey and dark grey color stops. You can fine tune it later. Create a vector mask of the button Copy the vector mask and paste it on the gradient layer (Select the vector mask > Ctrl + C > Select the gradient layer > Ctrl + V) Click Layer > Vector Mask > Current Path. Go to Blending Options and apply Color Overlay with blend mode Color. Now you can try out colors just by changing this color.
Today I came across a blog post on daring fireball about a new font: Courier Prime. From the font preview, I found that the : and . are a bit oversized. Then I checked the Courier font in Mac Font Book app. The : and . also appear oversized (including the fullstop beneath the ? (question mark), comparing to the other characters. Is it my eyes' problem or is there a story behind?
I've got a simple drawing in Illustrator consisting of multiple rectangles. I will need to handle that in code later one and saved the document as SVG. The rectangles come out as <rect /> nodes in SVG format. Is there a clean way to convert the rectangles from primitive types to a path in Illustrator ? If so, how ? So far my hacky solution was to use Object > Path > Simplify and because I was dealing with simple boxes with no transformations applied I've also ticked the Straight Lines. This worked well for boxes (kept the same number of vertices and look) Is there a cleaner/less hacky way to convert a primitive to a path in Illustrator ?
I'm working on a document in which I need each new object to be the same opacity as the last created. It seems that the only thing that carries over to the next new object is the stroke and fill of the last. Thus, each time I start drawing a new object, I have to reset the opacity... Yes, I could just select all necessary objects and set their opacity at once, but it's important that I see what's going on in below layers while each new path is being drawn, so having a default opacity for new objects would be extremely helpful in this scenario. Is there any such thing?
So here's a good question: one problem that often comes up is a client asks for a site, but they have no content (specifically images) and so leave it up to the designer to find appropriate images to use. The first thing a lot of people will do (including myself sadly until recently: is go and find stock images of smiling business people that all look like models, or worse pictures of handshakes, little icons hugging a globe) and these all lead to generic looking websites that reveal zero about the company or brand you're trying to represent, and might even damage the brand by making it seem unpersonable and lifeless. So here's the question: what might be some good(general) guidelines for choosing images for client work when they don't provide any: thoughts?
I was looking at the resume in this question, and I noticed the skills bar chart. I've seen this on several designers' resumes and was wondering if it is a new fad, if it's something that I should consider adding to my resume/website, etc. Wouldn't this get you less clients if you forget or didn't have the room to add every single piece of software that you know and your skill level of said software? I can understand adding fundamental software like Photoshop and Illustrator, but what about all the little programs that I don't use very often, but I still know how to use? If I were to list all those, the resume would be like 3 pages long. Is this a useful graphic to add?
I'm designing my first poster for a promoter for a local bar and.. well.. I don't know what size to make the poster! What is the standard size for an event poster (such as one for a band) in North America? Is it 11" x 17" ?
I have a full Latin alphanumeric font made and am attempting to add Cyrillic characters to the mix. I am using OSX Glyphs.app. I am able to make the Cyrillic characters and export the font as an .OTF. I can boot in to Illustrator or any other application and access the Cyrillic characters without fault. However, when I try to convert my font to web safe fonts via http://www.fontsquirrel.com/fontface/generator, All characters other than my Cyrillic characters work properly. For example: I have tried using И, &#1048;, and &#x418; to no effect. On the left is Cyrillic Ii and on the right is Latin N. The font has been saved with Cyrillic Ii merely being a mirrored N. All of this works fine in apps, but fails on web. Can anyone think of a reason for this?
Background on color perception: Due to the nature of the human eye and visual processing by the brain, there's an optical illusion that the same color will look different depending on the background. It is known as the contrast effect, illustrated below — center rectangles are identical: Source: Wikimedia An illustration (and report) by NASA makes the effect of the background's color even more obvious: Source: NASA Color Usage Research Lab (Note how the two upper-most colors in the second image appear the same, but are actually completely different.) What about web design? My question pertains to web design, specifically in this case, the color of link text on different backgrounds. For a given color of text, how can one find the complementary color to make it appear the same on a certain background? Let's take a look at an example for this question: Consider my example below, with yellow text #FFF000 on the following backgrounds: white #FFFFFF, black #000000, and grey #555555. As expected, doesn't look the same at all. (View and download .PSD file here.) How can we make it look the same on all three? Clearly, the text on the white background needs to be a darker yellow, and the one on the grey needs hue/tone adjustments. (The surrounding text will also affect it — but that's likely harder to account for.) Can this perfect color somehow be calculated, based on the Hex, RGB or another system? That's where the crux of this question lies, as it would be much more efficient than manually approximating.
I would like to make a simple line pattern rotated at 30 degrees, but no matter what I try I can't make it repeat itself without the lines being cut. Is this possible to do?
I have a rectangular shape that has a colour overlay and drop shadow in a layer. Now, I want to create a new layer containing only a rasterized version of the effect from the current layer. To put it simply: Layer 1: Shape + shape-drop-shadow; (Create new Layer 2) Layer 2: shape-drop-shadow; Meaning, I'm not looking for how to copy effects between layers, but rather the actual result of the effect of one layer to a new layer.
I have been seeing these blurred backgrounds all over the place, so I would like to know the exact steps how to reproduce something like this . What I can imagine, is that they first blurred an image/gradient with a gaussian blur. But there has to be something more to it, right ? +) How do I correctly use a gradient instead of a picture?
I'm looking for a 3d Converter which can handle the following file types: Import iges step sat Export dwg gdl
I am experiencing significant color banding when I use the Color Dodge blend mode with a very dark colored gradient layer style. I have even tried enabling dithering on the gradient layer style, with rather poor results. Here is what it looks like: Here is a small PSD demonstrating what I'm experiencing. This is my first time using the Color Dodge blend mode. It's my guess this either has something to do with this particular blend mode (I'm not familiar with how it works) or the gradient I'm using (which is extremely dark, possibly to the point that it creates precision issues). How can I eliminate this color banding problem? Is there another configuration I can use that will get me nearly the same colors, but without the color banding?
I saw an amazing animated gif And I thought I should give it a go. I tried laying out several friends' pictures in movie maker and power director and though I sort of have a video where it is animated up to an extent, it is not as fluid, it feels more like a slideshow no matter how much I tweak the time/tween. I thought, may be I need to fine control it and opened up Photoshop and added layer mask to go from image to image...though this is a lot better, I still don't have this fluidity. I am not sure this is the right place to ask this question, but do any of you know how this method can be achieved? I think it's a great pic!
I am currently working on a magazine using Adobe InDesign CS6. On each page I have a head with the name of the section in it, and applied the paragraph style "Header" to the text element. Naturally some of my sections are more than one page long, and because of this, the same header will occur multiple times. Example of a spread where the header occurs twice: Resulting ToC: My problem is, though, that the header will also occur multiple times in the TOC. Is there a way to skip headers which are similar to the previous one? Not running headers, because I do not use the header on the page itself. Instead I have subheaders.
I'm not sure whether I should be asking this kind of question here, but... When I'm working in Photoshop (CS5 currently, have had it with previous versions as well), when I've zoomed in on the file and have the hand tool selected, Photoshop sometimes zooms out as I drag with the hand tool. It zooms to 'fit screen' size, and zooms back in when i release the mouse button. It does so at random times, and at those times I'm not pressing any buttons other than the left mouse button. It's really driving me nuts, does any of you know if this is fixable?
Photoshop CS5: If I only wish to select the black portion of the below image (to create a layer mask with it), how would I do so? It was generated by clicking "Make Selection" from a vector shape that's made up of several paths (each of the triangles, then the rectangle that encloses them). Thank you in advance! As a related follow-up, how do I add to a selection? i.e. If I make one selection, how do I keep adding more parts to it? Necessary to use paths?
I just drew a 1px line with a 1px drop shadow in Photoshop, yet parts of it are really off. Please see the image below.... Is Photoshop just not able to hand things well at the 1 pixel level? I was hoping it could produce shapes more exactly than this. Thank you.
I am somewhat new to PS and have upgraded to CS6, and I am having issues when I save a file. The shapes I have created (with the pen tool) and added specific gradients to, change colors. When I reopen the fill all the shapes have changed to the two colors that are currently on the foreground and background. Hence all the gradients are just those two colors and all the work matching and adding colors has been lost. What am I doing or not doing that will prevent this from happening?
In the footer of my clients site, I want to give the users total clarity about where things are on the website so that they can quickly navigate there. So I will implement what looks like a nested set of links. In plain text, it should look like this. but just the blue dashes. I lined out in pen to separate the list items. The code is below showing the selection of the last list item. But how would you either add dots using only CSS or using CSS to insert an image before it? This is what I have so far and the accompanying code. In my example, the in the footer became a block element, but it was supposed to be inline, so disregard that because it will be fixed. I was going to add color to the dashes, but does not seem like the best option after experimentation. I was going to add pipes and dashes |----
I have a complex illustrator object, with many of overlapping sections hidden behind one another. I want to simplify it down to just its visible parts. How do I do this? Why: I need to pass that to a laser cutter to cut the shape out. To make that work, I need to reduce the object to only the visible strokes that outline it. If I can collapse it down to just the visible parts, getting it down to just strokes from there is trivial, and a known good way of generating a file that will cut on the laser properly. Note 1: None of the pathfinder operations accomplish this on their own. All of them change the object so that hidden parts appear or visible parts vanish. Note 2: The object has too many parts to do by a process that involves doing the different parts one at a time/manually.
I am trying to achieve something similar to the following photo-realistic image in Photoshop: So far, I have tried copying and pasting a basic object, then distorting it and applying new layer styles. However, I am sure there is a much more efficient way to do it using some sort of 3D 'spin' function. I've never come across one, so wondering if anyone had any tips.
I need to redraw the logo below but I don't know what the font is. Help is welcome.
I'm assuming that this sort of thing should be done in photoshop and not illustrator, so please correct me if you feel otherwise. I'm trying to create circles with blurred stroke in photoshop like the example shown below: Ignoring the gradient behind the rings, what is the best way to accomplish this? Currently, I'm using the Ellipse Tool with a Fill Opacity of 0% and Stroke (size: 10, opacity: 30%, blend mode: Soft Light). This does not produce the desired results: Any ideas what I'm doing wrong? Is there a different way to feathering the stroke instead of blurring it?
I came across this problem after printscreening a website with a gradient background. Initially, I was shocked to find that the background was showing those black pixels, and thought something might be wrong with my GPU so I decided to investigate a little and found out that the image's bit depth was 24 and photoshop was opening it in 8bit mode (maybe because photoshop doesn't have a 24bit mode?). I was wondering: How come when I save the image in 8bit mode it doesn't show those black pixels, in programs like windows photo viewer and paint? Why are they showing only in photoshop? Shouldn't photoshop find comparable colors to fill in instead of black? When I change the mode to 32bit those black pixels disappear. Also, when sampling those black spots with the eyedrop I am getting the correct color. This is the image I was speaking about: And here's what I am seeing:
I'm not sure why, but suddenly when I use the type tool, write, and press ENTER to create a line break, the space between my current line and the new one is huge (it is as if 20 line breaks were made). But these are not 20 line breaks - it is just one (if I press backspace, I return to the former line). I am using Arial Bold. Why is this happening?
I took the loaders from xooplate.com then exported them with the help of the included action to a GIF. But I have some white pixels around the loader which are really annoying when displayed on a dark background. You can see it here, in a frame I extracted from the gif: How can I prevent those white pixels and maintain the transparent background?
I have been looking frequently for a site, a service that provides a repository of semi-transparent tiling backgrounds. I've found some grain generators, but I would like some more things that I could use for effects like; etchings, smoke, blur, rust or dirt. I love these kind of background tiles as it can really add a lot of depth to your design. It's just so hard to find a go-to place where I can buy and download.
How do I cut off the boundary of a picture all zig zag like it is in this picture Or in this one I have Paint.NET, a free image editing software. How can I do this in Paint.NET?
I am need of a typeface with descenders that match or come close to the x-height. Can you recommend some? System fonts or free fonts would be ideal.
I am pretty sure I'm not using the right terminology, but I'm trying to create the same effect in this image: Is there any way to do this in Illustrator? What is the proper terminology for that effect? Any help would greatly be appreciated. I don't even know how to google that effect.
I used the selection tool to drag part of one image onto another image in a new layer. That layer has a "padding" (not sure what else to call it) of about 75 transparent pixels around the image. I'm wondering if there's a way to remove the transparent pixels for that layer alone similar to the way one can use Image->Trim on the entire image. The purpose for doing this is so I can make an image sprite with each icon on a layer of the same size. Thank you so much!
I'm thinking of making a photo portfolio in InDesign and I have the following functionality in mind: First I would make a document of several pages containing placeholder images. Each page has a fullpage photograph with a small black rectangle on the side, overlapping the photo a bit. This rectangle should contain three text-boxes with the following information: Title Location Year This data is already present in the photographs EXIF info. Is there a way to automatically read these entries from the photograph that will replace each placeholder on the page and place them in the three text-boxes in the black rectangle? I haven't tried anything yet as I have no idea where to start. I have used InDesign before, so the basics are more or less clear to me. I have InDesign 5.5 at my disposal on Mountain Lion 10.8.2
I am looking for a font to use in a calculator. It needs to have alphabetic characters (a-z), and hopefully mathematics symbols like: + − x ÷ ( ) It's for using it in a calculator app design. Any recommendations?
In Adobe Illustrator, after I do Alt+Shift+Ctrl+S to open the Save For Web & Devices window, is there a keyboard shortcut or other way to select the Image Size tab in that window and input size without using the mouse?
Trying to come up with the most legible sans-serif question mark for my Google reCAPTCHA's help icon. The ones that Google use are either too retro or too unreadable (below). I want a question mark that is so clear at such a tiny size, yet so similar to standard sans-serif that my users immediately will understand what it's about instead of getting hung up on the design itself. It should be aliased for maximum clarity. I've tried Miniml, redrawing Helvetica etc., but I just can't come up with one that feels right.
I'm using CS6 on a laptop, usually hooked up to an external monitor. In that setup, the monitor is my primary screen and the latop's is my secondary. Since I like some real estate in my palettes, I tend to stretch the Layers panel to full-screen height on my primary view. When I start working with just te laptop, the Layers palette is too tall for my screen - Photoshop remembers the size and location of my palettes from when I was working on a larger screen. I can't resize the palette short of resetting the workspace to a standard. Annoying thing is that the buttons at the bottom of the palette are beyond my view now. Is there a way of resizing such a palette without resetting the entire workspace?
How can I color a pattern in Inkscape without creating a custom pattern? I guess this should be possible, but can't make it work. I draw a square and fill it with a color (green). Then I choose a standard pattern for the square. The green fill is gone and I have a black pattern. Now I would like to change the pattern's color. How can I do this?
I'm creating a silly anthropomorphic router by heavily modifying a product image of a Linksys router. Here's a preview. I want to incorporate a starburst effect into the background by creating a layer with a linear white-to-transparent gradient, applying Wave and finishing with Polar Coordinates. Here's what my first attempt looks like: As you can see, there's an unwanted artifact going from the center to the top of the layer. I'm assuming this is because the output from the Wave filter didn't tile horizontally. Is there a smart way to adjust the settings of the Wave effect so that I don't have to fix it up manually? I'm using Photoshop Elements 10.
I made a mistake in the below image by making the left-pointing arrow too high up, such that the black margins do not align. I wish to go back and change this "combining paths" action, without undoing any of the changes I made subsequently. It appears there is a "Allow non-linear history" option in the History Panel options. However, I'm not sure if this works retroactively... Furthermore, will switching to this not make life difficult when I DON'T wish to make non-linear edits, but eliminate all changes after the one I am editing?
I am trying to create a press ready PDF for a 16 page InDesign document using Print Booklet. I see the Print Booklet preview and everything looks fine, spreads are correct, etc. However, when I run the resulting postscript file through Distiller, the right side of the first spread (i.e. the front cover) is blank. If I simply export to PDF, the cover turns out fine, but of course the pages are not in printer spreads. I get no error messages when preflighting the document in InDesign. Also, blank spreads are not printing, even though I have checked the box to print blank spreads. My Distiller version is X. Anyone have any ideas? Thanks!
I need to make a plastic bag with my own design for my school project. I want to buy a clear plastic bag with 24"/20"/10" measurements. I need a very thick plastic (like this) with possibly a zipper and my logo on it. All the companies in NY I'm asking about propose me to make 5 000 bags minimum at once. There is no possible way to make a sample of my bag before I put the order, unless I leave them a big deposit. Well, Im just a student and can't really afford it. So maybe someone could help me to find the answer? I would be glad to any information you can provide.
It seems that Illustrator is the flavor of choice when designing typefaces. Users seem to have a strong grasp on Illustrator and prefer the design tools in the software over others. Typography is a huge part of what makes Illustrator so accessible to a designer. As someone who has designed typefaces from hand using illustrator and then having to lug everything over to fontLab I'm confused as to why Adobe hasn't built in the features of fontLab into Illustrator, or why they haven't built something better.
I'm interested in printing some very large installations from a digital file -- i.e. 10,000 square feet. This is for a cheap art-school project, so labor and quality are NOT concerns, but COST is. For this purpose, I bought an old color laserjet with knock-off toner, which brings the cost per full-coverage 8.5*11" page to less than 5c per page (plus the cost of paper, which I presently get for free). So my idea was to simply print thousands of these sheets, and with the help of many friends, literally tape them all together with sticky-tape before affixing the whole thing to a giant wall. For 10,000 square feet, assuming I get 8*10.5" per page, the cost is $847. SO MY QUESTION IS: Where can I find printing at a lower cost than this? I'm willing to do lots of research and deal with strange business relationships, but I don't know where to start looking. Obviously one possibility would be to divide my 10k feet into larger sections and get them printed by any old "large format printer", but from what I've seen those are pricey. Calculations: 1 sheet printable area: 8"*10.5" 8"/12" = 0.67 feet 10.5"/12" = 0.88 feet 1 sheet = 0.59sq feet 10,000sq ft = 16,950 sheets 16,950 sheets at 5c per sheet = $847. (about a quarter-acre)
I am designing the front cover page for my book in Adobe Illustrator. I would like to have a nice sans serif font for my main title. I chose Lucida Sans (font style = Demibold Roman). However, I have discovered that the small caps (SC) are only simulated and the first larger glyph looks much thicker. Doing a search on fake/simulated SC vs true SC I now understand that this font does not have true SC e.g. by looking at glyphs from Type menue. My question is, can I download an open type Lucida Sans or similar that would have true SC? Even better I'd like to have a look at all san serif fonts that have true SC and choose the best one (out of the freely available ones - I don't want to pay for a font). A quick Google search reveals a bunch of sites to download Open Type fonts, but I don't see search function to specify sans serif + true small caps. Any suggestions appreciated!
I have a selection of paths in illustrator (cs6). I want to select all the paths and free transform them to something like a 3rd of the size. The problem is when I shrink them down, the stroke on the paths stays the same. So originally some had 1pt and 2pt stroke, bit when I free transform all the paths to a 3rd of the original size, the strokes are all still 1pt and 2pt big. I don't want to have to go through each path and change the stroke, as it would take a long time. is there a tool/option in illustrator that can help with this?
Possible Duplicate: How to create this grunge texture effect How can I achieve this kind of background in Photoshop? Seems like a noise/paper pattern.
I was trying to draw behind many shapes but I couldn't tell where I was drawing because of many lines highlighting. But I need those shapes to draw correctly just not their stroke lines highlighting. Usually a problem when adjusting curved or making anchor point using pen tool. How do I lock objects in Illustrator to keep this from happening?
When transforming in photoshop if you alt+shift then drag a corner you can skew both corners. The other corners being at side that is opposite in terms of horizontal and vertical depending on the direction that corner is being adjusted. And other corner moves inversely. This helps in making perspective. I can't do this in Illustrator. Is it possible to do it?
Can anyone please help me identify the font in the attached image?
I seem to be unable to use the keyboard shortcut Ctrl+3 to hide a selection inside of Adobe Illustrator. Ctrl+2 for lock seems to work fine, but Ctrl+3 doesn’t do anything for me. Object → Hide → Selection does work, though.
I was wondering if Inkscape has the ability to select the outline of a shape, and then be cropped or copied and pasted over another shape? I remember being able to do this in Illustrator but you can't seem to do it in Inkscape. Setting a clip for an object keeps coming up (in searches) but that doesn't seem to do anything. If you paste it just pastes the object with a rectangle still around it. All I want is to select a shape and then paste it with a transparent background. Can Inkscape do this? Any help much appreciated Rowan
I am new to InDesign. I have been supplied a file with a number of pages consisting of tiff images. I was told that the tiffs have transparent backgrounds, but when I export to png, the entire page is filled with white with no transparency. How can I export or set a transparent background for each page please?
I am currently doing a master study in marine biology. Most of the slides in presentations I see (from students as well as teachers) are extremely cluttered with information and visually completely unappealing. There was never another approach than using Microsoft's Powerpoint as a presentation tool. While some teachers obviously focus on complete information on their slides I often wonder what the purpose of him or her being present and giving the lecture may be. I recently started to do presentations in Inkscape (exporting them as single images), focused on very few words and a more or less appealing design (choosing colour themes, big text, little graphics, etc). While I'm sure I didn't do a perfect job I never got any appreciation that my presentation was liked in the way of design. However, I didn't do many and have not much experience in other fields of science. Therefore I wonder what your experience is with simple slide design (rather than cluttered Powerpoint slides) in regard to science. Is it really worth to put some thoughts and time into design or do people nevertheless don't pay any attention to that?
Simple question that I can't find the answer to. I have a layer with a photo that I got off the internet. I want this layer to have rounded corners. So I draw a rectangle with rounded corners in photoshop. Just like the color is linked to the vector mask (that is the rounded corner rectangle), I would think I can link the layer to the vector mask. However, after all my research I cannot find how. Can anybody help link a layer to a vector mask/shape?
I use photoshop for web design, though I would really like to try and create faces with it. Though I can not draw. I saw a video on youtube where they traced over a photograph with a pen tool. and another one used a grid and drew the image. (and the of course the colours and the tones are created uniquely) So if I take a picture of my self, trace it and paint it. Would that be legitimate to be shown in my portfolio? Thanks
Im trying to follow this tutorial here http://www.psdvault.com/drawing/create-awesome-abstract-nebula-circle-shape-in-photoshop/ And it says Compress this layer to a very thins strip What does that mean and how do I do it?
I'm seeing a trend (especially on pinterest) of these posters where the image and subject is the text. THe text itself isn't really that important either, it's mainly the typefaces used and composition. Does this style have a name to it? Is it just called text-as-image?
I have the branding guidelines in PDF format (so viewing on screen) for an organisation with the specific Pantone Colours displayed alongside their code. Now when I add swatches for these Pantone colours and export as a PDF from InDesgin, the colours are quite far out. Note that I'm viewing both PDFs on the same screen and using Adobe Reader. Any ideas how to combat this or why this is happening? The colours are being used in a digital environment at the moment for some website redesign so I could use colour picker software to get the RGB values HOWEVER when we later move onto print work I want to ensure I'm using the Pantones. As can be seen in the screenshot, the exported Pantones seem dull and muted compared to the original Brand Guidelines document.
I'm working on a site. The width will be fixed, but the length will vary. What would be the best way to create a grid like the following in Photoshop?: