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I installed new photoshop, and working on iPhone and Android apps looks nice (for android at least on xhdpi and hdpi, mdpi and ldpi require zooming in) but when working on website layout i get frustrated to zoom in to 200% in order to see the page as it is online and see text all pixelated. Is there an way to render shapes and text as vector, to keep it sharp regardless of zoom level?
This is more of a handwritten or drawing style question. Lets say I draw letters. How do I make letters and numbers distinct? For example the number 0 has a line through it as well as 7. If I looked at letters l, capital I and 1 may look alike. How do I draw/write numbers and letters distinctly?
I typed my cv in a word processor. It is 2 pages long. I have also created a photoshop design using the A4 dimensions. I have noticed that not only do I need two pages but also it would help the design in the canvas was slightly bigger. Can you recommend me what canvas sizes are most appropriate for a photoshoped cv, and also how would I go about exporting two pages into pdf - do I create two photoshop files and somehow join them as one pdf?
Just so there is something concrete to discuss, say I have this color scheme: Source There are many articles about how to pick a coherent color scheme based on complementary colors, monochromatic colors, etc. However, once I have a set of colors, how do I decide which color to use for the header, which color to use for links, background or text? Even if I decide that I want a light on dark or dark on light scheme, putting the rest of the colors on screen can still make the site look ugly. Are there rules of thumb or general guidelines that help one decide which colors go where?
This is an area I always dislike when in the design process of a website. That being said I'm trying to be more efficient and I wanted to know when some use a sans serif or serif font how do you identify what the leading would be for each browser and design accordingly? Has anyone used or seen a calculation when using a 14px font height that will determine the leading?
How do you create squared big pixel texture like this in photoshop?
I got pretty simple example of site layout (link below), and i need to slice it. The problem is, when i have 2 images, or image and title overlapping, and when i try to make slices of both, i get one of the images cut into 3 or more parts. Which is not good. Is there a way to make slices overlap? So i get each image in one part?
Take a look on the image. I have a line with two segments (on the left). How to make smooth connection between them keeping one segment untouched (right side)? I know two methods but they are not so easy. I need a method that takes one or two actions. Update: It seems we need a plugin for this, as there is no good answer.
I'm setting up a workflow for working in a book with various chapters and I don't want the designers to change the styles in one document in the book. I just want to be able to change the styles in a master document. I know about the sync feature but is very poor, because I cannot delete a style. Also allows other documents to be the master, which is very bad in our case. What would be really nice would be a book to be linked to a styles library. SO you don't need any sync. Maybe a script could do that, I don't know.. Other alternatives?
I recently installed Adobe Photoshop CS6 and the guides option is not working. I need help. Also, I am new at Photoshop so a step-by-step tutorial will be appreciated. Here's a screenshot of the problem.
I am doing UI design for a group of programmers who are working on building music-related software. I have created .psd files for all of the mockups, graphics, etc. I was assuming they just needed the (many) images to put into the code, but they want me to use a GUI to spit out the necessary code. My question: Is there a GUI tool that can build VERY UNIQUE designs, and can spit out the mockups in code using MatLab or Java? -- Or should I just say no and give them the images to use in the code. (we are talking guitar-pedal knobs, EQ sliders, etc.)
I am creating a CV in Illustrator and exporting it to a PDF. I just read an article which stated that it is a good idea that we use hyperlinks in the CV so that the employer can just click and not have to copy the address. I like this idea, but I don't know how to add a hyperlink to text in Illustrator. Is it possible?
I need to create a master table of contents that incorporates two 100-page documents. Each document has its own table of contents. So, the master TOC would list both of the TOCs of the two documents as follows: Introduction Part One I. II. III. IV Part Two I. II. III. IV. Conclusion The problem I have is that ID doesn’t want to list as per above. Instead, it lays it out as follows: Introduction Part One I. II. III. IV. Part Two V. VI. VII. VIII. Any thoughts why it is renumbering them?
I can't figure out how to use the "paste into" tool, specifically to create what the image displays from this article. I'm selecting photo #1 from the target so that the border around the photo is orange, cutting it, selecting the second photo, which is a circle, clicking "paste into", which is supposed to make the image paste into the circle, but the image pastes on top of the circle. I am very new to this program and would appreciate step-by-step instructions.
I know you can select all text layers using 'select similar layers', but is it possible to limit that selection to just the layers within a group?
This has been puzzling me for a few days now, and I asked a graphic designer I knew before trying here and haven't been able to solve it yet. It's quite weird so please bear with me for a bit. I am using Adobe Illustrator to create a logo, and I have something that can potentially work. I have used only the pen tool with strokes (no fill), but the issue is, when I view the logo at 100%, it looks pixellated! I know vectors should not even be able to appear pixellated, but they are. Here is the screenshot from AI, without exporting to anything: That was just done using the snipping tool within Windows, and it's at 100% zoom. I have anti-aliasing turned on from Edit > Preferences > General, and the document resolution is at 300 ppi (I get the same result with 72 ppi). Could anyone help me with this? If relevant: Using CS6, and have a 24 inch Dell U2412M at 1920x1200 resolution. I do have a 21.6" Samsung at 1680x1050 and I get the same result there as well. Let me know if you need any other settings, or if you would like the file, I'd be happy to provide it to be able to solve this problem.
I am looking for a safe web font for chinese, similar to Facsimile font. The concept is old fashion arcade games.
I'm creating a logo design for a franchise I'm developing. To start it'll probably just be a webcomic, but eventually I'd like to take it commercially. I'd only use it in the logo, but I believe it still counts as commercial usage. Originally I went with a different font, but it was too hard to read. After looking around a while, I found a font called Kaneiwa: http://www.fontspace.com/family-font-mart/kaneiwa It looked impressive, and the site says its free to use commercially, so I figured it'd be fine. That's when I found this: http://www.dafont.com/kaneiwa-alp.font Unlike on font space, this one says free for PERSONAL use. I didn't think it was too big of a deal, though, I'd just contact the author and have him sort it out. Except that his email address is invalid, his website is gone, and I can't find any other method of communication. I've found this font listed all across the internet. Some sites say its free for personal use, others say its flat-out freeware. Does anyone know what it ACTUALLY is? I'd really like to use it, but I don't want to get into legal trouble by doing so. I haven't found another font that would make a good replacement yet. If anyone can help clarify this to me that would be great.
I want to export my images from Corel into InDesign. So I export it with a name that I want, but the problem is that when I export my image, Corel automatically adds a number sequence (eg. ...-1, ...-2, ...-3, etc.) and also creates two files with the EPS format. One of them does not have anything in it. How can I export my images with the name that I want? And how can I get rid of another file that Corel creates automatically?
I'm looking for fonts, available from Google Webfonts (ideally) or Typekit, that would look similar to Avenir Next Pro, specifically, Bold and Demi: Any similar-looking fonts, with good cross-browser rendering?
When handling multiple white-on-transparent png images, I am hindered by the fact that the thumbnails of these images are all-white. Both Adobe Bridge CS6 and Windows Explorer suffer the same problem, I can't discern between two of these pngs. Is there a way to make these thumbnails useful? Is there some setting I missed that allows changing the thumbnail background colour for a png -- now a deafult white?
Is there any way, aside from looking at the rulers and measuring by eyesight, to find the precise distance between one guide line and another?
I'm new at graphic design so any help would be very appreciated. Higher-up didn't provide that much info to work with, which is why it looks sparse, but I keep looking at it and feeling like it is missing something. It feels like there isn't something to focus your eye on for some reason. Is there anything that I am not seeing here, or should I just scrap this and start anew? Here is the poster: http://min.us/lKLagKkgJVGBY
I'm loading a .psd that's missing Helvetica and I'm trying to determine if any one of these fonts matches the original one used (I just installed a Helvetica font family pack). My choices in Photoshop now are: Helvetica Inserat LT Std Helvetica LT STD Helvetica Neue LT Com Helvetica Rounded LT Std Helvetica World I'm just looking for standard Helvetica. Are any of these them?
I'm looking for a database of font information, specifically limited to those found on Linotype. For example, given the typeface CRONOS, I'd like to be able to know if it is: (sans/slab) serif? monospaced? display? script? I can certainly look at a font by hand and decide this for myself, but I'd like a a database or tool out there that determines this. I've looked at the Linux program otfinfo but it does not give any of this information.
So I'm fairly new when it comes to working with images and creating different effects. But can anyone explain what effect is being applied to the conference logos in the following link? The middle of the logo is brighter and as you work your way outward, it gets darker. Are there any good tutorials to reference in to recreate this effect? I'll be mainly using Gimp for this.
I'm looking for an app that would allow me to simply view my PSD on my iphone as I'm creating it. Something like this exists for Mac (LiveView and Skala Preview), but I can't find anything similar for Windows. If nothing exists, what yould you recommend as a workflow to allow me to quickly view my psd's on my iphone as I'm creating them? (P.S. Remember when people use to complain about the limited software options for mac?)
How do I create the effect of a viewer looking at the interior of a flat parabolic surface that seems to stretch off into infinity? Please see the following image for an illustration of the idea. The best idea I had so far was to use the vanishing point tool in Photoshop with several perspective planes at different angles but that's not working. EDIT This is close to what I want:
On an 8" x 8" artboard, how do I evenly place 8 1" circles to make a circular grid? They should be overlapping by 1 pt.
Sometimes, when I'm trying to design something using a monochromatic color scheme, I want to make sure I get exact shades and tints of a specific color, but I don't know how I can do that because I can never seem to make the color picker move in a straight line when I'm dragging it around. Is there a way to do this in Illy, Photoshop or InDesign? What I'm looking for is to make it so the color picker is forced to only move along one of the red lines I've drawn: So I end up getting a perfect shade or perfect tint of the color that I've chosen.
I need to create a draw as you are drawing using a pencil and you fill it by using pencil. The effect should be like you are drawing using a pencil on fabriano paper or using ink, I need to fill the typefaces also in the same effect. Like the images
If I want to use images licensed under the creative commons cc-by-sa license, how do I have to share the derivative work in order to comply with the license of the original image? In particular, how is sharealike compatible with commercial use? If I use cc-by-sa images in a design that I want to print on a shirt and sell, it seems like that should be acceptable because the license does not prohibit commercial use -- However, how would I have to share the work? Is my design considered the only derivative work in this case, or would I have to consider that in printing a shirt, a new work is created which also must be licensed under the same license? If so, does this mean that the shirt cannot be sold?
I have a paragraph that looks like this: NN TitleA TitleB [alt-tab character to push to the right] [an image] Then in the paragraph style I set the first word, which is always a number to characterStyle A. After the first word I set the characterStyle B, which includes the TitleA TitleB [alt-tab character to push to the right] [an image] part. But this is not what I need. I need characterStyle B only for TitleA TitleB and characterStyle C to the [alt-tab character to push to the right] [an image] part.
As the title says what is the best way to take an existing sans serif font, such as Helvetica, and add a grunge effect to the text for die cut vinyl? I know it can be done manually but that tends to take time.
I have a document in InDesign and I need to start a section on the left side, but InDesign only allows me to do this if shuffling is set to manual. This means that if I need to add a page at the beginning of the document, I need to manually shift all the pages. Any better ideas? thanks
I don't work in graphic design, but currently I have a problem which could be suited for this site. I am looking for a software which allows to measure a 3D - curvature length. Just googling I found that Autodesk has a "measure arc" function which seems to be what I am looking for. Unfortunately, I can't access Autodesk, or other expensive software. To be more clear, I have a surface (currently in STL format, but I can have it in some other formats as well). I'd like to trace a line (possibly in 3D) along it and know the length of the line. The software I am using only allows to calculate distances (ie along straigth lines)
I did the following effect I did it using a circle with the required effect and a triangle with required effect, then I did object > clipping mask > make. After I did the effect, I did create outline for the text. Now every time I do direct selection tool (A) and I hover all around the text, I can see the circle and triangle which I already did to do the effect. My question How can I remove the triangle and circle and keep the text with the effect I did. Is it ok to leave it like that ?
Im not too good with html and graphics and usually just need to make fairly simple static pages. I was wondering if anyone knew of software that is similar to unbounce.com's WYSIWYG editor in terms of functionality and usability?
I had this debate with a colleague and we didn't see anything solid or something from a search that would answer this with certainty so I thought I would open it here. You are designing a website or app in Photoshop what is the preferred method for printing a proof for a client appointment in regards to getting the best color accuracy?
Is there a way to save an Illustrator file to a Tagged PDF file. I need to make the PDF 508 compliant and it would be faster if the conversion added the tags.
I've been using Inkscape to generate PNG's from various SVG files. This works fine for larger images, but for smaller images (like icons), bitmaps appear grainy and extremely anti-aliased at the edges. Is there a better tool - one that can generate crisp edges, even at low resolutions? Mac or Linux, freeware or commercial (hopefully not too commercial) would do.
I need to use GIMP instead of Photoshop, but I have a problem doing some things with transparency: I explain: I manipulate some tga files that have 4 channels, rgb and alpha. Using Photoshop I'm able to draw into the 4 channels independently, and the alpha is used like the other channel: here is a shot: If I try to open the same tga image (32 bits compressed) with gimp: you can see that the 3 channels rgb are masked with the alpha channel, and the image is uneditable... Any suggestions? Thanks
I tried to export my AI file from Illustrator (Save As..) as a PDF, but for some reason, the logo come out very badly. Editable PDF The exported file ends ups like this : http://d.pr/i/SySs ( I looked at the pdf on dropbox, and it looks fine. But for some strange reasons, in Preview it looks like the image above. It's pretty strange. )
Can anyone suggest 3D Face Expression Database which has basic expressions like happy, sad, surprise, anger, disgust, ... I am trying to simulate different expressions on a 2D face image. As a start, I am planning to create 3D face templates for each expression and apply texture mapping onto the data. --Thanks
I am not very familiar with graphic illustration. I want to create some underline samples like in this example, maybe a little more understated: I have no Photoshop and I can't find any good samples via google (since I don't even know an exact term which describes what I want). Are there any good samples around? Best would be in SVG format.
I'm teaching web development to beginners, and it would be useful to show them the basics in design, meaning using a graphic design package to come up with a layout, before turning it into code. To be clear, I want something for creating the "look and feel" of a page, not the layout. I don't mean prototyping tools. There was some confusion about this, and the meaning of my original question was changed, I just changed it back, half a day later. The html and css itself will be hand-written. I need something which is freely available, or really cheap. It can be a program designed for beginners, or a broader program with a "beginners mode", or a less intimidating interface for new users. Is there software which fits this description?
I am creating my CV on an A4 and I am wondering whether a 10 point font size is big enough. here is screenshot and I am talking about the content next to the crosses: http://d.pr/i/LDKK. in fact do e really need to have that kind of description in there? Thanks
Would like to present our products as pictures of 3D product boxes like this: I think Adobe Illustrator with the persepctive tool could to it, but I wondered if there is maybe something even simpler. Am a programmer with amateurish graphic skills.
I have a very large number of PNG images (too many to practically do one at a time) with a bright pink background and would like to replace the background color with transparency. If this is not possible or particularly difficult, replacing the specified color with white would be useful. I have gimp but not photoshop and am not particularly comfortable with command line, so if a solution requires that please show each step. It'd be great to be able to do this, any help would be appreciated.
I pulled a repeating pattern from someone else's PSD. Is there a way to figure out the size of the original pattern? I need to create an image with only one tile.
I just made some small tweaks to an OTF icon-font (iconic) and now I'm having trouble exporting this modified font. Have I missed something? Can you export from Glyphs to an OTF or TTF?
If I write a document that I have to hand in to somebody (a report, summary, draft, whatever) I usually justify the text because it seems more appealing (at least to me) if it all finishes at the same length. However, now I read that it may be more difficult to read overall because lines do not seem so unique and the reader's eye may be misguided. How do you usually hand in documents? Any advice or even scientific studies about that?
When a compound word is hyphenated, should a second hyphen be added at the beginning of the next line? And what is the case for compound words connected by a dash instead of a hyphen? Is any of the following correct, or is the proper way different? Note: My primary interest is English. However, this could be language dependent and if there are differences, I'd like to know about them.
In illustrator I can convert a selected shape to another shape by the Effect > Convert to Shape option. Now I need to convert to custom shapes, e.g. some shapes created myself. Is there any way to do that?
Greetings from a beginner! I am part of a team trying to restore a 1930's newspaper comic strip for possible publication. We have to use newspaper scans, and the text is often very messy. It has to be retyped, in a font as close to this sample as possible. Several fonts have been used during the span of this comic, this being the most readable. Can anyone point me to a suitable font? Scandinavian alphabets (å, ä, ö) are needed. The font doesn't have to be free. I understand that the exact font can't be found on digital form, and the sample here is distorted. http://imageshack.us/photo/my-images/16/comiccl.jpg/
I'm using "Distribute Horizontal Centers" in Photoshop, but it might be the wrong tool for the job. I'm guessing Photoshop will be distributing the CENTER of each text object and aligning that, so long links won't have as much 'spacing' either side. Is there a way for me to distribute a group of objects evenly taking into account their overall size, rather than by their center points?
I have a lot of sub-chapters and each sub-chapter needs to have on each page an image. I was thinking of putting the image on the first page of the sub-chapter and set to paragraph style A. Then create a running header variable for that p-style and put the variable in the master. Everything without creating a master page for each sub-chapter...
I could not find a complete guide of this nor did I know who to contact about possibly making a wiki here for it (if it exists or not allowed please remove). I cannot nor want to remember everything in regards to pixel dimensions when designing for mobile devices but I'd like to have a list of the pixel dimensions for: Device Width Height Apple iPad Apple iPhone 3 Apple iPhone 4 Apple iPhone 5 Apple Mini Google Nexus 7 Asus Transformer Pad Infinity TF700 Google Nexus 10 Asus Transformer Pad TF300 Samsung Galaxy Note 10.1 If someone knows a complete guide for all major tablet and mobile devices that would be great.
As far as I know, most art schools have exercises or even whole classes focusing on making gesture drawings. But actually, I'm wondering, why bother with it? While it probably has some merits, but most of the reasoning for it provided by blogs and various teachers is quite silly. All the talk about "capturing the essence of the pose" or "catching the most important part of the drawing" seems just like some kung-fu mysticism or drawing-religion. The closest thing to answering my question was a video I found on http://ctrlpaint.com/videos/why-bother-gesture-drawing by Matt Kohr, and I would summarize it in three points: you get well warmed up you focus on drawing you do a lot of drawings that way (so called pencil mileage) But frankly, I don't really have the time for such explicit "warming up" and I'd much rather warm up during actual work - drawing studies, studying anatomy, texture, proper shading and so on. Drawing gets me in the mood for drawing and well, it increases your pencil mileage too. Matt suggests to always do gesture drawings, even if it's the only drawing you do that day, but that would probably make me do gesture drawings ONLY! So what exactly is so cool about gesture drawings? What do they have that other exercises don't? They're fast and sloppy, and for me they don't seem to bring much to the table if skill improvement is concerned. Am I missing something here?
I see people adding color on top of a gray-scale drawing and their colors look great, but when I do myself, the colors look terrible (dirty, not the color I seem to pick from the color wheel). People tell me I need to learn about tone and value and the color wheel. I've gathered from this site and others that tone is really hue, which is really what we call color. But I'm not sure how saturation and value work into this. What is the relationship between hue, saturation, and value and how does this factor in to coloring a gray-scale picture? And even a good explanation of the color wheel would probably help. Thanks.
I simply love the idea of making concept art, and Id like to know, what skillsets are most important for someone who is trying to find a job in the industry or do some freelance work. Whats most important and how can I work on it? Im not thinking only in technique terms, like "you need to be good at making texture overlays" or "every good concept artist should work on his crosshatching and shading techniques", but also a broader sense, like "you need to be flexible and able to mimic someone else's style, to fit into the existing style of the product youre working on. If you are to design some new items for World of Warcraft, you have to make sure they fit the existing ones". Or maybe its somethign completely different, like "you have to know how to market your work and get people to check out your portfolio"? Those are only examples, Im hoping to hear a lot more from people who actually work in the industry. Any advice on how to improve would also be welcome. How can I work on those crucial skillsets? To follow my own example - how can I practice being flexible?
Im having a bit of a problem with my perception of angles and proportions. While I compare some elements of my drawing to each other, they seem to be fine. In a portrait, say, the browridge seems to be at a proper proportion and angle to the nose. The nose seems to be fine with the lips, and the lips seem to be ok with the chin. But when the wholeness is taken into account, the results are quite off. I actually have a picture i drew basing on a photo taken from http://lovecastle.org/draw/: As you can see, the part from nose to chin is too short, so is the hair from mouth to arm. The forehead came up too big, so did the nose. I didnt actually see it until my friend pointed all this out, and now it hits me whenever i see this picture. Its quite painful, to be honest ;) Im trying to avoid making this mistake again, but it is a lot of work. I measure and compare almost everything against everything when I draw, and still sometimes after a day or two I find the effects to be off in some way. Also, there is another problem I have with strict measuring. Sticking out my hand with a stylus or a pencil isnt exactly reliable, at least for me. Quite fast im getting tired of squinting, closing one eye, trying to lock my spine, hand and elbow in exactly the same position to take measurements. When working from a photo, its quite enough to shift my weight on my chair or move a bit, to make the proportions go wrong. Id imagine that similar problems would be in effect in drawing from life. The person youre drawing moves a tiny bit, and the relations between your "landmarks" change, the shapes change, and so do your proportions. So, my question is, what can I do about it? Are there any particular exercises or drills I can do in order to improve in this field faster? I found this: http://ctrlpaint.com/videos/visual-measuring but how many boxes can you draw? I'd love to get to know some other exercises, to bring in some variety to my drawing "workouts". If such exercises could be done while doing normal drawing, all the better. Ive seen people who just get the proportions and angles right at a glance, and I want to work towards such proficiency. edit: a new grea video came out on ctrlpaint: http://ctrlpaint.com/blog/measuring-proportion Really helpful!
As many designers, I sometimes find myself designing elements not for a particular project but only because inspiration was there and I might use it in a later project. It could be a button, an icon, a character or whatever. When they are finished, I used to just through them inside a folder, which I would reorganise later when I have time. But as their number is growing it becomes more and more difficult to find what I'm looking for. I think this could be fixed by abandonning folders introducing some tagging system with a search feature, but I would like to hear some thoughts from other designers. How do you organise and sort you work to be able to retrieve it later efficiently? What software do you use?
I'm having troubles trying to figure out how to make a complete object/image with NO pen tool paths or anchors etc... I have a vector tree... theres lots of completed paths/shapes but still in path form. How do I get all of them to be 1 solid item so that I can color and then emboss the entire thing? Every time I emboss due to tons of parts it wigs out. I've been searching everywhere... Do I need to go through and select each little complete path... and outline it? End goal: Still technically a vector object but 1 solid object able to be filled and then embossed. I can do it all in PS!
I'm currently working with a relatively small event run by volunteers and we want to be consistent across our publications. Currently we use Optima for the body text in our publications, but it's recently come to my attention that this is a Mac OS X default font and so my Windows colleagues cannot use it. As a result, we're interested in buying the font, but I've hit a roadblock: Google doesn't know whether the Mac's 'Optima Regular' is the Roman or Medium variant, or which it's closest to. As such, I turn to you, Stack Exchange: which Optima is the one included in Mac OS X? Any help appreciated!
I'm having a problem with capturing the likeness of a person I'm trying to draw a portrait of, and I was hoping you could point out where I'm making the mistake and how can I improve. Basically, the portrait itself looks fine (or at least its not terribly bad), but only as long as you don't know the person I drew. When you compare the original photo and my drawing, you will notice that my drawing only remotely resembles the model from the photo. To illustrate my point, here is a pic I drew from a photo found via Google search: So my question is: what am I doing wrong? How do I capture the "likeness" of a portraited person? How to practice it? Why can you immediately recognize a person on a good caricature, but not on my drawings? Any help will be greatly appreciated!
I have a specific Helvetica font that I use for text within graphics I am creating for my website, i.e. buttons, pictures. Do I need a licence or is it sufficient just to have purchased the specific font? Also if I then decide to create a second website with the font, am I breaching licencing or copyright, p.s. the font is only used on images.
Is it possible to edit the contents of a smart object without opening it in a new window? I need to be able to edit it as if it were a regular layer in my project, instead of having to edit it separately and then return to what I was doing.
I know this is called Kinetic Text, but I don't imagine one does this in powerpoint. What tools would I need to learn to get this done? I'd love if they were open source or low cost.
For a Windows application currently under development we have chosen a dark Modern UI theme. As I don't have any representative screenshot at hand, let's say our look and feel is somewhat similar to the Mango Theme for Orchad or the Windows 8 Metro: As our clients will be allowed to integrate their logo In the start page of the application, I'm wondering how to integrate it so that it's not looking awkward? As we won't have any control on the image file set by the client, what can be done to ensure that the logo looks as integrated as possible?
I occasionally come across a symbol that looks like this: It looks to me like some sort of stylized heart, or maybe some kind of fruit on a branch. It is often used to separate blocks of text, for example on book covers that are trying to appear elegant. I most recently saw it in this New York Times Op-Art by Ben Schott (may require subscription). Does this symbol have a name?
How do you design that bubble?: I tried to use a rectangle and a rounded shape but didn't work out nicely. Would be really nice if someone can point out (or if this kind of shape already exist!).
Tools like PNGOUT blithely strip out color profiles (the iCCP chunk), which arguably makes the tools lossy because it changes the appearance of non-sRGB images in nearly all modern browsers. I've found a solution. Gimp will offer to autoconvert to sRGB when opening an affected image. Saving and using PNGOUT is then perfectly fine. The original and Gimp-assisted recompressed images will give identical screenshots from a browser to the extent that every pixel will have the same RGB value with both image files. This is exactly what I want. However, I'm dealing with hundreds of images and opening them in Gimp this way and then saving them is not an automated process. How can I automatically properly convert PNGs to the sRGB color profile prior to recompressing them? Note: I've tried ImageMagick's convert with various sRGB.icc profiles, but every time I've tried it's a bit lossy (like giving #cccdcc instead of #cccccc) and thus ruins the ability to use PNG's greyscale storage for grey images, both of which are undesired.
I use the Affecton template in a bit different way that it was designed to be used probably. I do not have as much content as it was designed to support. I have only a couple of pictures on the page and very little or no text. The result is that the white background is very irritating: I want something darker than white but I don't know how to find a colour that goes well with the rest of my template. I looked at colorschemedesigner.com but it does not let me start from the existing palette.
I need to create a really large print of 4Mx2.5M. I've never designed such a large print and I need help in setting the right DPI for this. I am really clueless of how this is supposed to go. If I'm not wrong, this needs to be split for few different documents, right? What DPI should I set?
I've purchased a stock set of playing cards in .ai format and have successfully imported it into a Flash CS6 file. However I have the problem, that the cards have english indices: J, Q, K, A - while I need russian letters instead. I've spent many hours trying to replace the indices (using Text tool and "Break apart" command), however the results do not look good. Main reason being, that I don't know, which font was used originally (something bold and condensed). So my question is: when I select the index graphic to be replaced (like shown in the screenshot below) - is there a way in Flash CS6 to type a new character into the same bounding box? I think this would ensure a pretty similar looking russian letter - almost regardless of the font I take:
I am a software engineer attempting the impossible: to codify logotype creation. I want to learn all the rules and principles for logotype design and don't want to rely on blogspam. I'm looking for timeless, pre-internet information. What are the definitive books and courses that career logo designers have read and taken?
I have to simulate facial expressions on a face image ( say open mouth ). For this I first extracted the facial feature points and found the corners of the lips. Now I need to deform the image by moving the points down. In the above image I need to move the Pointe ( 2 ) and ( 3 ) to some distance left and right respectively. And point ( 18 ) and ( 19 ) littele bit down. So that I will get an expression like opened mouth. My Questions: 1) Is this the above way right to proceed to simulate facial expression? 2) How to do this any language?
I have a number of vectorial files that were created eons ago with a software called CasMate Pro(above) for the purpose of cutting those vectors with vinyl cutters. I googled a bit and I found out that the above software is not produced anymore and that there are some alternatives/workarounds... **My question: Is there someone else around here with this problem? What was your workaround to import those files and work with them in a more recent software?
I need to do the following shape in Illustrator, if can be done by Illustrator. I think it can be done by spiral, circle and pathfinder tools but I'm not sure. Please I need the details of how to do it, or if you have a tutorial that can help me about that.
Are there any simple way to align rows of text with different font sizes so that the text rows have the same width. I would like to do this in Photoshop, Illustrator and Premiere Pro.
I'm looking for a tool or strategy (web app, software, Photoshop feature etc.) that will let me display all swatches I have in a '.aco' or '.ase' file in a table and saved as a PDF (preferably) for documentation. When I picture it in my head I'm seeing something like a periodic table, showing the color in a square and adjacent to it showing the RGB for that color. It's basically to share the brand color palette to our dev teams who doesn't have the Adobe suite to look up colors themselves. Does anyone know of any tool that does what I describe?
How do you create a hand colored effect, like in the image above, using either Adobe Illustrator or Photoshop? I'd like to know how they colored the arrows and how to add a rough gradient like the one on the blue box.
I love how Google fonts allows you to pair fonts for great eye candy when designing but after time I have gotten tired of just seeing what Google suggests. I wanted to know if anyone has scene any other sites that have a wider spectrum of font pairing other than Google?
I've been given a .eot font file that needs to be used in a desktop program. So far none of the programs that I use (Gimp, Scribus, Inkscape) can read this font type. Are there any ways to convert it to something else?
I am newer than new to Illustrator, but am trying nontheless to design a logo for my friend. The most basic of operations is to create an ellipse, correct? I have created a circle with this tool, but every time I then try using the Area Type tool I get the message: YOU MUST CLICK ON A ON-COMPOUND, NON-MASKING PATH TO CREATE TEXT INSIDE A PATH. I have managed to "release" the compound path (apparently) but must still be using a "masked" path. How do I release this, so that I will be free to create text within this circle?
In current common usage, is there a Unicode character consisting of two arrows in a circle, or similar character that could convey 'synchronization'? For instance something like: I browsed the Unicode table and tried http://shapecatcher.com but no luck so far. These symbols are the closest I could find: ↷⎋⇄⟲☯♻ Note: I need a Unicode character for use in wikis and bug tracking. Using an image instead would be very cumbersome, and impossible with some tools.
I'm talking about real pens, not software! I love drawing with Sharpies except that I often smear the lines with my sweaty wrists! What's a similar black drawing pen/marker (felt tip or otherwise) that dries to a non-smearable state much faster (like within milliseconds)? I would imagine that the type of paper used is a factor here too. What kinds of paper are best for instant-drying of pen ink?
So this is more scientific visualization than graphic design, but I think the theory is the same. In colormaps used for visualizing data, there are often bands of color that stick out when they shouldn't. I believe they're a form of Mach bands? For instance, I used this bipolar colormap and it produces images like this: It's almost like a ring of neon orange around 0.2, and a similar one for blue around -0.2. Here's a plot of the RGB components, and a calculation of relative luminance in black: I manually tweaked it to try to get rid of the bands, and somewhat succeeded, but I don't really understand the theory behind it: It's better, but I still see bands in it. For another example, for the hot colormap, I thought maybe I had to linearize the luminance plot to prevent banding, but it didn't really work: The yellow and orange bands are still there, they're just moved and smeared out a little. So discontinuities in the luminance plot are not the cause of the problem. How do I smoothly transition through colors without banding? Are there rules for making smooth curves through Lab color space or something? (Edit: Ooh, I found an example for this: "The color scale is computed using the Lab* color space. It follows a uniform ramp along the L* direction, and it follows a semicircular path in the a-b plane.") Update: Here's a plot of this colormap in the RGB cube, showing the sharp angles user568458 is talking about:
I know that for creating texture on their paintings many digital artists use texture overlays or fancy custom brushes. But how to achieve similar effects using only simple brushes? Are there some techniques? How can this be achieved using traditional media, like acrylic or oil paints?
Is there a typographic convention or practice about placing punctuation marks after emphazised text? I ran across this example on a website today that adds an additional space after emphazised text when the next glyph is a punctuation mark. (However, there is no extra space if the next glyph is the next word's beginning.) The red circled spots are what I am refering to, in contrast to normal punctiation marks, which are underlined red. I basically understand this choice, so what I am really looking for would be citations or references to a style guide that outlines this practice. Explanations as to why or why not this is or should be done are welcome also, just to see what is people's take on this.
Can somebody perhaps identify the exact fonts in use by The New Yorker's iOS app, esp. those shown the sample below? I find the whole app very well designed (both in terms of graphic design, functionality, and indeed beauty and content :)
I'm looking for some advice on printing and selling tshirts. Is there a tutorial somewhere out there for designers who have created a design and want to make and sell shirts? I know a couple of local printers that I could use, but I'm interested in the pros and cons of using local printers versus online services that would handle payment processing, printing, shipments, etc. I hope this is an okay place to ask this question. It isn't technically a graphic design question, and I know there isn't a correct answer, but I'm hoping someone can point me to a nice guide out there somewhere that covers all the bases of making and selling shirts.
In illustrator, you can do pressure-sensitive drawing with the Blob Brush tool (if you set Width to Pressure in the settings from double-clicking the icon). You can also fine-tune the widths of paths with the Width tool. But you can't use both on the same sketch. The Blob Brush makes filled areas, and the Width Tool only works on paths with strokes. This means, when doing freehand drawing in Illustrator, you have to choose between two options: Use the best tool for natural freehand drawing (Blob Brush with a pressure-sensitive pen), but lose the best tool for conveniently fine-tuning a line drawing with variable width lines when tweaking it afterwards. Trying to do natural freehand drawing with the pen tool or pencil tool, then laboriously add every twist, turn and flick manually after the event with the width tool. Is there any way to get the best of both? Pressure-sensitive freehand drawing in Illustrator that can then be fine-tuned using the width tool? I'm pretty sure there's nothing in Illustrator CS6 that does this by default, so I'll accept answers that: Involve things other than Illustrator. I don't mind, for example, sketching in Inkscape then copying it to Illustrator to do fine tuning (if there's a way to do so that is natural and works as above). Involve paid plugins. On the closest thing to a discussion of this I can find, someone mentions the paid plugin DrawScribe's Dynamic Sketch feature. But, I can't see anything in the promotion for that feature that seems to do what I want. There's also the WidthScribe Width Brush but it looks like a more convenient way to apply the Width tool to existing paths than something that can be used for the original drawing. Require a script or a bit of Javascript hacking. The fact the Blob Brush exists proves Illustrator can turn pressure data into numerical widths and adjustments to point on a path, so in theory it should be possible to convert this into the nodes the Width tool adds to a path instead of the anchor points on an area shape. But I've got no idea where to start even thinking about making this work. Right now the best option I can come up with is drawing with the blob brush, then manually tracing over those lines again with the pencil tool, then using the width tool to mimic and tweak the twists and turns of the original natural freehand drawing. It doesn't loose initial freehand spontaneity like just using the pencil tool from the start, but it's really inconvenient and time-consuming. I'm sure there's got to be a better way.
I am painfully aware that nearly all my paintings and drawings seriously lack in terms of proper anatomy. The figures often look unnatural, twisted, deformed etc. More advanced colleagues told me I need to work on my anatomy. But here's the problem: how do I do that? What can I do to help my practical understanding of anatomy and the ability to apply it? I studied some anatomy textbooks and I have an idea of the bones and muscles of the human body, and I can tell the difference between the lats and traps. Still, I can't apply it to have realistic looking figures and heads. What should I be doing? Drawing skulls and then faces on them? Painting over skulls on faces? Same for figures - should I be drawing bones on photos / well drawn figures? Should I be drawing the pics from anatomy books? Are there any others I should be doing, that I can't even think of right now? I want to have a practical understanding of anatomy, I even bought some books (like Tom Flints & Peter Stayner's anatomy for the artist), but I don't really know how to use them! There are just some cool drawings of people in different poses, but no actual advice on how to practice it and learn it! Besides advice on what I should be drawing, I would welcome advice on how I should be drawing. I mean the things I should have in mind while studying. Should I be trying to envision the form? Should I try to imagine the muscles beneath the skin while I draw nude figures? Or maybe I should be trying to simplify the forms? These are just examples of the type of advice I would like to receive. Please note, I want to study anatomy in order to be able to draw anatomically correct figures from my imagination later, when I'm more advanced. This will probably affect the way I should be studying anatomy. Making an analogy to studying rendering forms and lighting, I was once told: "mindlessly drawing just what you see won't help you improve your rendering skills for imaginative objects. Try to think about why a shadow is placed where it is and why is it shaped so, why so it soft or hard, where the reflected light comes from etc.".
What's the boldest variant of the "Neuzeit?" Neuzeit Grotesk (or "GroT") is the boldest I've found online, but I just came across a sample in an illustration that was even bolder than that. I need to be able to match it.
I'm new to Photoshop and I'm building an HTML email template for the client with the PSD file provided. This is the image part I cropped and what it displays in the normal browsers: And below is what it looks like in the email clients ( IE only ): I have tried to save for web & device as various extensions like png, gif, and jpg to remove those white dots but no lucks. Could anyone tell me how to remove this?
How can I set the extras displayed when transforming to use whole pixels as the measurement?
I have a master with only one column (A) and the picture it-s into the text frame. Now I need 2 columns but how to make the logo to stay on the right? We found 2 solutions but are not very good: create an another text-frame with the width of the page and the height of the image. Then the 2 columns will start when the image's text-frame ends (the problems is that the image might have different heights. Also it implies the creation of another master page) put the image outside the text-frame and let it to push the text in the right col. (This is not good because the left column will start before the right column)
I was trying to scan some of my sketches in order to post them on some community sites, but the effects are quite bad. An example could be seen here: Basically, the contrast is terribly off. All soft shading done with a hard pencil is gone, the white is too bright and too "aggressive" and bleeding all over. All the shading had been "flattened down" in the process of scanning. So, my question is, are there some techniques or procedures I should follow, some typical settings for the scanner I should use in order to get good quality scans without the brightness/contrast distorion?

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