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I'm setting up a new Mac :) I know that my huge font collection will bog down its performance considerably, so I'm looking for a way to store and access them externally - either on an external drive, or preferably in Dropbox. I would like to keep only the basic system fonts that shipped with the mac onboard, and store all the rest externally. This is easy enough but I don't know how to get Photoshop to pull the fonts from an external folder (other than my user library fonts folder). In addition to that, I'm working between multiple computers, so I would love to be able to sync fonts between all of them. I have found some solutions involving Dropbox and Fontcase, but those still require me to store all of the fonts natively on each computer. Anyone know of any solutions for this? Thanks!
How can I apply long exposure lighting effects to a road (ideally using Photoshop or Illustrator)? See the image below for an example. How can this be achieved?
I'm working on some print design in Adobe Illustrator, but I can't seem to figure out this one thing. It's probably stupid, but would really appreciate if someone could help me out. I've create a modified a circle - shape, which has a number of anchor. When I fill it, I need there to be a circle in the center which would allow that center to be see through and reflect the design of the background. But when I use the pathfinder I get a weird output which I assume is due to the anchor points in the back image. I figured this wouldn't be too clear in writing so I have made a video with my problem! http://youtu.be/-urNULSH7GE Thank you to anyone who can answer this!
I have a site screen shot(like this - http://d.pr/i/KxHN), and i want to rotate it to "perspective view" like the below image. How i can do that? Google hinted nothing about this problem.
I've learnt the basics of InDesign and created a 10-page magazine with some adverts in (stored as PDFs). My earlier question here was from a purely educational standpoint; not an actual printed magazine, for clarification purposes. (Apologies for not clarifying this last time) The version I am using is InDesign CS5. The magazine is 200 mm x 270 mm (200 mm width x 270 mm height) and I have adverts in 193 x 270 mm (all dimensions quoted here are width x height), 193 x 130mm and 93 x 270mm in size (stored as PDFs created from InDesign). This magazine is only for educational use; I am not actually printing a proper magazine yet. My question is, what's the basic standards for inserting adverts into InDesign (I know how to do it using the Place function of InDesign) - do you insert them in at the size the PDF was (193 x 270 mm advert for example) or would you rescale / resize them? What do you tend to do? I did look up on Google, but that was information on how to do it, which was useful for me. However, what I'm wondering is, if this was an actual production magazine, how would I do it properly?
All designers love ligatures but vanilla web typography just sucks. I heard of smartypants that solves many of thoses issues, bringing sexy quotes, gorgeous ampersands and all. It's just perfect, visually. But i'm worried about SEO. Let's say on a web page, the word finally becomes ﬁnally. Are search engines capable of indexing that word and return the page when searching for finally (without the ligature) ?
I am looking drawing lessons of the illustrations in vector. Or in any editor.
I'm going to create GUI for a mobile app that will work in bright sunlight environment (inside a car so it will not be fully exposed to sunlight) and the usability and visibility of certain GUI elements are the most important factors. What are some tips for creating such UI? What colors should I use?
Any ideas which font is being used for Google Plus social "g"?
Can anyone identify the font in the graphic below? Thank you.
I'm developing an app, and I would like to use this font: Does anybody know what it is called?
Is there any way to easily generate this? thanks!
I have this 1754x1240 texture which I use for vintage effect in background images in my iOS app. iPad screen size is quite large 1536x2048 and when I apply this texture directly to an image that size it doesn't look very nice. I tried downscaling this texture and cloning it all over the image but then in the edges there are abrupt transitions, which doesn't look nice neither. I tried gaussian blurring for the edges but couldn't get it to work. Is there any way to extend a part of this texture (with smooth transitions between repeated parts) so I can apply it to an arbitrary size image? Hope I'm clear.
Lessons learned defying Joel Spolsky with Django by Nick Bruun I love the fonts - would really appreciate help in identifying the fonts.
Is it possible to import a Illustrator document into Photoshop and keep the layers - we need to supply a multi layered document to a client in this way asap... We have tried exporting the doc as a PSD from Illustrator - but the 'write layers' option is disabled for some reason! Any advice? Thanks
I've been learning how to use FontForge and am now getting my feet wet with kerning. I see that there are two options to do kerning: classes and pairs. To me, classes seem to have no downside. When I'm setting a 'T' to a 'c', 'e', and 'o', I can do them all at once! If I have something that's a bit of an oddity, like an 'a' or an 's', I can just set it by itself (knowing too that once I get into diacritics those characters won't be alone anymore). So, why would I use pairs at all? Is it just a legacy thing since pairs came before classes? Does setting up a class introduce a lot of overhead into the font file that can bloat it or slow it down?
I have an image, it's the Backtrack_5_PitchBlack.jpg found at http://www.backtrack-linux.org/screenshots/, and I'd like to get it down to 640*480 for a Grub4DOS splash screen. Unfortunately, this also means I need to index it to 14 colors (or less) and save it as an XPM image. I get that I can crop the whitespace around the edges (so as to avoid needing to scale the image unevenly,) but will I get better results doing the indexing before, or after the scaling? To summarize: I need to - Crop the image from 16:10 to 4:3 Scale the image so that it's 480px high index the image to 14 colors I'm using GIMP, what's the best order of operations here? I'm most likely going to use the Floyd-Steinburg (normal) dithering, but I also need to know what the best Scaling algorithm for this is. I'd prefer to have it look as if it were vectored straight into that size - edges as smooth as possible.
I'm a project manager coordinating development of audio plugin software. Our GUI designer is using Altium 3DS to build a 3D photo-realistic GUI, and will then output images from there for the software to use for knobs, etc. The plugin software wants the knobs to be provided as image arrays -- where a knob is embodied by a single PNG file which is a horizontal, end-to-end concatenation of all the images that are shown as a knob turns through its rotation. My 3D designer tells me that 3DS can render the knob out as single frames, and he has to then manually assemble all these together in a single "filmstrip" image array. I want to lid that time consuming and error prone assembly process, perhaps by using a capability of 3DS, or a Photoshop Action, or so image assembly utility? Can anyone suggest the most effective method?
I am working on a project for a small organization that publishes PDF magazines to ISSUU.com. We are discussing adding infographics to the publication, but some can be tall and can't be used in their full size withing the boundaries of the page. Is there a way to save an infographic or insert it into the publication that will allow the viewer to zoom in on the content? Can we still use PDF, or do we need to publish in something else before uploading to ISSUU? Our publication is small and working off of a PC, not a Mac, but we are working towards expansion. Any advice you can give will help us, if not at the present, then with budgeting for future purchases of better resources and tools.
Let's say I wanna make a website that would allow a user to download a wallpaper in sizes for PC, HD, mobile and tablet. What are the top used / best image dimensions I should host?
I'm handling a lot of company images (300+) at various resolutions (16, 48, 256) and the appended '.fw' is becoming a huge waste of time for me. After creating the images at the 3 resolutions I use the extremely useful batch process built-in to Adobe Fireworks. However, while the exporting function works fine, the renaming one doesn't. I ask it to replace '.fw.png' with .png' but it doesn't work. Any idea why? and if there's a fix? I have a suspicion that it's because it part of the file extension. The image below shows the fields available to specify the batch. The 'With' field doesn't allow any '.' (periods, full-stops).
I downloaded a paper back book cover template from Create Space and loaded it up into Inkscape (and used GIMP to crop the background images to fit the template). What steps should I take, and what settings should I use, to guarantee the final pdf file of the book cover will test out at 300 dots per inch in Adobe Acrobat XI preflight? Scenario One. Your background image jpegs have a resolution of 300 x 300 pixels. Scenario Two. Your background image jpegs have a resolution of 72 x 72 pixels.
Is there any hotkey assigned for entering into text-editing mode with Type tool in illustrator? Without using too much mouse clicking, this would be definitely helpful for my design work productivity. I wonder if there is any for this? Any advice would be very much appreciate?
I have used textures from services such as FreeImages.com (formerly sxc.hu) and different bundles but is rarity that they connect well together. This print design resulted in odd lines and some bad textures where the images do not connect well together. My friend suggested blurring and I think it could work with the best textures but not with poorer ones. So how should I design this kind of textures? Some good sources and which method to use with poorer textures for large city facade designs? Update Use Photoshop and put each vertical texture to independent file so the file size does not increase too fast, easier to manage. In Photoshop, I used the finger, perspective projection, rotation -- to create dark textures for a tall building from this texture. Now if you look at the general trend in the black-white picture, you can see that certain patterns are too repeating here. It is very rough and time-consuming to use orthogonal textures with convex fix and then adapt it to the environment. For an arbitrary-sized building how to automate the creation of unique tiles? Basically the problem would require to build a convex lattice against which to apply the texture with light coming from the floor level when the texture rises up like a tower. How can you do it? With some 3D software that could extract the light-adjusted texture?
I made a 10 pages file in In-Design, RGB space designed for web. Created some masters. After exporting (smallest file size as well as others too) to pdf the result gives me different tint of color on pages even if i used the same master. So, if page 2 uses Master A and page 4 uses the same master A, in PDF they have a different color, more like they have a different color management. http://postimg.org/image/8yyw8c5pd/ Up is the page with wrong color. Page 1 uses the same master as the page 3 below (at page 3 you wont see number in this print screen) but their colors differ and I don't get it why. I still need this file the same colors everywhere and the right color is displayed at the page at the bottom.
I'm working on a form that could be filled out manually, or submitted digitally. Here's the issue: When submitting digitally, I have certain forms that have 3 lines for the user to fill out a significant chunk of text. Instead of it compiling on one line using the 'multiline' checkbox in acrobat, can i have it automatically wrap to the next line as the user types to the end of the previous line? Basically, there are the normal lines which need to be there. I'm wondering if anyone has a script (and how to implement) that would allow when a line is full, to jump to the next line down, flowing the text to the next line. Here's a screenshot of how the form sections look: If anyone has run across this, any help is much appreciated.
While this is loosely graphic-design related, when doing design for some kind of annotations, one have to work with symbols used as 'reference markers', such as 1 in foo 1. When you need to discuss the decisions regarding these, you may want to use a distinctive word. But how are, or should, these be called? These are usually numbers, however, this won't make them different from exponents; and saying 'numbers' is not very distinctive when the content body is dealing with or using numbers, too. They could be referred as numbers in the upper index or superscript, however, they not essentially need to be a superscript (especially if you try to experiment with something new in your design). In some cases 'reference markers' as numbers can also be a bad idea, eg. annotating a math text. How should these be called? Numbers? Numbers in the superscript? Reference-mark symbols? Annotation symbols? Is there a term for these?
A regular client of 3 years typically orders prints from us quarterly came in over a week ago with an order. Sometimes this client comes in with the designs and sometimes we do the designs in house. When we were finished with the designs we sent the proof and then heard word from the client that they actually had the designs already produced so we used the designed provided. We had sent a bill to the client Monday in regards to the prints and design time we spent. Now the client feels that they shouldn't have to pay for the design time. So what to do? Let it slide and remove the design charge? Proceed with the request to be paid?
I have SVG files which i import into CorelDraw for exporting them into PLT/HPGL files. The SVG files are polygons with extremely high node counts - up to 10000 nodes sometimes. When i export them to PLT through Corel or Inkscape the lines are sometimes broken. The breaks are visually invisible. The drawing looks the same but when i zoom in there are places where a node or 2 are missing - tricking my laser cutter into thinking that they are not single continouos lines. I do not want to join the lines or simplify the nodes using either of those programs. I am building a program that exports those polygons and i want to know what is going wrong - there must be some restrictions on HPGL/PLT file format - so that i can configure my program to output a correct path that can be exported without those issues. UPDATE: The issue seems, and i say again SEEMS to be in the IMPORT of the PLT files. When i export a PLT file from Corel and import it again in INKSCAPE it looks OK. However when i re-import the exported PLT's into Corel the problem is there. Anyone else had this problem? I ANSWERED MY OWN QUESTION BELOW.
I'm using Adobe Illustrator CS6. I have a document in RGB mode, with Web preset. My color settings are: [Working Spaces] RGB: sRGB IEC61966-2.1 CMYK: U.S. Web Coated (SWOP) v2 [Color Management Policies] RGB: Preserve Embedded Profiles CMYK: Preserve Numbers (Ignore Linked Profiles) [Conversion Options] Engine: Adobe (ACE) Intent: Relative Colorimetric And my colors are duller than normally. If I open my document in another computer, I can see the correct colors. Just look at my color picker: And as it should look like: Any ideas? Thank you.
I would like to provide a non-technical, intuitive visualization of my database for people who are familiar with the underlying data, but not database design. The figure will be included in a journal article, and the audience is primarily students and scientists, many of whom will not understand concepts such as "many to many" or foreign and primary keys. My goal is to convey a conceptual rather than a technical understanding of these relationships, and how they are a useful way of understanding the data itself. A technical and comprehensive description of the database will be provided as an appendix. I see that there are many types of Entity-Relationship diagrams, but I am not sure which one, if any is best suited for explaining a data model to my audience. Perhaps there is another approach. How can I represent this in a non-technical way that avoids keys and provides a more intuitive understanding of the relationships among tables? Here is an example of my starting point: The actual database will have 11 tables, including 3 used to define many-to-many relationships, and many fields that can be dropped. update: but please note that I am not looking for a way to create such an ER diagram. I am looking for something further abstracted, that avoids dependency on keys. Here is a very rough sketch of an idea: it uses overlap to show hierarchy and a bold border on the key table, and to show the 'ideal' level of abstraction (if it could contain and communicate the important information). Hopefully, these points can expand the scope of possible solutions. It is a 'sketch' in that I haven't figured out how to map these visual elements to specific relationships. As discussed on this site's meta, this question is open and remains unanswered at stats.SE
I want to create my website mock up using InDesign. Based on a finished website resolution of 1024 x 768 what size should I create my pages in InDesign (in mm). Thanks
I have a simple illustration in CorelDraw with overlapping simi-transparent curves with uniform fillings, and I need to export it to EPS while maintaining everything in vector form. It is perfectly possible in principle since the illustration contains no gradients, only uniform fillings. By default CorelDraw rasterizes overlapping regions when exporting as EPS. After some trial and error I was able to achieve this by exporting it to EPS from Adobe Acrobat or Illustrator with non-standard settings. But I would prefer to stay with CorelDraw. Is it possible in CorelDraw?
I have an Illustrator document with hundreds of vector images (each a color variation of a single image). Each vector image is on a separate layer. I have created an action to resize and export (save as png). Currently I have to apply this action manually for each layer. If 100 layers => click Action play button 100 times. Is there a way to create a batch action to perform an action on all layers in an Illustrator document with one click?
The behavior I'm looking for is similar to how one can make a path line dashed. Except, instead of being dashes, I'd love to make it show $ signs. Thanks for your help!
I know blend mode "Multiply" means multiplying the colour (0 to 255) of its layer, with the visible underneath (0 to 255), then divided by 255, forms the resulting colour (0 to 255). As a visual effect, it is always darkened. However, adding an empty adjustment (level or curve) layer, with NO adjustment content in it. Using blend mode multiply also darkens the image. Why? Its effect is NOT like blending a white layer, nor blending a 50% grey layer. An empty adjustment layer is regarded as transparent, somehow. But what explains the darken effect while blending with multiply?
I created a tall grey building texture for a wall from this. Now if you look at the general trend in the black-white picture, you can see that certain patterns are too repeating. For an arbitrary-sized building I don't know how to create realistic textures: convex correction for light and user position? I used Photoshop to create this texture but some 3D program may be to better here. It should output the light-processed textures. Can I do the light-manipulation with Photoshop or some other tool and how?
I have a Photoshop document with several small layers replicated in a vertical stack, each a fixed distance apart. I want to add another copy to the bottom of the stack, the same distance as the other ones, but I want it to be exact, not just eyeballed. Is there a way I can determine the distance between two layers so I can place the new one the same distance below the last one?
I'm trying to get accurate colors for a digital-photographed painting. The photo includes a color card ("Kodak Gray Scale", with cyan "C", yellow "Y", magenta "M", and a 19-step gray scale going from A(0) to M(7) to B(16) - similar to this). The color card makes it clear that the photo is not accurately representing the colors... the goal's to fix that. I've talked with museum professionals who say "use Raw! Photoshop's too hard" but then they aren't Photoshop geeks. The workflow they described to me (and I don't know Raw, so I'm just repeating what I was told by a digital imaging novice) is to "eye dropper" the #2 gray "to equalize R/G/B", and then adjust "one of the sliders" (exposure?) to bring R, G, and B to 200. Anyone have a good Photoshop workflow for this?
I would like to use a consumer grade inkjet printer (entry to mid grade) to print on self-adhesive vinyl. These labels would be for outside use, so the ink could not simply sit on the surface of the vinyl. The labels do not have to be resistant for months, but the colors/ink should obviously not wash away and be permanent. I would like to do this without using a laminate so I am guessing that the printing technique would have to embed the ink below the surface (?) What would be the best way to accomplish this?
For example, i got two adjustment layers (A and B). At last, i will only use one of them. While considering which one is better, i can compare them by turning A visible and B invisible, then A invisible and B visible. This is not so good because in the transition, there is a stage that BOTH layer A and B are invisible. Is there a single way/shortcut that i can switch their visibilities in one go?
I'm in the process of developing a site for a client, and she really likes the font Sell Your Soul for the main headings. Only problem is that it's incomplete - it doesn't contain numbers or any punctuation. I've looked for fonts that are similar, but most are more exaggerated than Sell Your Soul, which doesn't fit the aesthetic she's looking for. So, knowing nothing about font creation myself, how would I go about adding what I need to that character set? Is it even possible?
I want to type Arabic text in Photoshop, but the text appears disjointed and the letters do not connect at all. For example محمد appears as م ح م د. I'm using Photoshop CS6 on OSX Mountain Lion.
I'm looking for this font. Here is a sample. I have no ideas about it at all. Thanks for any help!
How can I add crack to a picture in Photoshop cs5 (with or without using custom brushes) like the one below? I tried with brushes, but it didn't look realistic.
Can any body teach how to create a distinguish line running through in the middle of box? I want it to look like the line in this image: EDIT NOTE: I lightened the image levels, and cropped to one side in order to avoid site resize. This was done so overall appearance can be better seen.
We are designing car headlight reflectors. The most important thing that we need to do is to design the curvature of the reflector so that all the light from bulb is reflected onto a specific and small part of road on front. As soon as we have achieved light reflection simulation, we'll have to keep tweaking the reflector shape to achieve desired result. Initially I tried doing it in SketchUp with a plugin that can simulate reflection of a light rays. But as per designers in our team, it's a very basic software and difficult to design in it. Our designers have tried simulating reflection in Maya. But couldn't do it. Can anyone please guide us on which software to use to simulate light reflection and design the reflector. Any help would be greatly appreciated. Thanks in advance.
I've been trying to create an abstract pink background similar to this one: I can't seem to find any tutorial on how to do it. How are those wavy looking lines created? Thanks.
I have one layer with some black pixels in the middle and a transparent background. If I add an opaque white background under it, merge both, and then click "Antialias" from the "Filters" menu, it correctly generates gray pixels where appropriate. However, I intend to use this image on top of a dynamic background, so I can't use anti-alias against a specific color, but if I don't add the background opaque layer and just use the Antialias filter, nothing happens. My expectation was that semi-transparent pixels would be generated, so that it would become anti-aliased with different backgrounds. Is there a way to achieve this or am I trying to do something wrong?
I am trying to create a complex 3D shape in Adobe Photoshop, like the shape pictured below. Is this possible? Are there any tutorials available? I was unable to find any. Thanks.
I have been using the pen tool for more than 8 years already, but when I started using CS6, I have lots of difficulties using the pen tool. I use the pen tool for vector portraits and I need to use opacity 10 for every vector. But when I add another shape on top of it, it gets back to 100% opacity, so I have to change it to opacity 10 again. This has caused me to spend a lot of time on something else than trying to make my work quick and fast. Any ideas?
I have just gotten Blender 3D, and was wondering how to create a wireframe. Could someone please guide me on how to do this?
Can someone explain how is the below image created? I am specially interested in background grid. I am comfortable with the sphere. Any ideas?
I have a gif of characters dancing on a white background, and I want to use the magic eraser (or an equivalent selection tool) to select and clear the white background to make it transparent. However, the gif is ~150 frames long so doing each layer individually would be tedious, and I'd like to know how to sample all layers any way. Is there a way to do this?
What I've been doing is copied each stroke, selecting the end anchor point and moving it using the arrow keys: Is there an easier way to do the following "semi-circle ray effect" in Illustrator?
When I do "Save to web and devices..." it shows me the below screen. When I try to save this, it saves it as separate part images. I want to this as a single image. How do I do that?
I'm trying to create a diagram in illustrator, and what I'm looking for is the ability to use some kind of "quick connector" like in Visio. Basically it's the ability to make a spline or straight line connector between two points/objects, which will automatically expand or stretch as one of the objects is moved. Anyone know how to achieve "quick connectors" in illustrator?
I have a double stroke svg that I want to reduce to a single stroke svg. The area on the svg is defined as some white shapes that are overlayed on a black background, with anchors outlining the shapes and background. I hope this makes sense I almost want something like the monoline tool developed for text, so that I can simplify an icon to a single line svg for a lazer cutter. Thanks. Here's the closest thing I can get to a single line:
I watched the soccer game NL-EST a few months ago and kept being distracted by the font on the Estonian players' shirts. Very nice. I tried identifying the font through WhatTheFont, but didn't succeed. It could of course be a custom-made font, just for those shirts.
I want to add an individual image to a static pdf. Like I have 200 individual images and one pdf that is always the same. Then I want to say something like 2 inch top and 3 inch left and then the programm will place the image on this position and in the end I have 200 pdfs. Which software can solve this problem best? Thank you.
I want to set certain layers to be hidden when exporting a slice. More specifically, I have a banner slice with a headline within it. On the actual HTML page, that headline is actual text displayed over the image. When I export the image within Photoshop, it is a hassle to hide that PS text layer before exporting. Is there any way to set it to remember to hide?
I made a rectangular shape. I set it's layer style to gradient overlay and the layer mode to multiply. It looks great with one layer, the one on the left. However when I make another shape and repeat the process only with different gradient orientation.. it does not seem to properly multiply over the previous. Hence the interruption in the corner.I also tried grouping the shape and adding the second layer style to the group. Practically I need a left to right gradient and a bottom to top one blending together to form a nice corner shadow. This is a screen:
Is it advisable to scale a raster image in Photoshop to the final size before embedding it in Illustrator or does Illustrator use the same bicubic algorithm as Photoshop when (up)scaling pixel images?
Say I have a large set of random points or circles in illustrator. I select and group them. How can I output a list of their coordinates (i.e. centerpoints) on the page?
I created a footer for a dental lab. I was trying to keep it warm and inviting, but now being told it "looks too casual" or "looks too simple". I heard the blues and grays are "too subtle" So before I put glitter and <blink> tags I was hoping to get some feedback on perhaps color choice, fonts, or maybe I just did make it too boring? The part in the graph paper is the container that is 960px (using Foundation), the reason for the gap is that there is an aside with content towards the top. The second line in the footer looked better with text-align:right when it was just the year and name of lab, so I am centering that text as well.
I have added a Bezier line to the outer end of a spiral. (See comment for details.) After that I selected both, colorized them and gave them a small amount of blur (1.5%). The problem is, that only the spiral gets blury, but not the Bezier line. Nevertheless, if I move one node of the Bezier line somewhere else to the outer path of the spiral, select them both and apply a blur, both get blured. I moved the node with the Edit paths by nodes tool and enabled Enable snapping -> Snap notes or handles -> Snap to paths. Next I can drag one node of the blured Bezier line to the cusp node of the blured spiral by hand and level the line horizontal, by entering the same y-value for the right node that the left node has. Now I can select them both and can change the blur of them simulataneously. By that I can achieve the result that I could not get by the first method. (See EDIT) I would like to know, how I can blur both objects at the same time without all the effort described above, if this is not a bug. user@hostname:~$ apt-cache show inkscape Package: inkscape […] Architecture: amd64 Version: 0.48.3.1-1ubuntu6.1 […] [EDIT]: After messing arround with the problem for another while I realised, that the blur of the line only disapears, if I level the two nodes of the line exactly one the same y-values with copy and paste. In my first try I entered the y-value of the left node of the line in the "y-value box" (at top) of the right line-node by hand, what probably results in not exact the same numbers as copy and paste does. In my second try to recreate the problem, I copied and pasted the y-value from the left line-node to the right line-node and as soon as I did that the blur of the line disapears. I could not find any information that this behaviour is intended by the developers. Thus I guess this is a bug and I will report it to them and write about the progress in here.
I've used GIMP for a while and have custom settings, brushes, plugins, etc. installed on my Windows 7 computer. I have a Windows XP machine that I want GIMP on too, and I want all the customizations already on my Windows 7 computer on the XP one as well. Where is the GIMP settings/plugins/brushes folder and what is the best way to transfer everything in a easy manner? BTW I'm using GIMP 2.8
The above image shows tabs of opened files in photoshop. I'm making icons of android app for multiple resolution support. Some of you may know that Android treats same filename in different folders named drawable-hdpi, drawable-mdpi, drawable-ldpi to support multiple resolution. I'd like to put a kind of tag or title in order to indicate which file is belonged to each folder, for example [ldpi] ic_menu_template.psd. Is there any way to do that?
I'm a web developer and on a regular basis I need to work with .psd files that have been provided by a designer. My needs are low - mostly I just toggle layer visibility and then save as .png, which I further slice and dice with Paint.NET (my tool of choice because I'm more proficient with it). Now, so far I've been using a... borrowed... Photoshop, but I'd like to finally purchase a copy of my own. Unfortunately it's pretty expensive, so I'm wondering if the cheaper Photoshop Elements can do the trick, too? Will it support all the layer blending effects and other tricks that artists are so fond of using? If I turn off a layer will I still get the same picture as I would in the full Photoshop?
I'm trying to learn and practice Photoshop in my free time. Been trying to recreate the text effect used on Gizmodo Brazil's logo but can't quite get it right. Can somebody guide me through? Here's the logo:
I know people prefer using CorelDraw or Adobe Illustrator, but I want to know if there is a technique I can follow to use Adobe Photoshop to make vector Images.
I have created a vector mask for a layer in Photoshop containing a circle. Now I would like to fine-tune its position and size. I can only move individual or multiple anchor points.
In CorelDraw and other vector programs there is a parameter upon attempting to export a PLT file that asks for plotter units. If i have a circle for example and i export it with 1016 PU and another that i export with 2032 PU is there a difference in exported quality?
Have an odd issue with Acrobat X, when selecting an object (Tools > Edit Object). I then right click and "Edit Object" which opens Illustrator CS5.1, make my necessary changes, which 9/10 is colour, MAKING SURE NOT TO MOVE ANY OF THE OBJECTS IN ILLUSTRATOR. I then click "Save" in Illustrator and my changes are saved back to the PDF. When reverting to my PDF to view the changes, the object has shifted, a seemingly random amount, usually to the right and upwards, meaning the document looks odd. This is not behaviour experienced on Acrobat 9 of which we have a couple of users. However, other users of 10 are not seeing this either so it appears to be machine specific. Any advice is appreciated
I opened a new file and created my pattern, selected all and defined pattern. Then I closed the file without saving it and then used the pattern - great. Now is there a way to make changes to that pattern? The real problem is I need to used that pattern on my css, Though I can not remember what dimensions i used, so if I could edit the existing one, then I could just save it as a jpg and use it in my css Thanks
I have a shape in Photoshop with some layer effects. When I go to convert that shape to a smart object, the drop shadow darkens. Prior to converting, the shape has a normal blend mode with opacity and fill set to 100%. Is there some way to convert the shape and keep the same drop shadow? Here is an image of what is happening. This also happens when I save the image as a png.
We are working on a CSS framework for our app, having made the prototype with Twitter Bootstrap and we started by designing the elements of Bootstrap we had used. One of them was prepended and appended inputs Which is basically something that helps you recognize what the input is used for, it's not necessarily a label, it's rather some sort of helper. Say it's an input with date, so you throw in there a little calendar icon. Now I think that it's kind of important for this element to be visibly part of the input, wouldn't you say so? Our graphic designer thinks otherwise, he's basically done this So, do you think it should be visibly part of the input? If so, what would be your arguments for it?
What makes a design look old? How subjective is this? Who decides? Look at this Bell logo: It's from 1969. And boy, does it look that way. It's simple and minimal, but.. it looks old. Take a look the this BP logo: Old. And not too pretty. And yet.. someone thought it's a good idea. And something I find ridiculously curious: the old Chrome vs the new Chrome logo: I remember when I first saw the new icon. I thought it was pretty bad. It lacked something. Today, I look at the old one and smile, thinking "aw, that was ugly. In a cute way, though". This doesn't only apply to logos that have been improved, I think: Sorry, Nike. I love the brand, but that logo looks like you paid $35 back in '71 for it. Now let's go for something else, though a bit off the real logo-esque topic: I'd believe if someone told me this was a 2013 model. I want one, by the way. Take a look at most cars from the 90s. 80s. 70s. 95% look horrible. 4% are nearly classic, 1% are so ugly they have their own cult. What drives the way we perceive "new" vs "old" design? Look at the web. Flat UI is becoming more and more popular, making gradients look old. Why? Who decides this? How much of this is about taste and how much about trends? I mean.. you couldn't slap the old, rainbow-colored Apple logo on the back of every MacBook out there and make it look good today, could you?
Can someone please explain me how to save each slide of a gif animation as a png file in Adobe ImageReady?
I was reading this to understand sprites http://css-tricks.com/css-sprites/ The author says "Sprites are for graphics that are just single blocks. " What does this mean? One thing I have read is to make a sprite for images which are continuous on a web page. thanks
Bootstrap is a great framework, and I want know if there is a tool that gives you the possibility of dragging html components, re-sizing and moving them, changing colours, all while generating the bootstrap html code. I don't want to use Dreamweaver because you need to go and add classes and IDs to the html, which could be a pain sometimes.
I loved this feature of Fireworks but since Fireworks is being discontinued I was wondering whether it's possible in Photoshop or other products. Thanks.
Just finished exporting a pdf that will be used to print off a 1m x 2m poster. The current file size of the pdf is a rather manic 142.3MB. Is this too big? Shall I compress it further?
Basically, I had a client who wanted a 1 meter by 2 meter poster to advertise his business at local football events and such. Though I'm predominantly a web-designer, I thought myself up to the challenge of print. I designed the proof in Photoshop, and that was all good. I then exported it to pdf with Indesign, and the resulting pdf was 142.3Mb! Way too big to email, and way too big for any printer website's upload form. In the end, I made a public directory in my website and FTP'd my giant pdf there. I told the client to link the printer to the link. Is this the way to go? If I'd done this in Indesign, it would be vector based, but a much more manageable size. I mean, it takes around 10 minutes to download the pdf, and linking the printer to an image seems unorthodox. Is this the way to do it for large files?
I created a depth map based on an image of the back of a man wearing a coat. Now I want to apply an image to the depth map, giving the appearance that the image part of the jacket. How is this done?
In UI design, one often has to work in the confines of limited space and/or simply try to reduce overly excessive descriptions and such. Often, this results in using slashes a lot. This/that type of thing. I've been asked in the past to add spaces to each side of a slash to give it some 'breathing' room and while at first this seemed wrong, I've also grown to prefer it as an option. An example: Download/Print PDF vs. Download / Print PDF Some questions: Do you prefer one over the other (and why?) Is the spaced-slash acceptable? Am I committing a typographic faux pas? Ideally, one would kern/letterspace the slash and not use whole spaces, but in the context of web dev, it's likely that rarely will out content folks and/or developers spend time on that detail, so am proposing the spaced option. It also offers the added benefit of being more likely to wrap properly if need be.
Imagine if I'm drawing an image using brushes. Is there by any chance, possible to use the brushes as a vector and resize/transform them, without losing data? For instance; if you draw a tree in with brushes. Then you want to scale it up by 50%. Is it possible to perform that scaling, without image starting to go blurry?
Why they add these vertical lines on the machine? I don't think it is just for fun, it must be have some meaning to add this. I don't think a designer will ignore the details, and also it is in the keyboard too.
I'm confused about the relationship of Photoshop (and any other image processing software) in web designing. I can see countless tutorials anywhere teaching on how to make web layouts from scratch, and most of them include the whole contents of a real web page. But it stops there. No further instructions are included on how to implement the designs as a real web page/site (aside from those slice-n-dice approach which I know that you treat as a thing of the past.) I'm sure my question isn't open-ended since I will list more definite questions here. My assumptions are: Photoshop is intended to be only used for logos, banners, etc. to be export exactly to web pages. Creating web layouts using Photoshop is used only as a mock-up of the real site (only a guide?) After finishing constructing it, you should implement the design by hand-coding them using CSS, HTML, etc. If all of my assumptions are correct, my most important questions are: Why are people fond of creating web layouts using Ps if they cannot build it into a real site (I'm referring to those who can't code.)? I can see that their designs are too detailed that it would seem impossible to make it using tools/frameworks like Twitter Bootstrap and JQuery UI (afaik). PS:(Post Scriptum not the other one) I am originally a student of programming and have no idea about how you do web graphics design. Also, I don't want to argue about using Illustrator or Frameworks(phased out by Adobe) instead.
I'm quite new to Adobe Illustrator, but used to PS. I wanted to experiment with Illustrator to create SVGs that can than be manipulated with JavaScript. I created some kind of background-layer and filled it with a rect. That has a pattern as background-image (Adobes Waffelmuster - Doppelt). I then created a second layer and added several filled paths to it. I tried to align these paths as best as I could to the background-pattern of my first layer. When I export my graphic as SVG, my paths are not aligned to the background as in Illustrator. It seems they shifted a little bit to the right. Also, if I zoom in Firefox (STRG,+) the mismatch becomes even bigger. Why is that and how can it be prevented? Is there something like relative and absolute positioning?
It looks like this to me: Where the second box is the variable width option. If it helps I expanded my path.
Basically, I want to have my sketch have a solid color in the inside the path (with live paint), but the path itself that has a stroke, which looks like a border on the image, I want to be completely transparent, so when put on a background you can still see where the border would be, but the background will make it up.
I did a three-color Live Trace, and output the colors to swatches. Now I'd like to assign each of these three (spot) colors to their own layer. I'm sure this is super easy, and I'm just over-looking something, but I could find no obvious command, nor could I drag the swatches to the layers palette. Some googling brought me to this site, although not to an answer. How do I do this? Thanks!
I appreciate this question is borderline for this site (apologies), but I checked the FAQs and I think it is permitted. I'm investigating ways to get single-colour text onto a thick plastic sheet, such as plastic business cards. There seem to be a host of options: pad printing, screen printing, flat-bed printing (inkjet), thermal transfer printer (as in this post) and more that I cannot remember. Of particular interest is inkjet methods because the printers are potentially so cheap. Flat-bed inkjet printers are often marketed as being able to print full-colour on iPhone covers, with a scratch- and water-resistant finish. However these machines seem to retail at $1k and up for A4 size. There also seem to be variations within this category, I believe that one is UV-curing of ink, and non-UV curing. I noticed that on a low end machine, some non-UV types actually uses an Epson print head. This leads me to believe that perhaps a regular consumer inkjet printer could be used to print on thin plastic, if filled with an ink that will not smudge on plastic. While cartridges might not be available for them, there are cheap continuous-ink systems where perhaps the ink suitable for paper could be replaced by ink for plastic. My question: does anyone know if there are inks that could be used on plastic with a regular inkjet printer? I know there are specialist OHP transparencies that can be used with inkjets but not only are the opacity and brilliance is poor, but it is also not resistant to smudging. Thanks
I'm learning digital painting in Photoshop, beginner level. I start with a composition in grey-scale, Let's say it is a mountain landscape in perspective with darkest object closest to viewer (a tree on a cliff) and lighter grey the further off into the horizon objects are (mountains). Now I want to start applying color but preserve the values from the grey-scale sketch. I have a black & white adjustment layer on top of my drawing that I toggle to check that the values remain the same as I start applying color. Let's say I want the foreground to be green and red. How do I find greens and reds with the same value (amount of black) as in my grey scale concept drawing? Currently I just test out colors by handpicking them from a swatch palette and viewing them through the b/w adjustment layer, but there must be a more systematic way (I hope) to generate swatches from a value. Any advice or pointers in the right direction are highly appreciated. (I'm using Photoshop CS4).
I have an white icon that needs to be colorized to a specific color. How do I do it in GIMP? Keep in mind that it has semi transparent borders and transparent background, so using the bucket or selections is a no-go. Also, I would appreciate if someone could extend the answer to "how to paint something that's has transparent borders without tools that use thresholds?", as this has been a question to me for a long time, and I really hate non seamless alternatives, like thresholds and feathering. This is the icon: https://i.stack.imgur.com/4yMhn.png
I need to create a logo design similar to the icons for Office 2013: Can anyone help me with font name as I am not able to find it
This question has probably been asked, but I can't find it, exactly. I'm a bit of a noob, and am unclear on some of the terminology. How do you combine all adjoining objects of the same color, all in one fell swoop? This is different from "Grouping" them, is it not? Perhaps some explanation is in order. I did a Live Trace of an image that had been printed slightly off register. I changed the color of all these small, off-register objects to match the background, so that they "disappeared." It seems to me that it would be a good idea to combine all these very small objects into the one, large, background object, to reduce the complexity of the image.
Here is my dilemma. I am making a scrolling text gif. I need the background on this gif to be transparent with a white box centered in the middle with the text showing ONLY in the white box. This means that the text needs to only show up on the box and not the transparent background.
Why, after a Live Trace, when you Output to Swatches, do you always end up with a bunch of Unused Swatches? What are their purpose, assuming they have one? I see a lot articles explaining how to delete them, but nothing on why they're there to begin with.

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