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I have to design a 4 item iOS tab bar. One of the items is a call-to-action button for creating content. Typically, apps have 5 items, so it is natural to place the call-to-action in the middle for balance. This is an example: How would you maintain balance with an even number of items?
There was a famous blog post by Ian Taylor called "Never use black", in which he explained that one should never use pure, complete RGB 0-0-0 black, and should instead put a little bit of color or light into it. Does the same principle apply for white? Is is possible to use pure RGB 255-255-255 white in, say, a poster with dark background? Or should the white be similarly muted?
The goal Replace individual colors in a multi-layer Photoshop document in a way that is flexible and efficient enough to be done a multiple times in the production process—like when I need to update the colors or edit layer content. I have a palette of 5-10 colors used in many different layers (all layers are multi-color raster images), and I want to be able to arbitrarily replace them, without having to do a lot of manual work each time. Is it possible to do this with adjustment layers (or anything else)? How I tried and failed to do this with Adjustment Layers Idea #1: For each color you want to replace, add a Replace color adjustment layer, configured to replace the old color with the new color. Problem: There is no Replace color adjustment layer (as of CS6). Idea #2: For each color you want to replace, add a color-changing Adjustment Layer (such as Hue/Saturation) with a Color range mask selecting the old color (let's assume it's yellow). Problem: As soon as you add/move/recolor anything yellow in the layers below, the mask will no longer be accurate. The mask does not dynamically select yellow—it just stays the same as it was when you set it up. (I don't know if it's even possible to make a dynamically updating mask that's tied to the content of lower layers, but I would love to hear how if it is.) So, if you want the mask to be updated, you have to manually update it. This tediousness is what I'm trying to avoid. Is there a way to do this sort of color replacement, using adjustment layers, masks, or any other technique, like actions or scripts?
From time to time I have to write a small report and usually I end up having to present data in a table. Everytime I end up thinking that a table is an ugly looking rectangular box I wish I could leave out. I don't have any degree in design, but I would like to know how I can make my tables look more smooth and blend better into the document. This has nothing to do with using HTML tables for layout. It is the aesthetically appearance of tables in text. I know its subjective, but if you have seen or created a set of tables in a document somewhere, which you think looks good, it could be nice to see them and maybe get some inspiration from there.
I have a 90 frame gif and if I file-import-videoframes-to-layers it will make 30 layers and the .gif will end up flashing too much. Any ideas?
I have to design a flyer for half of an 81/2 x 11 page. It mostly has images but some text. And I'm designing it in GIMP. Is there an industry standard dpi for simple prints? It's not magazine quality, but I'm looking for a decent dpi.
Is there a tool inside or outside of Adobe Illustrator which packs custom shapes inside an (say) A4 page? This would be an optimization for printing the same element multiple times on the same page. Example doodle: This example involves rotation, but it'd be ok without too.
I want to create just a transparent shadow to use in a website. While saving as PNG, the shadow is saving with the solid white border. What am I doing wrong?
I'm involved in the production of a touchscreen device. Our workflow for designing the graphics of the interface is to create the buttons, text, etc in Illustrator, bring it into Photoshop as Smart Objects, and later flatten the smart objects, but beyond that is not pertinent to this question. [EDIT: Each screen is saved as a separate Photoshop file.] I'm looking for an application or something to automate part of this process. We want to set up a master Illustrator document that contains all the button styles that exist in the device, encapsulated in groups. Also, we want to have a database containing the X, Y, Width, and Height values for each copy of each button. I'm referring to the fields that can be viewed in Photoshop when the Transform tool is active, pictured: So then, if we update a button style in the master Illustrator file and hit "run" or something, it would replace each instance of the button with the updated version. That way, if we make an update to one of the button styles, we don't have to go through all 700 instances of the button and replace them manually. So if you can suggest an application that may help with this, I would greatly appreciate it. Also, if you can suggest a better place to ask this question, I would appreciate that too. Thanks!
Using the pen tool, I can't imagine why anyone would want the following line segment to go in the ( random ? ) angle it chooses for you when making a new anchor point. After making every line, I tediously have to go back and close the bezier by clicking on my point again to make the next line start a "fresh angle". Is there any way to make every line do that? I know holding the option key will give you one extra line that is clear. I've also heard of the technique where just plot all your lines, and then go back and adjust the beziers, but that requires two clicks per dot.
When you ctrl+ left-Click, it's like a right-click in Mac OS X and brings up a menu. I'm trying to clone a selected rectangle as shown here But if I ctrl+alt+ click, I just get a context menu because Mac OS X is thinking I'm right-clicking. How do I do this? I know I can copy/paste/move. But I want the shortcut method.
I downloaded a number of Farsi fonts and they render individual characters fine but but don't join multiple characters together at all. Does anyone know how to get whole words to appear correctly? If someone knows how to do this in Arabic but not Farsi, that would help me get closer. For instance: ك ا should make كا Thanks!
Situation: I want to use the current selection as a mask on layer X. Layer X already has a mask, and I want to completely replace it. If layer X didn't already have a mask, I could do this in one step by clicking Add layer mask in the Layers palette. Given that layer X already has a mask, what is the quickest way to do this? Can this be done in one or two steps, preferably by keystroke? How I do it now: Drag layer X's mask to trash, click layer X, click Add layer mask. This becomes tedious when you have to do it to a lot of layers.
What licensing is appropriate for a font to be used as a base for an icon font? So basically I need to use the UNICODE table of that font to include custom icons and sell that font. Most of the free fonts out there are SIL, but I definitely don't want to include any license notice for the base font, since this is not the part of the font that gains attention. The icons are created by myself and will be included as a ligatures in the webfont. For example. When the user hits a on the screen will appear a, which will be taken from the base font. But when the user types mail, the font will take this as ligature and display a mail icon. The result will be similar to this one : Ligature Symbols
I want to fill an object with a bitmap pattern. Instead of perfectly connecting, there is this 1 pixel transparent line around each "tile" of the filled object. The same problem was described here: Filling object with pattern in inkscape In reference to this post, the bug was fixed in 0.48.3, but I'm using 0.48.4 r9939 and the problem still exists. See: The used pattern: http://subtlepatterns.com/bo-play/ Any idea?
Photoshop layer styles now have strange defaults on my system, seems like all values are scaled up. I don't know when or how it has happened. Eg: Bevel size: 84px Stroke size: 52px Inner shadow distance, size: 84px Inner glow size: 84px Drop shadow distance, size: 84px ... reset to default also brings these values. I don't yet have a chance to re-install. I can always use Make Default and rewrite each value but I don't prefer this because: I don't exactly know each value on a new installation, and I want to have factory defaults for each value to have a smooth experience across different installations There may be other anomalies due to a potential resolution / scale value hidden somewhere, which also may be the source of the problem Does anybody know where Photoshop keeps these defaults, in registry or an xml file? Photoshop CS6 Windows 7 x64
Is anyone aware of a wireframing kit for Illustrator (or any vector based template) that encompasses GUI elements from Mac OSX Lion or Mountain Lion?
I was making some pixel art and at some point I doubled the image size so now in order to continue to make my nice squares I want the pixel tool to be an 8x8 pixel square tip. Is it possible?
I am trying to crop an element in photoshop and I want to make sure it is perfect. I have a PSD that has many web elements that are grouped together nicely. I want to create a new image with the same size as the group of layers. So basically I want to crop something out of the picture without losing or gaining pixels. I want an exact crop of the outer most item. Without using the crop tool and eyeballing it. Usually I can use the rectangle tool and create a box around the item and go to edit>copy merged and then create a new image and it automatically has the merged layers size and then I paste. My problem is for this group of layers is that it is not working properly and it is making the new image size the same size as the box and not the outermost layers. Can anyone help me out?
Say I have the following picture that I drew with a black brush then used Live Paint to color it. How do I get rid of the black stroke?
I've been creating an arrow in Sketch and whenever I adjust the Size property of the border, it decides to burst out the side of the < part of the arrow. Is there anyway to fix this, or am I messing with the wrong value?
I am not much of a designer. I want to know how I can create Wix like buttons in Photoshop. They offer many kinds of buttons, but I want the one with a shadow on both sides of its bottom. Any help would be appreciated.
Is there a set formula / ratio for creating a trademark symbol (TM) or adjusting numerals such as 2nd or 3rd to create the proper visual effect on the superscript? Currently I always just eyeball it to make it look right. Is there a set standard for this though?
I'm trying to draw another shape to go with this heart, and I want the line on which the anchor is selected to have exactly the same curvature as the corresponding length on the heart. Is this possible, or is the only way to eyeball it?
What hardware do I need to make a 300dpi 2000mm x 1200mm illustrator files rich with 2 x layers of jpeg artwork and 1 x layer of vector? I suspect the final files for printing will be in excess 1GB but will wait and see (printer has requested orginal ai files). Our current machines are not up to the job so we need something new very soon. Any advice about hardware and also about making the files would be very welcome!
I have drawn a broom in Illustrator and cant apply any brushes or strokes to it. I just don't get it. What do I have to do? Here is a screenshot:
I'm working on a file in photoshop and every time I drag a guide out I see multiple guides. How can I fix this so only one guide is present? I tried restarting photoshop but the problem persisted.
The way I have just learned to use the Pen tool, if you hold Cmd/Ctl while selecting the end of a guideline, it will move the guideline on BOTH sides of the anchor point and adjust the last curve that was made. Conversely, if you hold Opt while selecting the same point, it will leave the curve as is and simply adjust the guideline on the same side of the anchor. In the below example, I find that on the top anchor point, holding Cmd/Ctl while selecting the left end of the guideline, will in this case perform exactly the same function as holding Opt in the above description, while holding Opt will move the entire guideline, i.e. The exact opposite of the above! On the other hand, performing the same actions on the bottom guidelines will cause the expected (above) behaviour... Does anyone have any idea why this is happening?
I know this is a ridiculously basic question, but I cannot seem to do it for the life of me, even though I did it just 5 minutes ago... I'm trying to copy the path on the right over to the left side of the heart. Even though only the right "lung" section is selected with the move tool (and Auto-select "Layer"), both this and the heart move when I attempt to move anything. If I turn Auto-select layer off, then the heart shape moves, even though this shape is selected! Why does this happen if they're on separate layers? More pressingly, whenever I copy this path (on to a new layer or not) and either move or transform it, the first version of it moves/transforms at the same time. Very frustrating indeed! I cannot seem to separate the copy in order to make separate adjustments...
My question: Can I create a magazine exclusively using Photoshop? My understanding: It should simply be a case of using CMYK and an adequately high resolution. Other software: InDesign is pretty alien to me though I've read that it's better for managing large amounts of text. Request for additional context: Any links to resources on this manner would be appreciated (e.g. good websites for learning/templates).
Is there a simple summary somewhere (or can someone provide one) of all the different kinds of legal terms for how and where we can re-use someone else's images? For example these terms are bandied about and they all sound reasonably similar: Royalty-Free Creative Commons (which seems to have a bunch of subcategories) Public Domain ... and others These terms are easily to google but it's hard to work out where terms are simply synonyms for each other and where there are subtle differences. For example, on Flickr the status of images are clearly labelled and you can click through for a definition (somewhat legalese) on CreativeCommons.org. But Google Images search (Advanced) has a filter which is deliberately "plain English": So an overview, not too legal, would be great. This is asked from the point-of-view of a web designer looking to browse and use other people's images in (commercial) websites, but correctly and fairly. Not an author looking at protecting my own copyright.
I need to know what font is this. Thanks so much!
I generated on the internet this tartan design: Now I want to get this design as a vector graphic built in Adobe Illustrator. Is there a trick to get 45 degree lines on the squares? Or does anybody has an tutorial on this?
I'm doing the layout (first time) for a friends charity magazine, last minute as the usual girl quit just before it was due, so panic time there. I'd saved the individual pages (as I'd been asked) as individual press quality PDFs - now the printer has asked if I can save again as a pdf but as either printers spread or printers pages Apparently that gives it to them as opposite pages ie front/back cover, second page, second last page, etc. I've never come across this before (I'm not usually involved in this type of thing so it's a big learning curve here.) I've been looking around the help files but can't see the answer - Can someone here show me the way? I'm on a Mac with Web Design Premium CS6. Pages were laid out in InDesign with photos etc in Photoshop or Illustrator.
How to get inner shadow inside rectangle with transparent background?
I am not much of a designer. Looks like a very basic thing to do but i don't know how to do it. I just want to create a line that is blurred from the ends and have this shade at the bottom of it. Its a kind of a separator that i can use on a website. I want to do it in Photoshop. As an example, check out the following image:
I've researched for what seems forever, and I cannot find anything explaining how to break a mesh into a (distorted) grid of vector shapes. I don't need to preserve any kind of gradient or coloring; I just, at least, need to keep the shape of the outline of the figure and convert it into a basic shape. The concept is, I've used a mesh to distort a figure, but I now need to restore it back into a vector shape. If I can at least break the mesh into a grid of vector shapes, I can join them with the 'Pathfinder > Shape Modes > Unite'.
I'm in storyboard hell. I have to place about 400 separate images in sequence on a huge board in photoshop. So I have a 20,000 px by 10,000 px board and a load of layers which have been imported in the correct sequence, I really really want to find a nice way of distributing the layers edge to edge left-to-right then cascading downwards on my canvas. Can anyone think of a way to avoid me having to do this manually for hours (and imagine if I have to remove or reorganize some in future ... sickening)
I know that Inkscape does not have the ability to export selected objects as svg, but is there a workaround that people have found that works?
Is there any way to convert 'AI' and 'EPS' to corel draw format (.cdr)? My client want to rework from their existing AI and EPS to corel draw.
I bought a drawing tablet. But when I draw on it, I can see the drawing I am making in an image editing software such as Microsoft Paint or on Microsoft Office products, but I cannot see anything on the drawing tablet. It is rather disappointing. It's just like a mouse in a different shape. I was hoping that when I draw on a drawing tablet, I will be able to see the drawing (like when you draw on your phone), and it'll have some in-built image editing software. The tablet I bought is Bamboo One Pen CTE-660/K0-C. Is this usual or is there some knob or switch I need to turn on to see things on the tablet? Sorry for the stupid question.
What is the name of the technique where many small images are copied into one large image to get better compression and avoid loading many separate images int memory? And is this still useful in modern devices?
My question is an extension from this question ( Batch export Photoshop layers to individual PNG files ), but for some reason, I can't seem to contact any of the posters from that thread. Basically, I want to do that same process, but instead of just doing the top layers, I want to do the layers that are inside a folder. The reason for this is because I have several base layers, that don't change. Actually, all that is changing in mine is some text. So is there a way to add a dropdown that would allow me to choose which subfolder I want to use as the layers to alternate? Naturally, I want to adapt escalation746's script, as it is the fastest. Thanks.
I had no problems creating a grid like in the figure, but I can't create sharp edges at the end of the grid: How can I do this?
I'm attempting to create a transparent stroke around the inner heart shape, which knocks out the "lungs" layer below to reveal the red bottom layer. I seemed unable to create this as an actual stroke (which, in any case, would only reveal the "lung" shapes below it, not the red bottom layer), and my next attempt was to duplicate the heart, enlarge it and use it as a mask, but that also didn't help, as it's not an even outline of the heart. Any ideas of the best way to do this? Thanks in advance.
I find myself clicking on the auto select layer check box an egregious amount during the day. I was wondering if someone knew how to make it a hot key as that would save me quite a bit of time.
From a personal point of view, I'm convinced you have to enjoy going to the place you work in. Improving your day to day experience feels revolutionary enough for me. I also think design and usability can improve not only the way a company thinks about new products and customers think about the company, but also how the company sees itself internally. I work in software development, and we usually talk about innovation, atmosphere, team building and all that. I'm trying to think what I can do, as a designer, to make internal communications more fluent and fun. I'm struggling with the actual ideas. For example, graphs are great, they can show survey results and motivate people to improve... newsletters are fine, nobody really reads them but they are something. Magazine-like publications are good too. And that's as far as I've come. Can you think of any other ways design can help internal communications?
Newbie here. I like the web and UI design, and I know what good UI and good design is, but I lack Photoshop skills. Sometimes when I try to do design work my mind goes blank or gets mixed up because there are too many references that I like and it's hard for me to determine which design I prefer. Where can I learn and improve my Photoshop skills and how can I start working on a concept? Until now, I've been paying a designer to do what's in my mind, but I really want to be able to design.
This font was created using Adobe CS4 and I am using Corel Draw 6. I cannot id this font and need to do so to create more graphics using it. What is this font?:
in a smashing magazine article, I read "According to our study, on average, the ratio between the headline and the body copy is around 2.5" - and this is the formula HEADLINE ÷ BODY COPY = 2.5 Does it mean that if my body copy is 16px, by heading one <h1> should be 40px (16 x 2.5). The only reason I think I am wrong is that in the same article and in all the websites I investigated, the body size is 16px and the heading font is 29px or 30px On the other hand Tim brown says that we should multiply the body text by the golden ratio and select any of the results to be your heading size, is this the same thing but by using 2.5 instead of 1.618? Can you please help me understand this
I found a similar thread that gave some great pointers, but still doesn't solve my issue. My boss asked me to create a corporate presentation, and I had the unfortunate idea of doing it all in photoshop (I figured it would allow greater flexibility than the usual powerpoint). I created 24 slides at 3000x2000px and 300dpi, for a total size of 69Mb. Now obviously this is not ok for a presentation that must be sent via email to multiple clients, so i decided to reduce its size using the technique described in the thread above. Before: After: It all worked great and the file size is now down to 4Mb, only problem is that the text is starting to blur. Since it appears that text makes up for only about 3% of the total file size (it's the images that are bloating up the Mb count), I was wondering if it's possible to reduce the image quality without "touching" the text layers. In powerpoint you can have a bad quality background image and write perfectly sharp text on in. Even at 640x480 text looks good in powerpoint. On the contrary, if I lower the res in photoshop, the text turns crappy. So is there a way to add hi res text to a low res "background" image in photoshop? UPDATE: after a long afternoon of work, and thanks to John's help, my presentation is now perfect, so I thought I'd give back to the community an share a couple more things I've learned working on this project. This is what the text looks like after the PDF conversion when faux styles is applied PDF with faux and this is what it looks like when you strip off all styles from it PDF no faux. As you can see, like John said, if you have faux styles applied, the text is automatically rasterized and this creates a lot of artifacts during the conversion. On the contrary, if there are no faux styles, the text stays in its vector form and, even when you reduce the image quality a lot (see the picture on the right side of the image), the characters remain tack sharp. So I went ahead and re-formatted all the text boxes in my presentation. Again something went wrong see here. As you can see, sometimes the PDF version screws up your text. As silly as this may sound, I found that this only happens when you write too much text in a single box. All text longer than 6 or 7 lines got screwed up. Splitting it into two different text boxes with 3 lines each fixed this. The same problem happened on multiple slides, and the same solution worked to correct the problem on all of them. Last but not least, I managed to decrease the total file size some more by going to file->Automate->PDF presentation (not sure about the exact translation cause my photoshop is in italian) instead of the usual file->Save As->Photoshop PDF. Try for yourself, with the same compression values the first option yields smaller files (some 30-50% smaller!!). So I guess there's some hidden parameter that the "Automate" command sets somewhere that the "Save As" does not. I now have a 2,8Mb presentation with razor sharp text and low-res images (still looking good ad 100% zoom, artifacts start showing only at 120%). Thank you stackexchange! :)
I need to convert some stock icon imagery to a pre-existing colour scheme. The method for conversion is to simply adjust the image hue to the right level. However all I have to go on is existing imagery that has already undergone the process. As such, I know that the muddy green of 99b963 should become the dull mauve of 7763b9. My current method is trial and error: I zoom in to an area of green, overlay a layer featuring an adjacent pixel of the target mauve, select the original layer, then adjust saturation until it looks right. At that point I step out of the adjustment dialogue, get the color picker out, and compare. Repeat until just right. Does Photoshop / Gimp / Paint.NET have a simpler, procedural method for achieving this, in 1 step if possible? If not, is there a less trial-and-error method to achieve the right hue given a target colour difference?
I think what I may be looking for exists in Fireworks maybe, but I haven't messed with it. Basically, is there a way to make a style sheet for an object? Say I have an object and I apply x layer styles to it, then I want all those layer styles on multiple objects throughout a document. Then I want to change the strength of a drop shadow, how would I set it up so all I had to do is change the drop on the master file and it would apply to all with this "style" set on it?
I'm curious which pricing model other feel best fits freelance design, in what situations, and why. I am not seeking dollar values. There are a few basic pricing models a freelancer can use: Time-based pricing. This is where you calculate every minute you work on a project and break that down to your hourly rate and charge whatever the formula states you should. There are several questions here at GD.SE which refer to time-pricing models, with some excellent answers, such as: Graphic Design Pricing / What price should I charge for design services? / Pricing for Website Design (Graphics Only) This model can be accurate provided a client is aware each and every minute you work costs more. Therefore each revision will increase fees. Some clients are fine with this, some freak out because they didn't understand the pricing structure. Per-service or fixed fee pricing. Sometimes known as project-based pricing. This is where you calculate a price for each and every service you offer and essentially work off of a price sheet. This way you know a brochure costs $XXX every time, a 3-page web site costs $XXX every time, etc. This model does not allow for alterations should project scope become an issue. So it can result in those difficult conversations with clients telling them to stop with revisions or pay more. Value-based pricing. This model doesn't adhere to any set pricing or per hour structure. Value based pricing prices services according to their perceived value or importance to the client. This one is a bit tricky. Essentially it's the old "If you charge more, clients think you are worth it." model. You can often use this model to increase revenue without increasing workload. This is why "Name Brand" items cost more than generic items - a perceived value when in reality the items or workload are / is the same. There are others such as licensing, use-based, royalties, etc. but I feel those are special circumstances which don't generally apply to most work. If you feel they do, please explain why. It is also possible to use a combination of price models or hybrid model. For example, you may figure a job cost using time-based pricing but then add additional fees for value-based pricing. It is also feasible that different services or projects are priced differently. For example: sales piece creation fees are a hybrid calculation using time-based and value-based figures to arrive at final fees. Then, additional edits to that sales piece at a later date are strictly time-based priced. Poor Practice? After all , if it's a sales piece each and every copy seen by end users has potential to generate revenue for the client. So, is it more appropriate to use some value-based pricing for the edits? Web site creation fees are calculated using hybrid fees from time-based, per-service, and value-based figures. When an additional page is requested a year later, fees are based solely upon fixed fee rates for an additional page. Is this adequate? What if the additional page requires different services? Still a fixed fee then? Obviously, all price models must cover your overhead at a minimum. I am not seeking dollar values. Which pricing model do you feel best fits freelance design services? When do you feel it's appropriate to use the different price models, if you do? Edit: I realize that in the end, most deliver what could be seen at fixed-fee pricing to their clients. This is just naturally what any hard quote appears to be. I'm not really thinking in terms of what a designer delivers to the client as the pricing. What I'm curious about is how you get to that figure the client sees. I do realize this is a complex matter and few scenarios fit nicely into a specific category. Just looking for some general input from others in the industry.
I'm working on a project that needs a font very similar to the types used in television broadcasts of sports games to display the score and other info. I would love to know if there are any industry standard or common fonts, particularly in NBA broadcasts. Example:
Prior to the proliferation of software, namely Adobe and Aldus, a designer needed an entire toolbox full of things to get a job done. From t-squares and triangles, to ruling pens, masking tape, photo tape, rubber cement, spray glue, brushes, guache, drawing tables, technical pens, matte board, acetate, pica poles, french curves, proportional wheels, type spec books, etc. What analog tools (not software or computer-based) should every designer have today and be comfortable using, and why? Has software made all analog tools completely obsolete?
In website I am implementing I found that the maximum number of characters that I can display in a certain sidebar div is 17 M (uppercase M) plus the elipses. So that is the maximum I setup the code to produce ... if the text is longer than 17 characters it will be truncated and an elipses will be attached to the end. That string for reference is a "Project Name". Practically users will not be calling their project "MMMMMMMMM...17 times" and hence when placed in the real world seemingly short project names that would essentially fit are being truncated. A designer I know uses "00000..." to measure the width of a box. Is there a systematic/statistical approach to this?
I have heart shape, below, that is on a separate layer to the two lungs. How do I take this shape and use it as a layer mask on the two lungs? I have created the layer mask on the lungs layer, but I'm not sure how to copy the shape over. It's bitmap, but I'd also be interested to know how to do it for a vector shape also.
I know how to do this for all of the layer styles of a particular layer - I simply hover over any of them, right-click and click "Create Layers" from the contextual menu. Does anybody know how/if it's possible to simply do this for one of a layer's layer styles rather than all of them?
I have a text paragraph. Is there a way of resizing it without having to pull the box or stretch it? (ex. Let's say it's 50px high, how can I define the size of it using pixels to 100px?) EDIT: How about an extension?
I'm not sure if illustrator supports just changing the background color of one artboard but what I am looking to do is have one black background artboard and leave the other five or six artboards in my project white or transparent. What i'm trying to do here is make a white version of our corporate logo. It's hard to do that on white or transparent background. I already have a large "corporate branding" project that has all other logo variations so I would like to keep everything together however to do that I need at least one black artboard. I found the usual way of changing the color of all artboards and it got me wondering if I could just do one. I guess if this isn't supported I'll just lock a big rectangle as a lower layer and draw on top of that so I can see my white text.
I'm trying to output a .gif from Photoshop (CS6) and have run into some difficulty with the quality it is producing. Ideally, each image should resemble these stills - 1, 2 and 3 which are crisp and clear, but as a .gif file (especially on the second image), the depth and colours are removed, resulting in a splotchy image animation... The image and the Save for Web settings seem to be fine, so I was wondering how would I be able to output the .gif keeping it the same as or as close to the stills as possible? Thanks.
I'm making a work for school and I have to put together color palettes for some pictures. I also want to indicate the RGB and the CMYK code but when I get a color from a picture with the Eyedropper Tool I only get the RGB. I assume it is so because the picture is in RGB mode. How can I get in a fast way the correspondent CMYK code for that specific color? (In fact I see default colors in the swatches above mine that are in CMYK...maybe there's a way to switch easily from RGB to CMYK inside the swatches..)
How can I remove a smaller rectangular part from another bigger rectangle shape layer in Adobe Photoshop? My selected layout is 110px x 110px on which I have drawn a rectangle of 106px x 104px. Now I want to remove a 100px x 70px rectangle from the top 17px. The result would be another rectangle of 100px x 70px in the removed section with different effects.
When I create cross-references to other documents, InDesign gets very slow accessing to disk all the time (I can see the Windows icon) unless I open all related documents. Is there a way to deactivate this behavior within InDesign? I am using Indesign CS4 on Windows 7.
The most known way to get into Isolation Mode in Adobe Illustrator is by double-clicking on the image. Nonetheless, is there a way I can get into this mode from the Layers panel?
Sans-serif typeface is usually in web, so what are the free/open/cross-platform choices that can replace Helvetica? By replacing Helvetica I mean are there any font which is better than Helvetica for web? The reason I ask is I have read an article demoing Helvetica is often not the best choice for web. So probably two options are needed: For heading For paragraph
I'm building my portfolio, and rather than handing out hundreds of various designs, I want to put several items on one page. But I also want to illustrate what they are, such as a tri-fold or magazine. Is there a template to show the folded item, or magazine pages to actually look like a magazine, rather than a flat image? I've tried skewing the folded item in photoshop, but I couldn't get the angle right; and I tried vanishing point, but without an actual item to compare to, the angle was even worse than the skew. I'm OK with Photoshop, Illustrator, or InDesign. Thanks for the advice!
Is there an easy way to take four objects that are in the same location? The objects are pasted on top of each other, and arrange them into two rows and two columns without scrambling them manually, selecting two, aligning them left, selecting another two, aligning them to the bottom, etc.
I'm a software developer looking for some sketching app for a tablet. In my daily business I need to sketch a lot of technical concepts. Instead of composing them out of a palette of predefined shapes I want to draw them with a pencil on a tablet and let the app recognize certain shape patterns and smooth them. What I expect the app to do is: Smooth straight lines Connect line ends close to each other ( to ease sketching rectangles) recognize block letters and allow editing them as text (no formatting or such stuff) align elements relative to each other's bounds, centers, etc. allow moving elements or groups of them allow scaling elements or groups of them Recognize circles, arrows, rectangles, squares, etc. and smooth them Allow the creation of template shapes for reuse Extend rectangles, circles, custom shapes, etc. so that a certain text fits into it Does anyone know about such an app? Any hint will be highly appreciated.
I have a large image that I want to cut up in to 25px * 25px squares. I haven't used web slices before created a square slice, copy/pasted it in all the places I needed it, then selected them all and clicked Export Slice. However, this gives me 25px * 25px squares. Is it possible for me to export these slices, but with the whole canvas, remaining in their correct position. What I wish to end up with is a collection of images, all the same size (as my canvas) that can be layered over one another to create the same original image. Any suggestions?
I'm about to start working on some mobile Windows 8 apps, and I'm a bit confused about the recommended resolutions, sizes and ratios for supporting different devices. For iPhone, for example, I normally create mockups of 960×640px, for iPad 2048x1536px and so on. But I'm lost about size for Win8, and especially for Windows Phones. What resolution / screen size / aspect ratio should I use for creating Win 8 smartphone apps mockups?
I'm new to Photoshop, and am teaching myself. In playing with the pen and custom shape tool I've noticed that the Fill and Stroke settings for "Shape" appear to be locked. I cannot click to change them and don't get any kind of drop down like in other tools. I've tried making sure I'm on the right layer, but that's about all I can find. I know I should be able to click on the color boxes next to each option to change them, but it's not letting me. Any ideas?
There are few ok tuts online, but I haven't found a way to give an image the marblelized clear shiny opacity like real stain glass. Any tips? Stain glass filter applied Lower opacity Play with waves filter?
I have a bunch of text point objects and I'd like to select a subset of them and change their font size (for example). They might be in different groups so I can't select them all at once, so I select a few change the font size, then I select a few more, and change the font size manually again. I'm wondering if there is a repeat last action button. I know about Cmd+D but it doesn't work for applying text styles.
I would like to identify the font in this image to add more text.
Ok, so I am trying to do my first theme, a Tumblr page theme for bookshelf pages. My vision was basing it on iOS iBooks. There are some minor details which I don't know. I really want to know what the FONT of the header bar of iBooks and the HTML Colour code, hexadecimal or other equivalent codes which will lead me to the same exact colour, it doesn't have to be websafe. Thanks. P.S. Also, if it is a font with many variations, please tell me which variation (e.g. Condensed, Extended, Roman, Normal etc...)
Naturally you would expect that a graphic designer is proficient in logo, print and web graphics, but what else do clients commonly request? (Web, email, motion graphics, 3D animation etc...) I've heard a few times over my graphics/design career that it is better to be an expert at a couple of things, rather than a "Jack of all trades, master of none". Is this true in the freelance graphic design world? How do you handle requests that fall outside your normal scope? If you decide to expand your skill-set and take on that work, do you promote it at risk of appearing less focused or "expert" at your other work?
I am a web developer and want to make a physical portfolio. I have tried various settings in photoshop and for my printer (HP officejet pro 8600) and my lighter theme web sites come out fine but my darker themed websites are too dark and have little contrast between dark colors. I added a filter and lightened the image and it improves the contrast a little but is not enough and all the lighter colors too light. I don't expect the colors to be the same as any particular monitor but I would like colors that are obviously different on monitors to not look so much alike on the print. How can I get a more acceptable print? I am printing with best quality on glossy photo paper. I have printed with photoshop managing colors and with printer managing colors. I also tried each with hard proofing enabled for CMYK.
I have messed around with a few options, but have not come up with a good solution to recreate this gradient drop shadow effect.
I have a scan of an old anatomic atlas; it's grayscale and not really bright. I suppose it's a copy of an engraving. My question is: is it possible to remove this background relatively easy? Or magnet lasso will be the only option?
Folks, I've been looking all over for a plugin or brush that will help me take a photo and reduce it to that 'electric look' (or fractal?) that i'm seeing in various places. I'd vastly prefer one for Gimp. Does anyone know how these are being done? I'm seening references to fractalius for photoshop, but what about gimp? Examples:
I ask this question based on an incident I saw on Dribbble. I am not going to say names or point fingers but a particular person had used someone else's designs as part of a demo and the owner was livid. With that said I wanted to know: What is a good way to approach other designers? Is it bad practice to use other designer's work period? Should it be a courtesy to always include reference of the other designer's to help support them to? In regards to this, it was also mentioned that some theme developers that sold their themes also included the dummy content of other designers. How would you pursue that? Are the developers financially liable for technically selling your content?
What are some awesome ways to blend anti aliased edges of an object that has been extracted, lets say from dark background, or any light/dark unique color. And needs to be placed on different most likely on opposite color. Like object taken from black on white. -Removing all pixels doesnt help. It makes it look extra crispy. -Feathering is visible. I wish i could find a way where values of edges is extracted and then blended with the new background. Or Basically i am asking how to make edges anti-aliased pixels transparent when extracting an object in photoshop.
I have an SVG file that has, say, 10 g elements that do not start at (0,0). For example: <?xml version="1.0" encoding="utf-8"?> <!-- Generator: Adobe Illustrator 16.0.1, SVG Export Plug-In . SVG Version: 6.00 Build 0) --> <!DOCTYPE svg PUBLIC "-//W3C//DTD SVG 1.1//EN" "http://www.w3.org/Graphics/SVG/1.1/DTD/svg11.dtd"> <svg version="1.1" xmlns="http://www.w3.org/2000/svg" xmlns:xlink="http://www.w3.org/1999/xlink" x="0px" y="0px" width="528px" height="240px" viewBox="0 0 528 240" enable-background="new 0 0 528 240" xml:space="preserve"> <g id="CONTAINER"> <g id="collapse-top"> <path id="collapse_x5F_top" fill="#1D1D1B" d="M498,206v-3c0-2.2-1.8-4-4-4h-3c-2.2,0-4,1.8-4,4v3c0,2.156,1.781,4,4,4 c0,0,2,0,3,0C496.172,210,498,208.156,498,206z M496,207c0,0.55-0.45,1-1,1h-5c-0.55,0-1-0.45-1-1v-5c0-0.55,0.45-1,1-1h5 c0.55,0,1,0.45,1,1V207z M495,206h-5l2.5-3.333L495,206z"/> </g> </g> How can I split it into 10 different SVG files, one per g element, that each start at (0,0)? I prefer an automated, command-line based approach to do this, but I can use Adobe Illustrator as well.
Is there a way to copy a part of an object in illustrator? I do not know the technical name of the effect I need to do, so I have to describe it. I need to do the effect where you have an image and then you have a square on the image and a couple lines connecting to a zoomed in shot of that square (if there is a name for this effect, that would be helpful too, since I can;t serach for it otherwise). I have the larger image, but I cannot figure out any way to select a region, copy just that part, and be able to edit it (add features, adjust scale, etc.) to make the detailed view. I cannot find any way to cut up an image at all, in fact. Obviously artboards are not the way to go, since I am trying to make a compound image, not merely restrict the output when I go to JPEG format at the end. How do you do this?
So, I'm using adobe illustrator for creating vectorial figures, mainly for graphs. In illustrator, creating graphs is not so well implemented, so I'm using another tool to make them (e.g. R, xmgrace, pyx, mathematica), and them export as PDF and "place" them in the illustrator, for further modifications and adjustments easier to to in illustrator. There are two "types" of placing: either a link to the original pdf, or embed the pdf in the illustrator, converting its data to illustrator's "notation". When embedding, it is frequent that the illustrator does not have the fonts of the PDF (e.g. LaTeX symbols), and thus screws all the symbols/text of the original pdf during embedding. I currently know one way of "solving" this for images, as pointed out here: by converting the pdf to a postscript without fonts, using (on Mac): gs -sDEVICE=pswrite -dNOCACHE -sOutputFile=nofont-Myfile.ps -q -dbatch -dNOPAUSE Myfile.pdf -c quit For simple formulas, this seems to be equivalent to export a formula from LaTeXit as "PDF w.o.f." (without font) instead of just PDF (this utility appears during Drag of the formula) However, for images, this requires one step on the process (the terminal command) just to create a new file, for them passing from pdf to Illustrator. Does anyone knows a better solution than this one?
Is it possible to change the way the Blend tool works here? What if I need the Blend tool draw the crossing not under the cross but above? Right where I drew the red lines on the screenshot.
I am looking for a font for my wedding invitation. I like Zapfino One but I think it is not readable enough for an invitation. Especially the letter "f" is very large. Is there any professional looking font which is similar to Zapfino One but a bit more readable for my purpose? If not are there any other suggestions? For sake of completeness, here is a sample of Zapfino One: Since I make the invitation with LaTeX (XeLaTeX) it would also be ok if you suggest a LaTeX metafont (which I could use with pdflatex). I am also considering to make the menu-cards with Zapfino One, so it would be great if the font of the wedding invitation would fit to Zapfino One.
Bit of a spin off of this question... Do you tell the client if you are sub-contracting their work? Morally is it an obligation, or do you pass it off as your own? When choosing collaborators, do you work with people who have a similar design style as you, or someone who produces a completely different feel? How does this effect how you present that work to clients? Do you position your business as an individual designer or a studio/agency ('I' vs 'We')? If 'We', do you use collaborated work in your portfolio? Where do you draw the line between an agency/studio reel and falsely taking credit for someone else's work?
I am used to editing vector graphics in FontLab, which allows you to simplify vectors like this: The behavior I'm used to If I delete a point from a curve, the program will roughly maintain the original shape by adjusting the handles of neighbouring points to compensate. Result: A curve that looks roughly like the original. However, in Illustrator, the default behavior seems to be different, and it drives me a little bonkers—not quite because I'm used to the behavior above, but because in 90% of cases it's actually better for my particular use case and illustration style. The behavior in Illustrator (it seems) If I delete a point from a curve, the result is a straight line between the original points. If I want to recreate the original shape, I have to do some combination of joining points and adding/adjust handles. Is there something I could be doing differently to get the behavior I'm used to? I would love for it to be as straightforward/keyboard-friendly as I'm used to Fontlab, without having to click a bunch or manually add or adjust handles. For all I know I'm using the wrong tool or action; though I'm not new to Illustrator, I haven't used it much to directly edit curves before.
It would be helpful if anyone can identify this font, or something similar. I've tried the What The Font search engine, however it gave me not so good results.
I am trying to print my 4" x 6" book from InDesign CS6 to my home printer. The book has about 100 pages, a perfect bound book with a few front pages and a table of contents. I want to print the pages in the right order as 2up, centered & double-sided, onto 8.5" x 11" paper which I will then have cut down into individual 4" x 6" pages and bind by hand. The document has facing pages and I am using "print booklet",e selected 2-up perfect bound and, since my printer doesn't have automatic duplexing, I am printing the odd pages first then turning the paper over and printing the even pages. I've got everything working except the order of the pages does not make any sense and I can't figure out why or how to fix it. I did not anticipate this being a complex function! I thought that "print booklet" would handle the page ordering.
My designer is out of reach, he has designed a logo but now there is a need to write PRO on the lower right corner of it(as written in various other logos), I am an amateur in designing, can anybody tell me how to do that in Gimp. Thanks in Advance
I have a 20 concentric circles in Inkscape, not filled, with a white semi-transparent border. Like this: When I export it to PDF, the circles are resized and they become ellipses, revealing the background behind them: Any idea why and how to avoid this? Here are the svg and pdf files: https://www.dropbox.com/s/91njrcoxjs5akg8/test.pdf https://www.dropbox.com/s/0t4z9hkwqb82vjz/test.svg
I'm wondering: If you were [conditional, I'm not asking for people who were actually there] an art (or printing, or advertisement, I'm not sure what the title would have been back then) student or professional in the 70s, what would you be talking about with with your classmates/colleagues? I don't mean what would you be studying at class, but what would you consider revolutionary (and maybe a little subversive) subjects at the time? What were the trends, the new ideas people were talking about? Could be students from America or Europe. I'm actually thinking about latinamerican universities, but I realize that might be too specific. And they must have been talking about the same things, I guess. I know, for example, that social science students were discussing Levi-Strauss, a lot. Which was forbidden in some latinamerican countries, because it was considered 'dangerous'. I imagine maybe art students were talking about... postmodernism? Feminism? I don't really know and would appreciate your help.
How would I go about making a texture similar to the one used throughout this site: Is it some kind of noise pattern?
I'm starting to learn SVG graphics coding, but I'm looking for something with a WYSIWYG kind of thing. Does such a thing exist? And what would you advise me to make the learning process faster?
I am trying to join two shapes (figure - a) in Illustrator, And I want the effect should be like this (figure - b). I tried Unite option in Pathfinder, but that makes a big rectangle. Please note: after joining I want one middle cut inside the rectangle. Any idea?
What is the best colors for logo of a IT/Web Dev company? I have created sample.

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