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Im looking for tutorials about designing characters/mascots with illustrator in a specific style viewable below. I liked this design style but the actual original tutorial page is no longer online (links to http://dinglifeblog.com/?p=219 don't work). Image Viewable here I have searched in google for 'icon character design' but couldn't find anything similar. Is this type of design called something specific or does anyone know a good tutorial for this type of design? It is the icon character that I am specifically intrested in. Thanks
I have an image which has a layer mask so that the image fades to transparent. However when I try to export the image (Save for Web) as a PNG the layer mask is lost. What am I doing wrong? Can this be done? Cheers
Short question: I have SVG files with CMYK colours, specified as according to the SVG specs. I want to get this into a design program - any design program - to finalise the design and prepare it to print. However, I can't find anything that actually pays attention to the CMYK colours in the SVG (not Illustrator or Inkscape, anyway). The colours are complicated and not easy to just convert: imagine hundreds of shades dynamically generated, as tints and blends of brand-guidelines-specified CMYK that has to be just right. Background: Something that's becoming more common is designing data-driven graphics that are generated from data using javascript and SVG, then, publishing one variant for the web using javascript and SVG, for example via D3 (or via Raphael / D34Raphael for IE support), then using the same code to produce a variant for print, which is finished in Illustrator (or Inkscape) and sent to the printers or layout people as a PDF. Here's an example from the New York Times graphics blog talking through this workflow. The below graphic was coded for the web, then the SVG was copied from the browser into Illustrator then finalised as a print graphic (for them, the colours are simple so they don't have my problem, they can just convert from the RGB): SVG can specify CMYK colours (for any SVG coders out there, the syntax looks like this: <circle fill="#CD853F device-cmyk(0.11, 0.48, 0.83, 0.00)"/>). But most design software ignores this. I've seen talk in the Inkscape community of thinking about supporting CMYK SVG, and something complicated involving Scribus ("the open-source InDesign"), but I've not managed to get either to work (I might have misunderstood the Scribus one - edit: this article suggests that Scribus can import CMYK SVG if it defines it as an ICC colour profile... not quite mades sense of it yet but it looks promising). So, I can create code that generates RGB SVG visualisations in 'web mode' and CMYK SVG in 'print mode', dynamically generating colours that are just right. The problem is, I can't do anything with these CMYK SVG files - Illustrator and Inkscape just treat them as black. Is there any graphics program, plugin or method that can take an SVG image with CMYK shapes and convert it to any vector format (ai,pdf,eps...) where design software will listen to the CMYK colours? Here's a simple SVG file with some text with colours specified in CMYK. Just copy and paste and save as an .svg file. <?xml version="1.0" encoding="utf-8"?> <!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="176.18px" height="111.59px" viewBox="0 0 176.18 111.59" enable-background="new 0 0 176.18 111.59" xml:space="preserve"> <switch> <g> <text transform="matrix(1 0 0 1 31.5986 34.522)" fill="#dddddd device-cmyk(0.00, 0.00, 0.00, 0.60)" font-family="'MyriadPro-Regular'" font-size="12">TEST FILE...</text> <text transform="matrix(1 0 0 1 31.5986 59.3633)" fill="#dddddd device-cmyk(0.00, 0.85, 0.65, 0.00)" font-family="'MyriadPro-Regular'" font-size="12">This should be red</text> <text transform="matrix(1 0 0 1 31.5986 84.2041)" fill="#dddddd device-cmyk(0.90, 0.55, 0.00, 0.00)" font-family="'MyriadPro-Regular'" font-size="12">This should be blue</text> </g> </switch> </svg>
As far as I understand, converting input files to DNG is reasonable for Raw files only. Or is there any benefit if I convert jpgs to dng?
I have a 15.6" touchscreen laptop and I would like to be able to use the touchscreen in Photoshop. It works fine in Illustrator but for some reason Adobe didn't make Photoshop compatible with touch screens. Does anyone know a way to make Photoshop CS6 work with touchscreen monitors? It's so frustrating not being able to use touchscreen in Photoshop, especially now that I'm getting used to using it in Illustrator. Not to mention every other program I've tried works with it no problem. My laptop is an Asus Q500A 15.6" Touchscreen Laptop.
Can any of my graphics designer friends explain HSB to me? I know it's hue/saturation/brightness and I know what those three do (for the most part)... I understand the algorithm of creating colors behind RGB, but what about HSB? The hue is just the colors radial position on the color wheel right? But what do saturation and brightness do? (I know one washes the color out (towards grey) and the other lightens or darkens the color...) but what do they do on the color wheel? Hue is radial position? I'm assuming brightness says whether the color location is closer to the center of the wheel or closer to the edge of the wheel, but then where does saturation come into play? Also, is black even on the color wheel? Or is it actually like a color cylinder where the center travels from white (on the bottom face) to black (on the top face) and saturation chooses the z-position of the color location? What I'm really trying to understand is, in different lighting would my skin (assuming it's all almost the same color) always have about the same hue but different brightness, and on cameras with different exposure would my skin always have the same hue but different saturation?
I am using Photoshop CS6. I have 40 images that have a transparent background open. I would like to apply a layer (a fill with gradient) to each of the 40 images without having to manually select Duplicate Layer (because I can only select one document at at time as a destination). Any advice?
I'm working on a website redesign project. I will need to present a few different mockups to the client for review. I want to make sure the client can see everything in context. I don't want to assume that the client has the right software. Maybe even add some comments, questions, or background on the design direction. What is a typical way of presenting mockups to a client? I assume that presenting website mockups in email was not the best way. If email is a successful means for presenting mockups, please explain that in an answer.
I've been without Photoshop on my laptop for a few months and have been working with Microsoft Paint on some UI mock-ups. Now that I have Photoshop (CS6) on my laptop the colors are completely different. Even if I screenshot the mock-up with Paint open on my desktop (with the layout visible) and then try to paste that into Photoshop, the colors are still the same as when opening in Photoshop from a saved image and are incorrect. Some of the colors in paint I color sampled from my website and they match perfectly. I've tried everything to get mock-up into Photoshop with the right colors, but no luck. I've also tried the various color profiles (RGB, CMYK, etc., but i'm not keen on them). The only time it shows up correctly is if I open in paint or with a web browser, so I'm thinking it must but some web color profile or something. Any ideas how I can preserve all my original work and get it looking the same in Photoshop? New photos off the web have the same issue, by the way. They look good in the browser then they are different in Photoshop and Microsoft Photo Viewer.
I have text in 2 columns in a text box. There are large gaps inbetween some of the words in one area of a column. There is one space before and after each word. What could account or this?
I'm looking to recreate this effect in Photoshop by giving a shadow only to the corners of the rectangle (in this case a sticky note):
If you use an Illustrator action on a selection, it applies it to that selection as a whole. Illustrator actions can be applied as 'batches', but this means batches of files, not batches of objects. Is there a way to apply an action to each object in turn (like Transform Each does), not the whole selection?
Is there a way to change the colour of this gray area? I would like it to be white. I like to use this area as a mood board, so it helps if I am working with the same background colour.
I'm trying to create a presentation that requires me highlighting sections in each photo. I mean having the rest of the image in a kind of transparent form but the section of interest should be very clear and emphasized so that the audience are drawn to that particular section of the image while still having the freedom to scan the overall image. Thank you in anticipation of your help.
In preparation for an upcoming project, I've been looking over a lot of different sites for high end perfumes and/or high fashion. Noticed that most of them (at least the perfume ones) have almost the same look and feel. I like the sparseness and simplicity of them, but the color schemes drive me nuts. I'm wondering if there are any scientific underpinnings of this trend? I mean ANY. I find them so off-putting it's not even funny, but I'll have to work closely with fairly high ranking company rep and keep a straight face. EDIT: B&W ... one more...
What are the radii and sizes for the new iOS 7 icons?
Currently, I'm looking for designer to help me in designing some flat icons, with such style (flat, minimalist, simple, clean, like these ones). Sometimes, I came across some amazing logo works by other designers. I love those works as well. I was wondering, are "flat icon design" and "logo design" comprised of the same set of skills? If a designer can design an amazingly great logos, can I assume he will be able to design an amazingly great flat icons as well?
I'm going to be printing from inDesign onto a borderless printer. I want images that bleed over from one page onto the next to continue without a gap. The document is too long to use vertical page spreads (max 10 pages) and tiling isn't working (inDesign puts in a gap with a crop mark and slug info even though I've unchecked these). Is there any way to get linked text boxes with inline images to span multiple boxes, with part of the image in each text box?
I have experience only with Adobe Photoshop, but I'm looking for something easy to use, a program that will let me focus on the design process and testing many concepts without having to do a lot of "craft" work/clicking. Are there any templates available on the Net that I could use?
I'm working on a project that will mail out access codes. Yes, using physical snail mail. The recipient needs to be able read the code and accurately type it into a web form. The codes consist of seven characters including upper case A-Z, lower case a-z, and digits 0-9. My question is how to communicate exact characters, keeping in mind that I might have a number 0 immediately next to the letter O. A code may also contain one, but not the other. I'm also concerned about i vs I vs l vs 1... and those are four different valid characters. What fonts can I use that will clearly distinguish these? What are tests I can use to check the font? Are there other sets of similar character glyphs I might be missing? Is there anything else that I can/should be doing to make sure these are readable in an accurate way?
(Completely rewritten version.) I'm a writer doing a book for an overseas publisher. My deliverables for them are .doc files for the text and .png files for the graphics. I have no control over print production processes. The publisher tells me that my .png files are "too light" and will cause problems during printing. (I've been told this doesn't make sense; nothing I can do about that.) They've asked me to do darker versions. Since these are screen captures of web applications, the only way to make them darker is to edit the files. I've tried editing them using the Brightness/Contrast tool in GIMP, but this introduces weird color distortions. There's presumably some simple adjustment that will make these images look darker, but I lack the expertise to find it. Simple example:
I want to use one of the Adobe Creative Suite 5 programs to create an image sprite of all the small icons and images on my webpages. I've done it a number of times before in Photoshop but can't quite get every icon to be at the exact coordinates I intend them to be at. The last method I used was to explicitly define the correct size of each as a shape, and use snap-to and line guides to line them all up where I want each image, and then insert the images and hide the shapes. This takes a little while and to my dismay, there always seems to be something that's a pixel or two out of place, messing with my beautiful site designs. What method can I use to set up a grid of images with varying sizes to be at specific coordinates? Which of the Adobe CS5 Programs has the best functionality for this? and a loosely relevant side question.. For the purpose of rendering in a browser as fast as possible, should the images be lined up vertically, horizontally or in a roughly equal sided rectangle?
I have this site Site Link where I use gradients on the background. When you for example switch between site "Leistungen" & "Referenzen" you will see that the background darkness from the gradients on the top is getting darker or brighter (when switching between the two pages) because of the different heights of the two pages. Now my question is how I can use such gradients in photoshop to have the same look on different heights because actually the gradient is stretching when having smaller or bigger heights?
I'm in the process of replacing a lot of flash content with anything other than flash. Most of it's simple animated diagrams such as the one below: Rather than write javascript each time an image like this appears and risk one of several content writers, who aren't developers and could easily be confused, overwhelmed, or mistakenly change code, I figured many of the flash animations could simply be replaced by an animated gif. However, I've underestimated how large what look like simple images can get when animated. For example, the one below is 228kb, which isn't the end of the world, but much heavier than I'd like to go. Are there certain methods during the image design process that I can use to cut down on the file size? I would've assumed it'd be something like png's, where they can become very heavy with detail, but if you stick to simple shapes and solid colors, they can be extremely light.
first question here so hopefully it's okay. I've searched for how to do this everywhere online but I couldn't find anything. I'm using flash CS6 and I have a shape. I want to animate it so that only one anchor point moves in the animation, not the entire shape. I have absolutely no idea how to do this, any help would be much appreciated! Thanks :)
As the title says we were discussing scripting processes and we noticed this has not been asked nor do I know if it can be done. Can you create an InDesign script that will take all .indd files and print/export them to .pdf?
I have these two fonts and I would like help identifying each one please. 1st font 2nd font
I work on some detailed graphics. I would like to have two windows of the same file open at once, one zoomed in and the other at 100%. This is easy. But what I can't figure out is how to remove ALL "stuff" from the 100% I don't want any guides, rulers, Bounding Boxes handles or such only my pixles. This works in PS using hide extras on the 100% view. But in Illustrator hiding the bounding box for example hides it in both views. Am I missing something here?
I have several paragraphs with the same style. I'd like to auto-add new line before the first paragraph and new line after last paragraph of the same style. How can I do this? Thanks in advance. N.B. The necessary case – it should be the same style 'cause it will be processed via Markdown.
I am using Adobe Illustrator CS6 to create small images (like icons) for my app so I need pixel precision. How can I avoid X, Y, W and H properties to have decimals? Can I configure 0 decimals for this properties on my document? If I use the textboxes with this properties it does right, it increases pixel by pixel, but when draggin with the mouse it uses up to 3 decimals.
In Photoshop, I've got in my character menu Horizontal and Vertical scaling. In Illustrator I don't have it, but I need it. I know I can stretch the entire text-box in AI to simulate character scaling, but that doesn't apply to the following cases: How do I scale one character horizontally or vertically (but not both) in text in Illustrator, without separating the text out? Also, how do I stretch text vertically when it's typed along a path? EDIT: I do realize that to stretch an individual character, the text can be outlined, and the character can then be transformed; however, I'd say this should be a last resort, since it's irreversible, and changing the text afterward requires a complete redesign.
Well, Let me put it this way, I had a PC on which I use to do all my designing work. It was like a home for me, I had all fonts installed, Layer styles saved, Swatches, and many more things. But recently I bought another PC and now I was wondering if there is a way to export every Photoshop stuff I had on my old PC to my New PC. Any help will be really appreciated.. :)
In Photoshop, I am trying to align the baseline, x height, and cap height of some text to a curve, but I'd like to keep the vertical orientation of the letters strait up and down, and not let the curve influence their vertical orientation. Here is an example of the effect I'm trying to replicate: The part that says "McKeesport and Youghiogheny" has exactly the effect I'm trying to achieve. However when I use the "type on path tool" in photoshop, it changes the orientation of the letters so they are not strait up and down. If anyone know a way to do this please let me know! I would appreciate it. Thanks!
I created a logo with some wooden texture in it. I'd like to get rid of the texture and fill it with a different color. I'm not sure what to do. I am able to change the color but the texture remains.
I have seen many designer's work (logos, websites, brochures, animations, infographics, business cards, scenery, illustrations). Most are average but some stand out. Their work just takes you. You can't help but admire the quality of it and right decisions that were made. Even though you are in field of graphic design you still interact with it just as other person would. In not so awesome works, certain graphic design principles and elements stand out. You can see they were well done, accurately used, and harmoniously interact with each other. However, you can still see these elements and not the design as whole. As one with a trained eye you can't help it. On the other hand, designs that stand out are so great that you can't help but see the message and your brain ignores those elements. Basically, you become an audience as well. So how does a graphic designer break the average design barrier? I know skills, imagination, and experience matter. But I don't know how to acquire them exactly or anything else that matters. How can I improve?
I am the graphic designer of a game and I want to recreate the look of these images (I mean the characters, not the 2.5 scene). My questions are: Does this character style (no legs or arms) have a specific name? How can I create characters in this style?
What is the general name for these images with lots of icons and small items sketched (or outlined), they are quite popular these days. Evernote and Whatsapp for example uses them: http://pocketyourshop.files.wordpress.com/2013/03/evernote.png http://cdn9.staztic.com/app/a/2063/2063485/whatsapp-wallpaper-pack-4-724187-0-s-307x512.jpg I'm looking for a tutorial or free images for my app's splash screen, so I need to know how to google them. Though I'm moderately good with Photoshop I don't have much hand drawing skills. Any help appreciated.
This is a medically related question...Most pathology slides are stained with hematoxylin (blue) and eosin (red). However, every lab does it differently. I would like to take a bunch of images from various sources and get the staining properties to all be about the same--with some automatable process, since I have 100's of images to deal with. Any theories? Thanks, r
I've just been using some UI templates and in some cases, the 'bounding box' for transformations is huge compared to the actual object in it. For example, I have a little 'back arrow' shape probably 40px wide, but the transformation box is more than 1000 wide and high. How do I 'clip' or crop it (for want of a better term). It may be called fitting the frame to the content.
I have got a very simple logo in jpg format. The logo is mostly text, think something like "ABC inc." with a very simple styilized shape which merges A, B and C preceding the text. Only two "pure" colors are used. This logo is used everywhere, resized for every occasion, with an evident degradation of quality. I think (am I right?) that a vector version of it should be very easily obtained, since I am tracing something which is more traceable than "a drawing", in my case simple geometric shapes and fonts and should provide for a solution to the image quality degradation. I have asked the "graphic dept" if they already had a vector version of the logo. Disappointingly for my purposes, they sent me a larger jpg to start with. So, I have downloaded Inkscape, and I have traced the bitmap. The result, even if not perfect, is very good (mainly because the font has sharp angles, while the tracing uses smooth curves and so there is a "roundish" feel to the letters. Now I would like to fill the (interior region of the) traced shape with the original colors. The trouble is that the "fill" tool doesn't work like I am accustomed to in an image editing program (say, Gimp). In particular, it doesn't "fill" the shape but it is apparently "tracing" another path within mine: and so while a good approximation, one can clearly see the "white" space between the two shapes. What am I doing wrong, and how can I rectify it? I can live with a "rounded" text, at least as a first approximation. But the white space between the boundary and the interior region is so evident that it is not acceptable. Please note: I am a complete beginner in the field of vector imaging. So I am aware that my approach could be easily wrong from the first step, and the whole question may be "missing it". UPDATE: as requested, I am adding an example. This is a "dot", like at the end of "Inc.": . As you can see, when I filled the interior of the dot, a white space remained around. What am I doing wrong?
I created two documents with same pixel dimensions (1280x768). Document 1: 72ppi Document 2: 300ppi When I saved both in .png, they have the same size on the hard disk. Why do I need PPI? Why can't I just use pixels?
I have a scan of an old children's book that contains both graphics and text. I want to revive the book for my children, while preserving as much as possible from the original layout and illustrations. I have a very limited experience in this field. I thought of using Photoshop, which I have used in the past for other projects, but none of this kind. My approach was to try and segment each image, find the contours and fill the regions with new uniform colors, based on the original colors, such that I obtain clean illustrations. Also, if possible, I want to get the text such that I don't need to retype it (but this is only a minimal problem, since the book does not contain too much text). I don't know if this can be semi-automatically done in Photoshop. I found useful the Trace Contour filter, but I assume that there are also other tools that can be helpful in achieving a good results with a least manual effort. Here is what I achieved so far, by a direct approach using the Trace Contour filter in Photoshop, then by manually filling the regions with uniform colors from the original scan. How would you solve this task? Any hint or advice would be helpful. Original scan of the cover: Partial result: Two more scanned pages from the book:
I've been working with 960 layout for years – but was wondering if there are other grid systems that are strongly supported by the design and development community and also have blank or starter pages to work with.
I would like to do something that seems simple, but I can't find anything on the web. Does anyone know of a way to take a font and generate a spline that follows the center of the font's stroke? I have the Adobe creative suite.
I am colourblind, which makes choosing the colours of my website very hard (often I choose colours that appeal to me, yet look awful to everyone else). I have recently begun a new website (image below), and I chose these colours for it. Now, to me, it looks really nice, but to everyone else who has seen it, it looks really really really bad. I am trying to design this website with a metro-ish theme (hence the font, lack of shadows and lack of gradients). I also like the colour blue (hence the blue backgrounds and headings). Does anyone know of a good blue colour palette or a website with detailed metro/blue colour scheme tutorials? Click on image for full size
I'm modifying an existing animated GIF using GIMP. For some reason, GIMP opens it as an RGB file. But after doing a color analysis it told me there are only 255 colours. That's just right! However, when I do turn on indexed mode, it generates a new palette which degrades the image. Even with all the blending/dithering options turned on or off, it applies a new 255 colour palette that is different from the 255 colours that are actually there. So, how can I fix this?
I have purchased this stock image: I wish to extend the pebble background substantially, to fill the image around 4x wider, keeping the same height. So far I've tried: Using PS CS5 content-aware filler, though whilst it starts out ok as you extend it a little bit, it begins to repeat the exact same background giving an extremely unnatural and badly edited look as you extend further. Using the Clone tool and Spot healing after stretching and cut-pasting various bits, after an hour of fiddling it becomes uncertain whether the image is getting better or worse and using this method will take forever and a day. There must be a combination of the thousands of tools in Photoshop or CS5 that will help me do this much faster. Any suggestion, blogs, guides or tutorials for this are welcome and appreciated.
I've been using Photoshop CS3 for quite some time in my work, but this one has really bugged me. When I have created a vector shape with the Pen tool, as I want to move those anchor points precisely to a specific point I sometimes need to snap it using some guidelines. But the anchor points don't seem to snap to any guides or even to edges of my other layered images. How do I make the anchor point snap to guidelines?
I'm trying to figure out how to create an engraved look in CorelDraw This type of effect is called "Inner Shadow" in PhotoShop. Here's an example: Create an “pressed in” look Step-by-step instructions would be GREATLY appreciated.
I'm trying to delete that horizontal bar using Glyphs. I can delete the four points that create it, but have no way of joining the inner points back up again. I've been trawling through the meager documentation for hours.
I have a folder on my computer with some images inside it. For each image I would like to create a smaller thumbnail of the image with a specific width and height. I recently downloaded Microsoft expression design. Is it possible to use expression design to generate thumbnails for a folder of images, if so how, or must I use a different program, if so which one and how?
I have a finished design for my iOS app, but the developers don't use PS and asked me to provide all the UI elements as PNGs for retina and standard. The designer who originally created the design in PS stated that he doesn't do slicing. Is there a way to do this automatically? If not which is the best method to do it? Isn't it usual that the designer provides this per request? Thanks in advance
I took some photos of a document with my iphone. Everything is perfect except the colors, the certificate looks great in the middle, but on the side it looks dark, darkness increasing spherically towards outside, the camera points directly towards the center of the page when photo is taken. I tried maxing out the brightness and contrast in gimp, until a level so that I can atleast read the important part. This removed the darkness, but it made the text in middle also very light. How can I remove the darkness as well as prevent the text from becoming very light?
I am working with an image with an aliasing problem in Adobe Illustrator CS6. The aliasing disappears after unchecking Preferences-> General -> Anti-aliased Artwork. However, when I export the file as a PDF, the aliasing returns when viewed with Adobe Acrobat. Once again, in Acrobat, by unchecking Edit-> Preferences... -> Page Display -> Rendering -> Smooth line art, the problem disappears. The same is the case for any PDF-viewer. Is there a way, in Adobe Illustrator, to remove the aliasing problem, rather than just temporarily hide it? I wish to send my PDF to an associate without having to say, "you will need to change your PDF-viewer preferences in order for the figures to look right".
In Photoshop I can copy and paste Illustrator paths as a smart object, and then double click this smart object to edit it in Illustrator. When I duplicate this smart object (say to change the colour scheme of a logo I'm designing and offer a client multiple colour schemes) and edit the newly created smart object, BOTH objects change. It's one of those Adobe quirks where I'm not quite sure if it's a feature or a bug :) Anyway, in order to offer separate colour schemes of a logo in one .psb file, I'd like to know how to edit derivative smart objects independently of each other :)
I’m looking to give my very smooth vector drawing a hand-drawn style. When I say this, I don’t mean applying a texture over the top of the whole vector (like this). A technique that would produce something like this would be what i’m looking for: Author: Rob Clarke
For example, in photo shop you can draw a line then select that line and contract the pixels maybe 3 pixels (depending if the line I drew was thicker)and fill that area with a color. Thus the line has a color with a black outline. Is it possible in illustrator to be able to do this just by simply drawing a line and having illustrator do it for you? completely new to illustrator
I need to find out what font was this written with: I have already tried http://www.myfonts.com/WhatTheFont/ but it didn't help. Do you know of some sites that display galleries of known fonts? I've only managed to get to bizzare fonts for some reason. Anyway, any solution is welcome, thx
I have a box with a list of labels inside of it and a separator line between each label. Now I want to cut all these shapes by a vertical line, say remove the left 50% part and keep the right 50% part with a "razor sharp" cutting edge. Pretty much the same as how you in Photoshop select an area of a rasterized layer, invert the selection and delete the outside of the selection. How do I achieve this with vectorized graphics in Illustrator? Expand and then select -> remove, rasterize -> select remove...? I can't get it to work. EDIT : Illustration of what I'm trying to do.
I'm trying to create a shape formed by a regular hexagon and a regular pentagon that are joined by shared edge. The problem is that the polygons made my the polygon tool are very hard to align. I've tried the connector tool, which seems to align everything nicely, but as far as I can tell requires nodes. Is there a good way of doing this within Inkscape? Otherwise, I will just write a script to make an svg containing the appropriate shapes. This is what happens if you try and use the polygon tool - alignment mayhem:
Ive got a bunch of logos i want to display on a 'press' page, the logos all have different color schemes, which clash so i want to make all the logos black and white, no greyscale, just 2 colours, black and white. Ive tried in Photoshop to set the color pallet to greyscale and then up the contrast, but i still get allot of greys in the logos, any idea hows best to achieve this. Id like to do something similar to this example were the logo is completely flattened, see there is no tonal effect on the letters as there is on the color version. Just to be clear all the logos, are raster, rather than vector so they cant just be put into illustrator and changed.
How can I create a generic blurred background that can be used on multiple images similar to the example below? I need a white frosted glass looking png that I can set use to layer over regular images to give them all a frosted glass look (like you can almost make out whats behind it; maybe some colors). Examples: Click on image for full resolution Maybe a white background with texture (grainy texture) then Gaussian blur that and then use it as a layer over all my images. I know the link I posted above is probably just an image blurred, but I need a layer that can be reused in an iOS project. This way it can be used a view layer over sections of an image and make the image underneath look blurred. Maybe I shouldn't use blur as the term here. I am looking for frosted glass look. What I am trying to do with this image is import it to my iOS app use it a view background. Then when this view is over other views (a map view, a photo, etc...) they all are frosted. I am trying to create the effect of this image from iOS 7. And no I don't want to use the new iOS 7 design features, because most of my users are on iOS 5 still. And no I don't want to force them to upgrade.
Is it possible to produce such design hints (on elements padding, spacing, width, height) automatically in photoshop? Is there any plugin that can potentially do this?
If I'm working on a document in Photoshop and I want to drop in an image by dragging the file from Windows explorer into the open Photoshop document, I can do that. It inserts the dropped image in a sort of "placement" mode until I finalize by pressing 'Enter'. The problem is, it doesn't insert the image at the image's actual size. It's generally smaller. Sure I can scale it once after dropping it in but that's not very accurate. In order to get the image to go into the document at its correct size I first have to open it in Photoshop as its own document (for example, dropping it into an empty area of the Photoshop window), and then drag that as a layer into the document I'm working on. This feels more like a workaround than a solution/answer. How can I drop in an image file into an open Photoshop document without it inserting it into the document at the incorrect size?
I am designing the layout for a textbook. The book is organized into themes at three levels: Modules Units Lessons When looking in the table of contents, this organization is easy to understand, e.g.: Module 1: North America Unit 1: The Age of Sail Lesson 1: Columbus Lesson 2: Magellan ... Unit 2: The Pioneers Lesson 3: Home on the Prairie Lesson 4: The Native Americans ... Module 2: Australia ... Once one begins to flip through the book, however, it is not so easy for readers to mentally visualize this structure or to find the pages they want. I examined some other textbooks, but found they had the same problem. So far, I have designed two types of titles which are easily differentiated. The first is the text printed large, with a photograph behind spanning two whole pages: _________________________________ \| \| \| \| \| \| \| \| \| \| Unit 1 \| \| \| The Age of Sail\| \| \| \| \| \| \| \| \|________________\|________________\| The second is the text printed slightly smaller, but it is given its own white space at the top of the pages: ________________ ________________ \| \| \| \| Lesson 1 \| \| \| Columbus \| \| \| .............. \| .............. \| \| .............. \| .............. \| \| .............. \| .............. \| \| .............. \| .............. \| \|________________\|________________\| I cannot find any way to make the "Modules" level appear much larger than the "Units" level. How can I organize the chapter titles in this book so this organization is more clear?
Imagine I have a black disc. I would like to create a gradient around the disc, whose value is white 100% opacity on the border of the disc and white 0% opacity at the end of the gradient. Now, replace the disc with any other object : I want to do something similar. Is it possible ?
Many designs use one typeface for body text and another, contrasting typeface for headings. Is there an "official" term typographers use for the contrasting typeface in a design?
I have a gradient, somewhat glossy one which I cannot just repeat. There is some text on it. Is there any tool in PS to remove this text?
I have downloaded some psd templates that I must edit. In this case, I am attempting to continue the red bar across the black area that currently divides it. It is in bitmap form, however (no layer effects I can look at), so I'm wondering what the best way would be to make the red bar look like it seamlessly continues across this black gap? Thank you in advance.
I've selected the below area in my image. I then switch to the move tool, but when I drag around the selection, the pixels that it had encompassed do not move with it. Would be great to know what I'm doing wrong :) Thank you in advance.
I've been struggling with this for some time now. The tool is set to pencil tool. The color is set to black. The layer is at the top of the layer stack. But still it won't draw a simple line. Interesting thing though: if I bump up the size of the pencil tip and draw back and forth, I get some random bits drawn in. Using CS5. Thanks for your help.
I'm trying to convert a PDF to a vector image so that I can display it online. When I convert it to SVG, it doesn't convert the font glyphs correctly. When I convert to SWF, it is perfect, but I would rather use SVG. SVG Rendering (download link): Click image for full size PDF Rendering (download link): Click image for full size What is going on? Is SWF superior to SVG or is this because of a bad converter?
So I have a basic 50 pt line selected, go over to the right to open the Gradient panel, but the stroke option - the word stroke and the three boxes next to it - are greyed out and unclickable. I've searched the internet, tried doing different random things in the program (as I am brand new to it), and even tried uninstalling and reinstaling the program but nothing seems to work. It seems as if this option is permanently disabled, which makes no sense. Someone please help.
I have seen a lot of very different tutorials about how to remove blue lines from a scanned drawing. So I ask myself what is the best way in term of simplicity and quality to do this in Photoshop (CS3 and above). And also, is the choice of the blue color really the best, or there are other better colors in order to obtain a clean final drawing with the sole black lines?
I have this image: It's only 19ppi. I want to create a vector from it so that it can scale up up to 11 square inches and retain it's quality. How can I make Illustrator do this? I was trying to use the Live Trace. But I don't think I'm setting the properties correctly. It either overly smooths it or it leaves the edges as stepped and jagged.
I have a photo I removed the background from, leaving only the human models - 3 people sitting in front of a computer. I need the new background to be gradient filled and the left bottom corner of the image to have a 3px rounded corner so it can be incorporated into a Website slider with the same rounded corner. The new photo will be placed at the left-side of the slider. Using Photoshop, the photo is on layer #1, a gradient filled rectangle with rounded corners is on layer #2. All but the left bottom corner of the rounded-corner rectangle is dragged off the visible canvas. When I clip the photo using layer #2 the photo takes on the gradient fill completely obscuring the people - all I have is a gradient filled layer. How do I clip the photo to the gradient filled rectangle, producing a photo of 3 people with a gradient background and the left bottom corner rounded? I would prefer the photo remain editable because I have smart filters applied. Note: I was able to accomplish this by merging layers and then clipping to a rounded rectangle but this effectively destroyed any chance of future editing the photo with the original filters.
I need to upload my signature in a PDF document, but I do not know how to edit the background of this image. I wish to remove the bluish-tint background, and make it pure white. Can anyone help me with this, please?
This is a view from an app for restaurant. As you can see, buttons and title of the dish cannot be read easily, especially over white tone photos. I applied some gradient mask between photo and text, it is better now. But I want to know the best way of it. And can you give me some clue about re-arranging the buttons? Thank you P.S: I am only a Software Engineer :)
I have purchased a set of icons. In the package there are five files that contain all the icons, assembled on a regular grid in different file formats. The file formats are .ai, .eps, .pdf, .png, .psd. I need the icons to use in an android application I'm writing. I need around twenty of them at different resolutions (32x32, 48x48, 64x64 & 96x96), in .png format. The only way I know to extract the single icons is to do it by hand, but it would be a tedious and error-prone way. Is there an automatic method, or a better way of getting the icons out of the files, at the various resolution I need? What software will I need? Ps. The icons i need to obtain have the following format: sample android icon As you can see, the icon is centered in a 64x64 bitmap. I have colored red the transparent part of the image to make it more visible.
My question is really brief. What is the font used in the Western Union logo?
I'm trying to open my .psd files in Adobe Illustrator, but it's turning them into really small files. It's probably something to do with the advance settings, but I cant seem to find it.
I'm trying to do something a little like steganography - that is, I want to embed an image in an image so that when it's reduced to 50% size, the embedded image disappears and it becomes a plain color. This is my attempt. This is using Linear Dodge (Add) and Subtract blend modes in Photoshop, along with the respective layers being masked to alternating pixel columns. When reduced to 50%, using bilinear or bicubic resampling, I'd like it to become just a plain color. Instead, it's becoming this: Why? The resultant colors of the Add and Subtract aren't getting capped at 0 or 255. But, as we can see, lighter parts of the image are losing their red saturation. How can I manipulate the images - ideally using Photoshop - to get the desired result? My PSD is here, and the image I used is here. Edit: This is my second attempt: And that exact same image, resized by your browser: At least on mine, the A has disappeared. That is what I want, and I want Photoshop to calculate pixel colours rather than me have to do it manually.
I have a pen sketch scanned with resolution ~ 7000x5000px 300DPI. When I'm trying to trace the whole image with Illustrator CS6 into b/w, I am losing details overall. Example is on the left side. It's just part of the image. However, when I tried to isolate a couple small raster pictures from the big one and trace them separately, I got pretty good results comparing to tracing a whole picture. The isolated images are with resolution ~700x800px 300DPI. The problem is that I can't isolate all elements in sketch then combine after tracing, it's hell lot of work. So my hope is that there is some technique of tracing big images to get better quality.
Can't argue that advertisements are an extra means of a web site generating income but should web designers take advertisements into consideration when laying out the pixels for a site? Should this be discussed in a design brief? How can you determine when advertisements are enough? Is their a ratio to consider when adding advertisements?
I have a PDF document with text created from a Photoshop file. Problem: When I do "select all text" in Acrobat and then copy-paste it into a text editor the text is pasted out of order. This is somewhat expected because of the multiple text layers in the original Photoshop file. Question: How can I tell Photoshop the desired order of the text layers when creating the PDF file? The layers are stacked in the correct order in the layer panel in Photoshop. I was hoping that was the issue, but it's not. Is there any other way in which I can specify the text order?
I'm trying to simulate a cloud of data points around a graph and I found that the air spray filter applied to a copy of that graph will give me almost what I want, especially when changing the morphology effect operator from dilate to erode. This doesn't look too bad, although now the wannabe data points are maybe a bit too weak depending on output resolution. In any case, especially when magnified, you can see another problem: Some of the pixels have a really low alpha value which doesn't make sense in my scenario. I'd like all pixels to have an alpha value of 1. I tried playing around with the two blend effects the air spray filter contains but to no avail. I then tried to force the alpha channel to 1 using the colour matrix effect with the following setting. 1 0 0 0 0 0 1 0 0 0 0 0 1 0 0 0 0 0 0 1 But of course this sets everything that has alpha value 0 to 1, too, with a rather devastating effect. Is there a way to turn only the orange pixels non-transparent but not the background? I know, when exporting this to PDF it's unlikely that the air spray effect will survive without being rendered as a raster image anyway so I probably could go through that cycle once and then do something to the raster image. But if there is a more elegant way to do this, that'd be great.
I have an image of size 100px x 100px and a bunch of smart objects of size 10px x 10px in it. When I resize the image using Image > Image Size by 200% - all my vector objects and smart objects are resized just fine. But when I open the smart object for editing, I can see its size is still 10px x 10px. (should be 20px x 20px). When I resize the smart object while editing it and hit save, it is 40px x 40px in size. So looks like Photoshop is still making it double sized (as I resized an entire image to have 200% in width / height). Am I doing something wrong? Is there a better way how to resize an image with smart objects included?
On higher level nodes of our site we have a utility nav with only 3 links: "sign in", "register", and "browse". The text labels for these actions are too long to keep fully visible at screen sizes 480px and under so we'll be using media queries to render them as icons. Normally we would simply collapse into the 3-bar menu toggle BUT some of these screens will also have a local nav with many links that we will be treating in that manner -- so we don't want to render two 3-bar menu icons. Instead, we'd like to do something like show a user profile icon for the sign-in/register link and something for "browse" (whose label at above 480px is "Browse by Discipline"). Maybe we need to rethink this approach but we were hoping to somehow represent "browse" but have come up with nothing satisfactory. A magnifying glass reads too strongly as "search" and the old binoculars seems awfully lame. Any ideas or examples in the wild? All suggestions appreciated!
I work with very large documents with over 50 art boards. Towards the end of my illustration process I typically add a raster effect to everything in my Illustrator document. Sometimes I run into a situation where I later need to remove the effect or change the effect settings. I haven't found a good way to do this. Whereas I could select all the objects and apply the effect all at once, I can't seem to select all objects and remove the effect all at once, because they all have different appearance attributes. What I would love is to be able to do what you can do in Photoshop, which is to use a smart layer effect, which is editable and togglable at any time with just a click; in Illustrator, however, it seems like I'm applying 100 separate instances of the effect (f there are 100 objects in my document), rather than one unified affect across the whole layer. Is there a way to do what I'm trying to do?
I'd like to cut through a white layer with text to reveal a pic underneath, in effect filling the text with the pic but still be able to preserve full text editing i.e. not rasterise? So far I have two pics, one as the background layer and one as a clipping mask for the text. Can anyone help? Sorry if this has already been answered I'n not sure what this technique is called so wasn't sure what to search for. Sample:
I recently got a PDF from a client that includes several images. For some strange reason, the vertical and horizontal resolution of each individual image differs. Some of them differ by a huge degree. Here's the specs of one of the image in question... 47 by 216 pixels 51.84 by 11.28 points 65.278 by 1378.69 pixels per inch I noticed this while doing pre-print prep and was a little curious. I've seen the h-res and v-res differ by a small percentage before, but not to this degree. What actions could result in an image with these properties? Did the graphic artist simply have to stretch an existing image to fit the overall PDF layout, resulting in fewer pixels on the stretched axis?
Some web design and development projects client's will request capabilities for a foreign translation in their site. How can you account for this and what are some good practices for content mockup? If a client supplies content are you to take the English version and go to Google translate and translate every requested language and design accordingly? Do you design and code each .css file for each language if you are wanting the best possible result? When providing a mockup to the client do you provide the translated edition or just the English? Is it a bad idea to not guarantee or require a sign-off for your design if you don't speak the foreign language in question?
I am looking for the best font for not only programmers but all people which are "forced" to sit long hours in front of a computer and staring at screen. I expect less distraction, less eye tiredness, more readability etc. than anything casual/default. Does exist some font with verifiable attributes suitable for usage during long hours programming / scripting? Is Inconsolata a good choice?
I'm a researcher in cryptography and regularly read and write acedemic papers which are, to say the least, not objects of great beauty. Recently I've noticed that the guideline not to use more than two or maybe three fonts in a document is regularly flouted and wonder how much this has to do with it. Here's an example of mine (content is of course irrelevant): The done thing seems to be to have different fonts for different categories of things: Serif for body text, same in bold for headings, italics for emphasis. Sans-Serif or monospace for algorithm names (the "KeyGen" etc. in the example). Italics (but in a slightly different font I think) for inline math. sans-serif, bold or small caps for names of security notions (small caps in the example above). "blackboard bold", "calligraphic", "fraktur" etc. (the different options available in LaTeX) for different classes of things like collections of algorithms, participants in a protocol. and so on ... My questions are: The above example looks a bit chaotic to me. Is it mainly the number of fonts, or am I missing any other key design principle (like not using fonts that go well together or bad spacing)? Is there any point from a design perspective in using different fonts in a techinical or academic document to denote different categories of things or would it be better to just to use the same font for all? The argument for "one font per category" seems to be something like making it easier for the reader to recognise at a glancce what kind of thing I'm referring to - is there any justification for this? Or a better way to achieve the same? I've read this GD topic, any more pointers to how I can make my academic papers look better?
I'm new to Illustrator, and I'm having a heck of a time with a project. The image I'm trying to make has a black background, and a large number of white text objects in the foreground. I select the text tool, click in the panel, change my font color to white and remove any stroke, and type a word. Then I select the text tool again, click elsewhere, and type another word - the colors snap back to their defaults, though (the default color is black, so I can't see it at all). I have to manually change the color to white every time I make a new text layer. I've been searching for a way to change the default, or make my changes permanent, but I can't seem to find anything. I imagine this is something really easy...any advice?
I'm animating a character with bones, using keyframes. The character is made up of a skeleton and a bunch of planes attached to that. I want to edit the scale of one of the planes, but when I do that, every animation keyframe that I have already overrides that and sets it back to the value it had when I started animating. Is there a way to make changes to the mesh and propagating that change throughout the existing keyframes? Pardon my Maya-illiteracy.
I'm not here to debate if which program is better, I have only one, since Inkscape no longer works on OS X without some tweaking. I am using Photoshop. I have a vector image I have been working on, it's simple, but it's mine. Before I start to add more time to this project, I need to ask, is there a way to make letters and numbers into "shapes" using Photoshop? Just like how you can do using Photoshop with the other drawing tools? Any help would be greatly appreciated.
I did not see this question here after a search but I was curious to know how do you change the direction of Illustrator's perspective grid from the default: To something like this:
I've worked in Illustrator for years... not professionally. I'm starting to charge for my services, and started wondering. I've taken an Illustrator class at my local college, and designed hundreds of things in Illustrator and other vector illustration software packages. But I've never seen, nor heard of, a best practices for creating layers within a vector illustration. I recently asked an artist friend of mine for a high res image of one of his sketches so I can vectorize it. One of the things I would like to do once I am done is play with brush types on the image... however, if I do the digital inking like I usually do, then the image will be one huge vector image rather than pieces that I can edit and tweak. Other than 'common sense' is there a guide for creating and using layers in a vector image program? Is there a book that would list out the types of pieces of an image that should be layered versus just one huge vector piece at the end?
I want to use an editorial (image which cannot be used for commercial purpose) image which contains a celebrity and crest of the sports team. I've use Photoshop filters to create a water-paint effect photo. The face of the celebrity is completely hidden/blurred as is any crest or other identifiable data. Can I use this derivative image for commercial purpose?

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