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I'm running a company that needs design work from time to time. Things like business cards, web design, marketing materials, etc. We probably have about 20 hours a month of design work on average. What are good resources for finding designers? Where do designers look for clients? I've tried my network to no avail. Should I be posting on job search sites? Are there design forums that designers frequent? Edit: The company I'm running is a start up, so while I'm willing to pay a designer, I'd rather not have to pay a headhunter to find one.
The requirement is to scale a design from a 100ppi, 4inch display up to a 400ppi, 4 inch display. The design should scale such that a 40px X 40px button dimension has the same physical size across any pixel density display. Does this mean we should design using physical dimensions such as inch/cm rather than pixels?
I try elliptical marquee tool in Photoshop. But it goes either vertical or horizontal. And when I try to rotate it afterwards it rotates with what's in it. I need to make a diagonal elliptical selection of my subject for a motion blur effect. Is there an option for it?
If I place a 10" X 6.7" 72 ppi .jpg into InDesign and scale the image down to about 3" X 2", does the ppi change for that image? And how can I tell?
I have designed an icon (using the Mac app Sketch). They are 24x24 pixels and their size is 3 Kb. But I've seen icons with the same resolution and size between 300-400 bytes. Why is this, and how can I make my icons smaller?
When I delete a shape, I am left with a colored background, and this background has the color of the foreground color. And this colored background covers everything else that is in the other layers below. Also when I delete the shape, it asks me if I want to delete the vector mask. Is a shape the same as a vector mask then? Why is that?
I've been learning InDesign, got all the basics now, but now Ive moved onto learning about how to put adverts together. (http://www.slideshare.net/AleaseMichelle/creating-an-magazine-ad-with-adobe-indesign is what I used on how to create adverts). My question is on InDesign and putting together adverts; how many magazines still use in-house advertisements (I've created two fictional magazines - a news magazine A4 size, like Time magazine (mainly a magazine - I used an InDesign tutorial on InDesign basics for this) and a car magazine, like this one is. I did look up on Google, but am not sure about some things .. With regard to the second link, do you think that was in-house ads or templates, or probably just PDF files? This is not for a project, it's solely for learning purposes, there is no individual requesting the adverts.
I am trying to make the same color fill layer (if correct term) to the attached image so rendering color of a graphic element is simpler without the color overlay effect. If I click the solid color button placed at the bottom of the layer window it gives me a new layer with a color fill but it's not masked. Added What I want to achieve is making it easy for color adjustment for every graphic element exactly how the attached image demonstrates. I was unsure whether it was a vector or raster element. Now I know that drawing a vector shape will automatically give me the color fill mask so I am happy with my finding. I was rushing a bit when I posted this question.
With marquee tool selection, I can go to Edit -> Stroke to render outline style. If I wanna do the same with vector shape tool, Stroke option is disabled and by default it fills the whole selection. Is there a way I can use Stroke with vector shape tool?
Most people make logo by creating an image for it. I don't want that since I don't know Photoshop and I may make it ugly. Can logos be made just by using a font rather than creating a logo image?
Our team has been struggling to figure why a shadow/light is rendered with high quality and something rendered in low quality (pixalite). Example of good light map (shadow of sofa on the wall and floor) Example of bad light map (shadow on ceiling is completely pixalite) We are using a 3D party plugin (flare3d exporter) which accepts only texture quality parameters in the farm of min and max values. I guess this is is using for auto-mapping parameters. 32 - 1024 is the default values. If we put the default, most of the lighting comes bad if we give max 1024-1024 range not only the rendering time is longer but the model size also increases. We were not sure how many lights maps m3ds max will create and what is its consideration for determining the quality (32px x 32px - 1024px x 1024px) of light map After lot of trail & errors we came to a wage opinion that the number of light maps and its dimensions are equal to the numbre of uv maps. But again we are not sure which one would create a low quality light map and for which one it creates a high quality texture. Can some one help me understand how it works?
I have an EPS file containing a load of icons. Is there any way I can export each individual shape in the file to a PNG? It's difficult to work with a number of EPS files because I don't see thumbnails in explorer. I have both Illustrator and Photoshop.
I am creating a PDF document that has a table with pyjama stripes. The grey stripes are defined using RGB with equal amounts of each colour. I'm want to make the stripes light enough so that you can write on a printed copy with a #2 pencil and easily read the text, yet dark enough so that the tables rows are easy to follow, both on screen and in print. The PDF document will be printed on a wide variety of computer printers, but probably mostly on laser printers. I've benchmarked the PDF on a Konica Minolta bizhub C550 printer and a Dell lcd screen and and 0.9 (=10% black) seems to be about right. Now to my question: At what blackness level will some computer printers print white instead of grey? (I am aware that this question does not have an absolute answer, but your experiance and real-life examples are appreciated) Side note (for extra credit): I also have some other grey areas in my PDF. I noticed that as I reduced the blackness of the pyjama stripes the other grey areas became darker in the printed copy. I have verified that this is not just an optical illusion by cutting out the other grey areas and placing them next to each other. Why does this happen? Edit (in response to JohnB's comment): The choice of RGB over CMYK is a random one. If CMYK will result in better results I wouldn't mind switching. If you recommend a CMYK setting please be aware that I would rather not use the colour trays of printers that have separate trays for black.
I have to create a 400 page book with the measurements height: 16cm by 24cm in Adobe InDesign. It is intended for publishing, but what are the bleed and margin measurements I need to follow so that it can be printed correctly?
I'm having a very strange problem with Illustrator CS5. When I'm doing non-destructive actions, such as eye-dropper or selecting and dragging, the points in my compound object are shifting around. The only thing that I did between those two halves of the picture was an eye-dropper tool. What on earth is happening?
I've been sent a pdf which contains text, vector shapes and rasterised images. I would like to take a small area of that pdf, which contains all of these, run that area though Photoshop so I can use a custom photoshop filter on it, and then take the resulting image and put it back in the original pdf. I can open the pdf in Photoshop. That requires the whole thing to be rasterised. I can specify RBG or CMYK at that stage, and I open it in RGB-8 Adobe-1998 in Photoshop. I crop the image down to just the area I want to change. I then need to save that image out in a format that Acrobat (which I'm using to put the pdf back together) can recognise. Acrobat doesn't seem to like .psd images. However I save the image out of Photoshop, I struggle to get the same color values when I eventually insert it back into my pdf. Color values shift by more than I'd expect, despite everything having embedded profiles. Is there a workflow that will allow me to rasterise part of a composite pdf, run it through Photoshop, and then embed that rasterised image back in the original pdf, without getting uncontrollable color shifts? I don't mind the odd 1 or 2 shift in 8-bit color value, but I'm getting much more than that. I don't have any control over the color representation of the original pdf but I can set the Photoshop up any way I want. I'm also not restricted to Acrobat. But I do need a controlled and predictable workflow.
It is very, very common in textbooks and publications of that ilk to locate a figure (or even two) at the top of the page that contains the figure reference text (e.g., “See Figure 39.2”). If layout is such that the figure and its reference do not fit on the same page, the figure “floats” to a following page (the closer the better). I seek such behaviour in InDesign. In FrameMaker (r.i.p. on Mac), there is a Position setting “Top of Column” available for an anchored frame that causes the frame to locate itself at the top of the text frame containing the anchor (or, if the “Float” setting is checked, on the first available autoconnected text frame, possibly on a subsequent page). I can write a whole chapter with dozens of illustrations, and Frame will place figures at the tops of pages and will displace text accordingly, with no manual layout intervention. Arbitrary amounts of material can be inserted in front of a figure, with no need for manual adjustment of column heights or positions or manual rearrangement of anchor positions in text. Admittedly, a little bit of fine tuning is sometimes called for upon finalization of layout, but all in all, it works like a dream. The majority of today’s textbooks use such a layout style, and the majority of today’s textbooks are laid out in InDesign. I have searched and searched, so far without success, for a comparable feature (or a set of hacks to mimic the feature). I have been able to position a graphic frame at the top of a column by locating its anchor near the bottom of the previous page. (I set text wrap around the figure frame’s bounding box.) Apparently though only text AFTER the anchor “wraps” (runs around) to avoid the graphic frame; that characteristic of text wrap seems to preclude my placing the anchor adjacent to the figure reference. Also, as I delete material ahead of the anchor, the figure moves up and up and up into the top margin of its page. It’s a mess. Is there an InDesign facility (or hack) comparable to this Frame feature? Follow-up: Is there a mechanism in InDesign to put a table at the top of a column?
This has been bugging me for some time and i'm not sure how to approach it. I've attempted several times. I'm trying to create the lines similar to the compositions in the picture shown: PS - If anyone could identify the designer who made these I would appreciate it.
I have object 1 which obscures object 2 which obscures object 3 which obscures object 4. Object 1   Object 2     Object 3       Object 4 I know I can ctrl + alt + click to select contiguous objects in the stack, but I want objects 1 and 3 selected, excluding 2 and 4. Is there a way to quickly achieve such selection without having to rely on the XML Editor? Thanks.
This question might be kind of stupid... but I am looking into creating multiple websites featuring a couple different fonts from Typekit and other places. I was just wondering... if I have a font on my computer that doesn't say "Non-commercial use only" or something like that can I put it on web without a problem? Thanks! And ask me if you need any more clarification.
If I can get an image in any size I want (for FREE), but only ONE size/format of each image, would it be wise of me to get it in the largest vector/scalable (eps) size? Wondering if it's an issue at all when converting to other formats or downsizing. Seems that I would be wise to get it in the largest size possible then downsize as needed (and change to whatever format is best: PNG, smaller jpg, etc.). Is that correct?
I'm an ios developer and created an app which allows the user to add different texts and reposition them. I would like to provide my users with a premium feature which is a font pack. I'm looking for a few free fonts that I could embed in my app and require payment for them. What kind of license am I looking for? Do you know of any such fonts? Thank you
I have Photoshop CS3 on a Windows 7 32bit machine with onboard / integrated Q45/Q43 chipset graphics. I have a problem where it seems any Photoshop element; shapes, text and the like do not align themselves properly to my 1px grid. This is a screenshot. I am fully zoomed in on a square shape. As you can see, it doesn't align properly. If I try to use the transform controls to force it to align to the grid, this happens... These are my grid settings... These are my snap settings... How can I get Photoshop to behave properly?
New to Illustrator, and perhaps I am misunderstanding the purpose of a "swatch". e.g. My understanding was that if you were doing a 4-color design, and one of those "colors" corresponded to some sort of ink out of RGB/CMYK space (maybe a metallic paint of some kind), the strokes and fills would be tied to the swatch instead of some capture of the color. Yet when I use a swatch to pick stroke or fill colors for shapes in my drawing, and then edit the color of that swatch... the swatch color changes, but the colors in the drawing remain the same. Is there a way to have the strokes and fills remember the swatch, so that when the swatch is edited their color will update to reflect the change?
Can someone either point me to a tutorial on how to do this or tell me how? I'm working on an illustration of headphones and I need to make it look as thought the wire coming out of the headphones is sitting on a table and the light source is above and casting the shadow slightly to the left.I did the below test but it looks more like you are looking at the wire from an x/y axis. Any help? Thanks!
For example, in this picture (ignore the logo): I love how the background is cute and made up of small, simple images. Where can I find resources like this background, or how can I recreate it?
I have battled a situation in the past from when I have an idea for a website I would design it. A few years back I decided to apply for some companies that were starting out in web development and posted they were seeking designers. So I created a portfolio tailored to each employer and my understanding of a good portfolio was for it to not be overwhelming and to prepare no more than my ten best designs. While on one of the interviews I was told, "we like your designs but wish they were full functioning sites". So my questions are: Is it a bad idea to use web designs that aren't coded? How do you properly sell the design to a possible employer? Is it bad to be honest that the designs are your ideas or should you pass them off as possible clients? Is their a good balance to use in client work VS personal work? Is a template design considered as personal work?
If you design a piece for print. It gets reproduced several times over the course of a few years. Then the client doesn't return for any work for a few more years. And suddenly you are contacted asking for native files (Indesign, Illustrator, Photoshop). As the client puts it, "We just want to be able to make minor changes, we aren't designers." Now, there is absolutely value in the native files. They are my "secret recipe" as a designer and anyone asking for that recipe should provide compensation for the ease of reusing, repurposing, and altering the recipe. How do you explain to this client that there is value in the native files? How do you counter the "But we already paid for the design." argument? Note: I know I own the files. I know my contract states I own the files. Heck even without a contract, US Copyright law states I own the files. What I'm seeking is an elegant, less argumentative, method of explaining the file ownership to the uneducated client. Reciting legal statutes and contract clauses doesn't often make for friendly client relations. My goal is to find a method of explaining so it is fully understood by the client without the appearance of a contract clause which forces them to do something against their will. I want the client to respect and not resent these types of contract clauses.
Up till now, my main shading technique with traditional media was to use graphite and charcoal pencils and smudge it a lot. It works fine on charcoal-heavy drawings, but charcoal has its own pros and cons - it's messy, it needs a "preservative" sprayed over it, I cant really carry it around for quick sketches, while a pencil is always handy. Graphite pencils alone don't look too good when I smudge them though – the drawing loses all texture and sharpness, the tones get unified – bright parts get a bit darker and dark parts get a bit lighter. That's why I wanted to learn hatching shading techniques. I saw some amazing works done that way, but mine didn't even come close to looking good. I saw some people recommending different, often contradictory techniques, but I can't seem to get the desired effects. My question is what are the rules I should follow when hatching and crosshatching using pencils? How to shade big format pictures (say A3 portrait)? While hatching small drawings, it's easy to cover the whole shaded area of a single shadow in a single stroke, but not quite so on big formats...
Recently I have been trying to learn some new media, and ink is one of them. I love what some people can do with it, both modern comicbook artists and old masters. I would love to achieve effects similar to what Durer did, for example like this: I cant really find any useful info on how to do that. The youtube videos I watched on hatching with ink were all about shading spheres and boxes, small ones I might add. Not very useful, when I tried to apply it to a portrait. What are the guidelines for learning and using ink for portraits and similar art? Are there any good resources on the topic? Where should I be looking for them? While someone corrected me in the comments, and told me the work I posted as an example of what I want to achieve is an engraving, it is still doable with a pen and ink - it's all black lines, and black lines are what pens do really well. I would like to ask for answers focusing on the drawing with ink aspect and ignorign the engraving thing - I have a quill dip pen and i want to learn how to hatch to get the threedimensionality and awesomeshade gradation that Durer's pieces have (ignoring how he made them). A less awesome example of how I would like to draw is this: The thing that I like about the Durer example is that it has light tones that arent pure white. The others show a lot of white - especially the Santa example has blazing white cheeks and nose right next to pretty dark shades. I like the softness of shade gradation in Durer's autoportrait. How can I learn shading this way? Are there any guidelines? Could you recommend any resources to learn from? Or maybe you could instruct me on how to learn this in an answer?
I currently have two icons I am using for list items in an application. Accept, represented by a check mark, and reject, represented by and X mark. I need to add a third icon for dismiss. Dismiss or cancel are commonly represented by and X mark as well. The context of the app and colors make it clear what the first two buttons do. Any ideas for the dismiss button?
I can't for the life of me find a way to tell Illustrator to save the files that I have currently open and reopen them after I restart. Am I missing an obvious setting?
If I run a script, is there a way to run it again without doing File|Scripts|My_script?
I have created a bitmap from a vector image. After editing a while, I wanted to scrap the idea and return to the vector image, but my undos have run out. Is there any way to get the vector back?
question from a non-graphic designer here. All the examples I have seen at saving slices as separate images rely on using "Save for Web". What if I want to do the same when saving for printing?
question from a non-graphic designer here who doesn't fully get the whole 'resolution' thing. From what I understand, Inkscape saves all embedded images as 90dpi. However for printing, 300 dpi is typically recommended. If I add a 300dpi image to an Inkscape document, it will appear much bigger than its correct size as it scales down to 90dpi. Does this mean that I am OK to save at 90dpi, because I am shrinking the size of the image? What about if I have a low resolution photo, say 72dpi, but the photo is large and I am happy to shrink it? Should I first change the image to 90dpi in Photoshop before embedding it in Inkscape, or can I just add it to Inkscape and resize it?
With the intent of easily updating elements across several pages I am using the content collector tool to place linked objects. I am finding it unpractical to precisely position several collected elements on new pages at their original coordinates. Question 1: Is there a way to place several collected elements and maintain their original positions? Question 2: Are there any other ways of duplicating page contents while retaining links to their respective InDesign internal source objects? Note: I don't wish to use any external links in this case, just internally linked objects, like one would use symbols in Illustrator.
The the psd file is a clean cut. Looks great (1) Still looks good when brought into Illustrator (2) But then as a PDF this ugly black line appears around the edges of the psd file (3) Any ideas what causes this because it looks really bad sending this to the client?
I've spent years drawing vector art in Flash, and recently decided to move to Illustrator (because that's really what I should have been using all along). The trouble is, Flash art is strangely difficult to import into Illustrator. As recently as CS6, the easiest way that I found was to open the FLA in Flash, export it as an FXG, open the FXG in Illustrator, and save it as an AI. Now in Illustrator CC, when you try to open an FXG, you get the raw XML, and not the image. So that puts a damper on this whole process. Does anyone have any solution that I'm overlooking?
If I create a 8.5x11in file in Photoshop, it works out to 612x792. If I want to create a resume in Illustrator or another program like Sketch by Bohemian Coding should I use that size? Or would it be wiser to use a different one (such as a doubled version of that)?
Today I have the problem to slice a map from illustrator CS6 to HTML. For example i have a map with many states like this map states Because I want to make the mouse hover to each state so that i need the area code from HTML to identity each state. Firstly, I export the map states picture to one image (map.png) -> upload this image to webpage. Secondary I use the slice tool of illustrator to slice each state and then go to File -> Save for Web and click preview in browser to get the area html code <area shape="poly" alt="" coords="275,111, 274,112, 272,113, 271,113, 271,112, 270,112, 269,112, 268,111, 267,111, 266,111, 265,111, 265,111, 265,112, 264,113, 263,114, 263,113, 261,112, 259,113, 259,113, 258,113, 256,112, 256,111, 256,110, 255,109, 255,109, 255,108, 254,108, 253,107, 252,107, 251,106, My problem is the Area of HTML parameter after slice dose not match to the map.png file when I do the hover effect. Because I guess, illustrator slice the image but it changes the coordinate axes to one partial state 0,0 instead of keep the artboard coordinate. So anyone can help the solution for me. Thanks for your patient to read this question. I am looking forward to your any suggestion.
Let's say I'm building a personal blog / portfolio site and I'm looking for design inspiration. So here is an example of a website design concept that is protected by creative-commons-no-derivatives. Let's say I love design elements contained in this design concept such as the header. Does actually creating the HTML markup violate the no-derivatives clause? Where is the line between common design "elements and stategies" like the header in our example and "style unique to the artist" that is completely protected by the clause?
I have this image: and I want to change it so it looks gray instead of black. My problem is that it has some anti-aliasing, so there are some half-transparent and/or gray pixels on some borders. If I select everything that's black and change it to gray, those pixels end up being much darker than what they should be. And if I was trying to switch to another color, like red, it wouldn't work at all. This is something I find myself needing quite often, so I'd like to learn how to do it. What's the conceptual way of doing it? and/or how do I do it with Pixelmator?
I'm writing a script to automate scene states. I using graphic styles to change appearance. How do I get object's graphicStyle? Is there a way to have a collection of objects of chosen style?
Does anyone know what is the difference between transparency and overprint? In other words: if I print 100% cyan and then 100% magenta with 50% opacity, how is it different from printing 100% cyan and then 50% magenta with overprint?
I've been building a document in InDesign, and want to collect my text into color-coded boxes and sidebars. My technique so far: Make a text box. Make a colored rectangle. Size them like I want, drag the text box onto the rectangle and group them. The problem comes when the text grows or shrinks, and I need to resize its box. The grouped objects rescale in proportion. What I want is a fixed width border around the text box of color. Is there a way to link the text box and the color box such that the color box is always X pixels bigger than the text box, rather than X% bigger than the text box when they're resized together? Or if there's a better way to accomplish having a color coded box around text with fixed with borders, I'm all ears.
I have two shapes on two different layers. I want to crop the only the part of image only according to the shape on layer 1. I want to keep part of shape on layer 2 which is in the layer1 shape area and want to remove all area outside the shape1. Please see the following image for better understanding:
I've been using Photoshop proper for quite a while, but have just recently started working with the 3d aspect. I have some tileable 2d images as source (human skin) and some importable 3d models with uv maps (human body). What i want to do is paint the 2d onto the 3d but not in a 1:1 size ratio. If I just plonk a texture in as a diffuse, it covers the whole body with one iteration of the texture. My experience with photoshop says that I need to create a material > diffuse using my source 2d image(s) tiled however many times and brush it on as needed. If at some point I need to scale the material, then I'd need to basically remake the source 2d. This however seems old-school, and google is happy to show me results for painting solid colors (not what I need). Is there a better way using current features? If there were a tutorial somewhere out on the web, I'd be happy to see it.
SnapSeed is a great little iOS photo editing app. Along with brightness and contrast, it has the ability to alter "ambiance" which does a great job of lightening up shadows while still keeping a nice deep black. Does anyone know the best way to achieve this using Photoshop? Would it be through the use of curves? Or perhaps adjusting the contrast of just mid-tones or something? Using my motorbike as an example. Before... and After... (You can open the images in separate tabs and switch between them for a better comparison.) Notice how the shadows in the top-left are a bit brighter, colours are perhaps slightly warmer, but black is still black and highlights are not blown out.
The background color of my website is a light gray. I have a stock image with a white background that I would like to blend with my background. So I picked a small rectangle of the background and pasted it as a new layer in Photoshop. Then I added a Brightness/Contrast adjustment layer to the stock image below. I moved the brightness slider until the small rectangle disappeared, meaning the colors should match, I should think. But when I add the image to my site there's still a discrepancy; the stock image background is too dark. What's the best way to adjust the stock image's background so that it matches my site's background?
I have created an Arc using Pen Tool in a new layer. I want to fill and the convert it into a shape for further manipulation. I tried "Ctrl + left click" on layer to select the stroke as well as invert select, to select shape/stroke outline, nothing happened. I'm entirely new to Photoshop CS5 and graphic design. Your guidance would be appreciated. Photoshop CS5 / Windows 7
How do i prevent this.. Whenever i group layers and try to move them around only the layer my mouse is clicking moves. What's the point of grouping then? I know it worked in cs5. Is my photoshop bugged?
I am part of Silex Labs non profit organization, and one of our mission is to bridge the gap between designers and developers. An important question is how to motivate designers to get involved in FOSS (free and open source software). As a developer I can say that I am really happy to be part of the FOSS movement because: I use technologies which I could not use in a commercial product because innovative technologies are not mainstream yet, and open source projects have poor communication so they do not attract decision makers I meet talented developers, I make new connections, new oportunities and I choose with whom I collaborate when I do job interviews, I have great things to show, many experiences when I am hired to contribute to free software - which happens because I was a contributor in the first place, I develop programs on which I will be able to keep working after I leave the company And also, it's cool to be part of this revolution of the software industry :) My question is, what motivates a designer to be part of an open source project?
I really hope someone can help! In the past few months I have been having issues with the colors on my jpg files, originating from Photoshop (not sure if this has anything to do with it). When uploading the images online, the colors and contrast are majorly affected. Please see the attached image 1, versus the image that was uploaded onto smugmug AND email. As soon as the image is uploaded, the colors go wack! However, if I download the image from email or smugmug, it looks like the original. It appears that it is just the web presentation that is affected. This is problematic for me, as I am a photographer and need my images to look like the originals when they are posted online. In my most recent blog post: http://www.heathertufts.com/blog/wedding-bells-at-the-doctors-house/ the featured image (from the wordpress account), is green and contrasty. The original is a soft B&W. I just don't get it!!! help? :)
I'm currently designing a website for a place that uses a large circular logo. Their logo contains an image as well as text. The problem I'm running into is fitting this logo into the web design while still keeping the text in the logo readable, but not taking up a huge amount of screen real estate. Circular logos are as tall as they are wide. Most logos are wider than they are tall and are easier to fit on a screen because of it. I'm thinking of incorporating it into the header of the page along with the menu but the height of the logo creates a real imbalance on the screen and the text in the logo makes it impossible to make the logo any smaller. So my question is this how do you deal with unruly logos? Is it alright to deconstruct them, or what kind of workarounds are useful in these types of situation?
I have created a composite shape in Pixelmator: it is a circle with rays around (=sun icon) - all in one layer as shapes elements. Let's say I should transform some rays by rotating them into precise angle. My problem is I cannot realise how to select subelements in that layer - sometimes I have success, sometimes I don't. It is inconsistent. Any suggestions?
I have some problems printing rich black, and I´ve spent days trying to find a solution on the internet, but there is just too much information... I´d happily spend weeks and months learning all about printing, but I "unfortunately" have to print an artwork asap, so all help will be greatly appreciated! I use an adjustment layer > black & white to convert my color photos to black and white (this is an ok option? Will this give a rich black?) But should I make any adjustments to the file -before- I do this? Should I convert it to cmyk? Change anything in Edit > Color settings? And then. When printing,.. what choices do I make in the printer dialogue? (Like, do I tell photoshop to manage colors? What boxes to tick). This is my biggest problem I guess. How to make photoshop and the printer speak the same language. I have an Epson stylus R3000 are printing on matte 180gms paper (have to be) and are using Photoshop CS3 (well I spend all my money on the printer, so...)
I want to create a T-shirt to commemorate the tenth edition of a gaming convention and I had the idea to have the names of all the games that were played during the convention form a big roman numeral X. I'm looking for a free program, app or plugin that allows me to insert chunks of text (the names of the games) and automatically sorts them to fit the shape as nicely as possible, without mixing the words in the same chunk (but if they continue on the same or on the following line it's ok). Multi-directional words forming the shape is ok too but those usually make some words too small for the t-shirt printer. Do you know a program that can create such a thing? I can easily work with the image of an X or even a raster image.
When making mockups for Responsive Web Design projects, should I separate them by Page or by Screen Size? What are the pros and cons of the following: Page based: All the home page mockups in all different screen sizes Screen-size based: All the pages for width <= 960px I'm using Balsamiq Mockups to make mockups and I prefer to store all related mockups in a file like homepage, login or 960px, 768px.
There is a highly ranked designer in DesignCrowd that posts dozens of web designs each day, with so much variations on each one. What I want to know is: Would this require using templates, and then customizing them? (Would that even we allowed on websites like this?) Could he be starting them from scratch? (Doubt it) Could he be using WordPress or some other CMS and just customizing themes? (I don't know how that would work, really). Is there a way to design websites this fast? I can code a website for 4 hours and not lose my mind. But spend 20 minutes designing a website in Photoshop? No way. And I'm very good at Photoshop.
I'm somewhat new to GIMP and I was hoping to take a logo like this: And to change the colors of the background and font as someone did here: Except I'd like to do it with different colors. Is there a simple way to do this?
I've been trying to do this for a few days now and have not gotten the results I need. I'm not sure I'm using the correct terminology in the title, if not, please feel free to correct me, and I'll update it. I want to go from this: to this (i've sampled an area of the transparency to show the k value in case that helps). Notice the shadows/highlights are there, but nothing else: This allows me to place a layer filled with a solid color below the transparent image. The result is a different color shirt, and shadows/highlights are seen: layer filled with blue placed below the transparent shirt layer layer filled with black placed below the transparent shirt layer Does anyone have any ideas on how I might be able to accomplish this? I've been able to get close to the result, but my transparency is either not enough or too much. I lose much of the shadow/highlight detail. The starting image is of filetype JPG. UPDATE: I need the final result to be a PNG like this one: This PNG looks like it has a white background but taking it into Photoshop or GIMP you'll see the shirt is transparent. I need to reverse engineer how this was done so it can be done to other pieces of clothing. What is interesting about the above PNG is the Shadows, Highlights, and Midtones in the transparent part of the image can all be selected individually. Photoshop: Select->Color Range->Shadows, Highlights or Midtones. Image below to show what I mean:
I'm looking for a software tool to slice an image into smaller ones. It will be a part of a much bigger project so the effort to export the output should be minimal. It doesn't matter if the initial setup takes time but making a change into the scene and taking an export will be something that we would be doing regularly so it should be doable with minimal effort. Here's an example of what I'm looking for in the tool. Consider the following image as my scene: The two white and blue boxes show the output slices that I'm expecting to have as exported files. The white one contains the gate and the blue one its shadow. The tricky part is that I'm expecting to have them like this: Which means that the background picture is invisible in the exported files. I have the gate and its shadow in separate layers so I can easily produce the desired output (as above) manually but I'm looking to a tool to do that for me automatically (as I might be exporting this a thousand times). Perhaps I can set which layer is visible in each slice! I mean that would be great. Does anyone know such a tool? Inside or outside of Photoshop?
I want to use a CC-BY-SA image in a printed newsletter. What is the most succinct and unobtrusive way I can comply with the license? It would really clutter up my design to slap the creator's name, the title of the work, the type of license, the URL where I got the file, AND the URL of the license either on the image itself or as a caption, so one of the things I'm wondering is if I can pare down the amount of information I include in a print application or put it on a different page, almost like a works cited. Most CC information inevitably talks about web use or some other form of computer file that allows clickable links or metadata to handle your attribution. Creativecommons.org handily offers some downloadable logos for use in print publications but not much further direction. Is there an authoritative reference detailing how to comply with these licenses on a non-clickable sheet of paper? EDIT: Let me make this applicable to my specific use. I'm wanting to use a picture from Wikimedia Commons, which has the option to generate code for web use, but it includes this suggested attribution for the file in question: By Groupe Canam (Own work) [CC-BY-SA-3.0 (http://creativecommons.org/licenses/by-sa/3.0)], via Wikimedia Commons Noticeably absent is the original URL where the file can be found, but this does include the photographer's name, the license, the URL where the license information can be viewed, and the (general) source of the image. Of course, the attribution text may be assuming internet use that involves a clickable link back to the file's original source. But would the above text, by any off chance, be adequate for print?
So at work I have been converting a lot of PSDs to web. When I need say a background image of a box I hide everything else hide all the text and content inside of said box, select, copy merge etc. Then I need to go back to my PSD for the next item, except now everything is hidden and it's a giant frustration to try to make everything visible in its original state. At this point I generally just close the file without saving and open it again. Undo doesn't seem to work with layer visibility for good reason. I am wondering if there is any way to set default layer visibility so I can quickly return everything to it's original state without having to reopen the file or go through each item individually. Thanks!
In InDesign, I know that I can break a text box into columns pretty easily by selecting it and playing with these options: I also know that I can set up the margins and columns and then use linked text boxes to do columns: However, neither of these do what I want to do, and I haven't really found a really elegant solution, so I thought I'd ask here. I have one-column text box, but I want to do some columns, like this: This is easy to do in Word - you select the text you want to reflow, go to Page Layout > Columns, pick a number, and you're more or less set. But is there a way to do the same thing in InDesign? I've done things like tabbing and separate text boxes, but these are not very elegant solutions.
When I click on the little settings wheel in my brush panel there are various brushes listed on the bottom. 'Basic Brushes', 'Dry Media Brushes' and so on. I'd like to put brushes that I download or create in sets like these to so I can easily find and manage them. How do I do this? I tried to search on google but I could only find tutorials on how to create brushes and I want to know how to organise them.
I find that when using Photoshop CS6, the type cursor will have a dotted square around it (rather than a dotted circle) when hovering over a shape layer. How will clicking and typing be any different than if I were to click and type outside of the shape layer? Thank you.
I do a lot of work with Illustrator, but I've never been super happy with how my work looks on our website. I've tried various techniques - saving from Illustrator, and opening in Photoshop and saving - but I'm still missing something. Ed. The logo was only ever supplied as AI. I get the same slightly fuzzy result whether I'm saving for web & devices from Illustrator, or taking the vector into Photoshop. I tend to scale in Illustrator to the required size, and then save for web (inc type optimised - there's text in the logo).
Could anyone tell me how to create the tartan design shown in the attached file? Im using Illustrator CS6
Hey everyone I've seen this letter and now I can't remember where and how it was, or just an image or animated-kind of font, I need this image hi-res or the vector file of this, or somethnig close to it.
Can anyone tell me the name of the design style used for these types of designs? If there is a name for them, even. They're text heavy with different typography on just about every line and a sort of controlled chaos. I'm trying to find a good set of examples online but it's not Googling well and this isn't my area of expertise. Thanks in advance. Actually, after reading this question and searching some more, I feel like it's a bad imitation of hand lettering which will help to solve my problem. I may have phrased the question poorly due to my ignorance. Thank you all for your help anyway.
Occasionally a science journal asks authors to submit figures as CMYK (JPG or TIFF) for publication. When I have done this in the past, the colors in the figures end up looking very muted and washed out - even when published in print format. What I don't understand is that these same journals have published articles from others where the figures are nice and vibrant both in print and online in PDFs. My question is whether there is more than one way to convert RGB color to CMYK. The tools that I have tried (Adobe acrobat, Adobe Illustrator, Deneba Canvas, Apple Preview) all produce the same muddy images. Is CMYK actually too restrictive of a color space for modern printers? Doesn't it presume that there are only 4 colors of ink in the printer? I'm guessing that other authors have ignored the publishers request, and have submitted their figures in RGB or some other expanded color space; perhaps the publishers hardware are capable of a wider range of color than CMYK allows -- or is there more than one way to do the color conversion?
I have several PSDs, each PSD represents a page that makes up a small A6 magazine. Now firstly, I wanted to ask, do I send the individual PSD files to be printed? If so, what file type is best? (With CMYK) If not, what should I do? Should I combine them into one InDesign document? (Coulnd't find a way to import the PSD into inDesign) Help would be greatly appreciated.
A client has permission to show movies in a big screen for the public (nonprofit). I was asked to design a flyer to promote the showing. They want me to show the movie poster and make flyers with the information. Since it is a non-profit event, am I allowed to use the movie poster in my flyer? If not, am I at least able to type the title of the movie?
I'm watching a tutorial in which the instructor is cycling through blend modes for a pattern overlay and the shape layer instantly updates with whichever blend mode he has selected. I have read that this might only be possible on a PC and not a Mac - can anyone confirm whether that is true, and if not, the necessary shortcut for it to be possible on a Mac? (and a PC, to make the question more universally helpful :)) Thank you.
I just drew one black rectangle. I then changed the foreground colour to red and drew a second one on a new layer, but this remained black. I had to go into the fill options and change it to the red colour I desired, but I'm wondering why it was not enough simply to change the foreground colour before drawing the new shape?
I want to replicate the style of this logo: I'm using AI and this is what I have tried so far: 1) Create text, 2) Create polygon shape 3) Envelope Distort This is the result: As you can see the text is curved. Is there a way to re-create the "rectangular" effect of the original logo? Thank you in advance
I've exported tens (if not hundreds) of PDFs with InDesign and I've never experienced this problem. It's pretty weird... The problem is that grey boxes appear around some objects. Next to that, the image quality is very good in Apple Preview, but it's pretty bad in Adobe Acrobat X and Adobe Reader 11. What happens: All objects with an outer glow get a grey box around them (these include external images but also squares created in InDesign) Some images with a transparent background get a grey box around them (not all, seems random). Happens to PNG, AI, PDF. Image quality is very good in Preview, but bad in Adobe Acrobat X (grained edges). This happens to images, not to text (vector I suppose?) PDF details: All images are embedded All placed items are high quality I've tried: Exporting in the standard High Quality settings; both problems occur Exporting in press quality; both problems occur Exporting as Acrobat 4 (PDF 1.3). This solves the grey box problem, but the quality problem remains. I've read somewhere that PDF 1.3 flattens? Maybe this can explain the grey boxes? Using this option is not really preferable since I would like to use hyperlinks in the document and PDF 1.3 doesn't support that. I'm using InDesign CS6 v8.0 Mac OSX 10.8.5 Apple Preview 6.0.1 (765.6) Adobe Acrobat X (10.1.1) Adobe Reader 11.0.0 The final document is a professional portfolio which will be send via e-mail so I don't necessarily need 300dpi quality, but chances are people will view them on big monitors so I was thinking at least 200dpi. UPDATE I've added a screenshot of an object with a transparent background where you can see the grey box around it. This is zoomed in at 300%.
We get a lot of questions in regards to what should my file spec be, what should I do with X and Y, how should I do my black etc. etc. and a large majority of the time we suggest to ask the printer which is an accurate assumption. Even though I think this is an accurate answer I think we should have a question that would help educate designers on what questions they should ask the printer. Knowing the right questions can help determine if the printer is professional and if you can meet the requirements. So my question is when print designing what questions should I ask to make sure my designs are compatible and high quality for print?
i have an issue with the vector shape in the background in an illustrator file, it appears differently on my client's pc. That's how it appears to me (the good one): and that's how it appears to the client: The vector shape in the background has transparency 50% and luminosity blending over the orange gradient color. My question is there any way to expand the luminosity blending option so the vector shape appear the same?
I have two layers; one with a gradient style on it directly, and one inside a group with the exact same gradient style applied. However, the gradient's range is the entire canvas, instead of the bounds of the shape(s) inside it. Here's a picture: Is there anyway to constrain the bounds of the gradient to the shapes inside of the group instead of the entire canvas? All other layer styles respect the layer bounds. One solution I've found is to use a mask on the group. However, that gets tedious with multiple shapes very quickly as you have to get the aggregate of the shapes and reapply the mask for every change.
When I use an Illustrator script using visible bounds or selection size on clipped art, the script sees the original size of the clipped art as the groups's size instead of its visible (clipped) size. Lets say I have a 150mm x 200mm image and I am using a clipping mask to clip out a 100mm x 100mm part. So now I see a rectangle 100mm x 100mm, then add some other elements on it -- it does not get bigger than 100mm x 100mm. Then I want to work with this size not the, original image's size. How to implement this in the script to work further with it? I am using Illustrator CS5.
I know nothing of graphic design. I've started developing for Android, and I want my interface to be beautiful, and for that I know it needs to be designed by hand, but I also know that means knowing how to do design work. Is Illustrator the right program to start learning? Is that used for this? To my surprise I actually didn't see any information on the subject after some googling. Everything you look up about "interface design for Android" tells you how to arrange buttons and menus and things like that, but not literally how to make the visual elements.
How can i achieve this effect in photoshop? is it hand drawn in illustrator or can it be done using a couple of filters and gradients in photoshop ? I found that picture while going through this page. http://www.digitalartserved.com/gallery/Various-Illustrations-2013/10068071
What's the name of the font used in the new iOS 7 note app?
I'm looking for quick, yet professional looking ways of making text stand out on a photos which don't really have nice bland areas to put text. Something which would take an experienced photoshopper 5 minutes or less to do. I found the image below as an example, but the text shadowing technique usually looks pretty amateurish. What is typically done in advertising circles? Blurring of the image, dodging?
So, I've got a Fixed Layout ePub. It was created in InDesign and published using Aquafadas publishing tools. I'm trying to figure out how to do text popups or quick footnote referencing on Kindle/Amazon/non-epub devices. I don't care how to do it, just trying to find ANY way to do it. I need to be able to test it on my office's Kindle/Kindle Fire. It doesn't need to be exactly like iOS's solution as seen in the picture, but some way to to have reference to footnotes in the back. (And if that solution is linking to pages in the back, I need a quick way to jump back to the page the user was on)
In text editors, html, etc. the default mode of sub title spacing seems to quite equal. Why is that? To clarify, we have an end paragraph of a subsection and a new subsection with title and opening paragraph. Looking like this: p1 h3 p2 Now the spacing between p1 and h3, and, h3 and p2 is usually by default equal or near to equal. Why is that? Is there some typography lesson to be had? To me it just looks plain wrong.
Is there a name to refer to this kind of (computer) drawing style: which resembles a little bit the style of the Portal 2 trailer?
I am in need of a font with numbers that look like this: Does anyone know of a font with numbers like these?
I have an image about 1000 by 600px. In Photoshop CS5 I could set the pixel width of the line to say, 3 px and drag the mouse from point A to B to create the line. Now, in CS6with the vector system, I cannot set the WEIGHT of the line to less that .35mm. I cannot create a thin line!! Grrrr
I have an illustrator file (actually it's a map) which has lines, polygons and some patterns. I would like to scale the stroke width of all lines (also lines inside patterns) by 80% without altering the patterns or the size of the objects. When using the Scale tool I must chose one of "transform objects" and "transform patterns" but I don't want to scale any of those, only Strokes. I could first scale everything by 80%. Then I could scale it by 133.333333% and leave out "strokes & effects". The problem is that lines in patterns stay the same. When I toggle "transform patterns" the size of the patterns changes including the stroke widths, but I only want the stroke widths to be altered. So does anyone know how to solve this? I do not want to have to select individual objects since there are thousands of them.
I am working on a web UI design and using adobe-photoshop. I have to make complete UI to show what exactly a screen would look after different interactions. Say, the following is the basic layout of the design, with four sections A, B, C and D. Now I have some 10 interactions and so 10 different files in which I'm showing that how section C varies on different interactions. So, I make the 10 designs and save them. Then later I realize that a change is required Section A. So I have to do the same change 10 times in all of those files. So, question is, is there a way, where I edit part(few layers) of a file once and it gets 'synced' across multiple PSD files? PS: I tried using Smart-Objects and saving sections as different PSDs and importing them, but nothing helped.
I have a PDF with 20-30 pages. I want to print them but with different numbers of copies for each page. Right now I'm using Acrobat Reader. I know I can do this manually by selecting the page in the thumbnail list and chose number of copies. But I want to do it automatically, something like this: 1*12, 2*7, 3*15 Maybe it's possible to script printing? My first plan was to make 12 pages of page 1 and 7 pages of page 2 etc and then print all, but that didn't work well when printing since each page is heavy with vector graphics and it had to send each page to the printer = slooow. Oh and I'm using Windows 7 when printing.
I'm a bit of a newbie when confronted with photoshop and Fireworks etc, I much prefer drawing mountains in paint. However, I've a wonderful idea for a site navigation element but I'm having difficulties. I have the original image and an image the size and shape of a jigsaw piece. I need to make the original image the same size and shape as the jigsaw piece image so that I can map the coordinates onto it for the html markup. Is this possible and if so could someone give me an idiots guide as to how I might achieve it please? Many thanks in advance.
I'm trying to perform an image-trace on a bitmap artwork. The vector result will then be cut into glass, and I need to have exactly 60 colors, since we only have 60 colors of glass. Is there a way to set up Illustrator to image-trace a limited palette of 60 colors? I've found the slider in CS6 that ranges from 2-30, but is there a way to force it to go over that? Thanks!
I am looking at the design of a website http://www.froont.com and they seem to generate the logo text using SVG. I am totally unable to understand how to generate logo text this way? Help is appreciated in understanding whats going on here? Here is the what I see in the HTML source. image/svg+xml <g transform="matrix(1.25,0,0,-1.25,405.36856,595.03461)" id="g3099"> <path d="m 0,0 -11.312,0 0,5.734 29.193,0 0,-5.734 -11.313,0 0,-31.174 -6.568,0 L 0,0 z" id="path3101" fill="#ffffff" fill-opacity="1" fill-rule="nonzero"/> </g> <g transform="matrix(1.25,0,0,-1.25,172.28019,587.86661)" id="g3079"> <path d="m 0,0 23.823,0 0,-5.734 -17.255,0 0,-10.113 16.266,0 0,-5.526 -16.266,0 0,-15.535 -6.568,0 L 0,0 z" id="path3081" fill="#ffffff" fill-opacity="1" fill-rule="nonzero"/> </g> <g transform="matrix(1.25,0,0,-1.25,223.90856,607.74086)" id="g3083"> <path d="m 0,0 c 3.703,0 7.925,0.886 7.925,5.37 0,4.014 -3.962,5.004 -7.351,5.004 l -5.942,0 L -5.368,0 0,0 z m -11.937,15.899 12.824,0 c 6.933,0 13.605,-2.762 13.605,-10.582 0,-5.317 -3.283,-8.809 -8.444,-9.957 l 9.852,-16.369 -7.923,0 -8.549,15.64 -4.796,0 0,-15.64 -6.569,0 0,36.908 z" id="path3085" fill="#ffffff" fill-opacity="1" fill-rule="nonzero"/> </g> <g transform="matrix(1.25,0,0,-1.25,317.20206,627.81049)" id="g3091"> <path d="m 0,0 c 7.559,0 12.72,5.734 12.72,13.605 0,7.612 -5.056,13.502 -12.72,13.502 -7.612,0 -12.668,-5.89 -12.668,-13.502 C -12.668,5.734 -7.508,0 0,0 m -0.053,32.894 c 11.522,0 19.913,-7.455 19.913,-19.289 0,-11.519 -8.391,-19.496 -19.913,-19.496 -11.364,0 -19.756,7.977 -19.756,19.496 0,11.834 8.392,19.289 19.756,19.289" id="path3093" fill="#ffffff" fill-opacity="1" fill-rule="nonzero"/> </g> <g transform="matrix(1.25,0,0,-1.25,269.63856,627.81049)" id="g3087"> <path d="m 0,0 c 7.558,0 12.719,5.734 12.719,13.605 0,7.612 -5.057,13.502 -12.719,13.502 -7.611,0 -12.668,-5.89 -12.668,-13.502 C -12.668,5.734 -7.508,0 0,0 m -0.053,32.894 c 11.521,0 19.913,-7.455 19.913,-19.289 0,-11.519 -8.392,-19.496 -19.913,-19.496 -11.364,0 -19.757,7.977 -19.757,19.496 0,11.834 8.393,19.289 19.757,19.289" id="path3089" fill="#ffffff" fill-opacity="1" fill-rule="nonzero"/> </g> <g transform="matrix(1.25,0,0,-1.25,346.27181,587.86661)" id="g3095"> <path d="m 0,0 8.705,0 17.15,-27.628 0.105,0 0,27.628 6.568,0 0,-36.908 -8.341,0 -17.514,28.515 -0.106,0 0,-28.515 -6.567,0 L 0,0 z" id="path3097" fill="#ffffff" fill-opacity="1" fill-rule="nonzero"/> </g>
While designing a web site layout in Photoshop, on a 960 grid, sometimes we want to put some extra guides to use along with our main guides. Is there a way to give a separate color to some individual Guides?
Is it possible to make a .jpeg photo larger without losing "quality"? I have a photo that is 450px x 750px and would like to make it 3 times bigger for web not print? I've been told that Illustrator is the tool to make it happen and I have Illustrator CS6.