@Angie364
Last seen: Tue 11 May, 2021
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Recent posts
: Re: filter objects into separate layers by fill color in Illustrator I have over 100 objects of two types (paths, compound paths). I want to filter these objects into separate layers based on fill
Illustrator has some tools available already to select the same object based on X quality.
Note the shortcut seen is one I assigned to it.
So to filter the objects you can select one, select Same > Fill Color and then Ctrl+X to cut them and Ctrl+Shift+V to paste them in place on a new layer.
: Re: How to reset Vertical/Horizontal Scale of Smart Object to 100 percent by script I want to write a script to reset Vertical/Horizontal Scale of a Smart Object. I tried using ArtLayer and many
Here is "working" code:
#target photoshop
try {
var doc = app.activeDocument;
var layers = doc.artLayers;
var size = dialog();
var defaultRulerUnits = app.preferences.rulerUnits;
app.preferences.rulerUnits = Units.PERCENT;
for (var i = 0; i < doc.artLayers.length -1; i++) {
var activeLayer = doc.artLayers.getByName(doc.artLayers[i].name);
var orUnits = app.preferences.rulerUnits;
app.preferences.rulerUnits = Units.PERCENT;
activeLayer.resize(size, size, AnchorPosition.MIDDLECENTER);
app.preferences.rulerUnits = orUnits;
}
} catch (e) {
// alert( e );
}
function dialog() {
// Dialog box...
var myWindow = new Window("dialog", "Resize Each Layer");
// Keeps things inline
myWindow.orientation = "row";
// Informational text
myWindow.add("statictext", undefined, "New size ( percentage ):");
// This is the box where the size is inserted
var myText = myWindow.add("edittext", undefined, "");
myText.characters = 5;
myText.active = true;
// Ok....
myWindow.add("button", undefined, "OK");
if (myWindow.show() == 1) return myText.text;
}
This is an imperfect solution based on how events must be ordered.
In order to use the script currently:
Open a new psd, create 3 or so different colored smart objects using the rectangle tool.
Then run the script.
Try entering a value like 50. This should result in each object
being resized to 50% of its current size.
Next try the script again (you don't have to undo anything in your
psd) and try typing 150.
This should result in objects 2.5 times their old size.
: Since I've faced this issue many times, I've ended with a service based solution. Normally I use the service from https://cloudconvert.com/ but recently I noticed they also offers a cli which
Since I've faced this issue many times, I've ended with a service based solution.
Normally I use the service from cloudconvert.com/ but recently I noticed they also offers a cli which can be invoked to convert any kind of file that one can see on their site.
Just register, obtain a free (just be sure of the free limitations) API Key, install their cli as described here and then (optional) create this simple script for a drag&drop conversion:
'echo off
set CLOUDCONVERT_API_KEY=[your_api_key]
cloudconvert -f svg %*
: Re: After Effects: Bend and animate along path I have been looking for a way to bend and animate an object along a path and I stumbled upon the Omino plugin [omino snake to be precise] and after
From 26m30s of this School of Motion tutorial is an explanation of using Omino Snake to bend a brush stroke along a path.
May be of use.
www.schoolofmotion.com/tutorials/write-on-after-effects
: Usage costs for logo animation intro / outro template As a freelancer I recently produced three web animations for a client. The company has just rebranded and I've been asked to create an
As a freelancer I recently produced three web animations for a client.
The company has just rebranded and I've been asked to create an animated logo intro / outro template (that's 2 x concepts, animation and sound design) for use on:
The three existing videos
100 previously made videos (not made by me)
All future web videos
The cost for the concepts, animation, sound design and adding the intro / outro to the existing three videos I can calculate easily enough but should I be charging extra for the additional usage and the fact this is a template that will likely be sent to other people to be added to any videos they are making for the same client?
If so, can anybody please advise on the best way to price that usage?
With voiceover fees I'm used to paying for usage or buyout.. same with music licensing but I've never had to consider the same with my own work.
I found this thread - Charging an Intellectual Property transfer fee for design work - that suggests the following formula for design work:
"Final formula:
Design fee + (design fee x 3) + (third party licenses) = Fee for native files"
But I am totally unsure if that is appropriate in this case.
Any advice greatly appreciated - thanks.
: Re: How heavy should ink coverage be for a custom CMYK rich black? In recent jobs, I have skewed away from pre-mixed rich black formulas in favour of making a black that fits dominant colours
200%-300% Never over 400% sweet spot is ~220-250%
Generally you base the % coverage of inks off several factors.
Your 4-color proof
Paper weight being used <---Most important
Paper color (Cyan vs Yellow) <---Most important
Press limitations
Once you take all those factors into account you can make your black and run some test prints.
I don't think I have adjusted blacks ever to match the art outside of pre-press. In all my experience it's the paper color and its absorption ability that matters the most. If you build a green-tinted black but your paper is yellow it's going to look bad.
Usually a 40-40-40-100 works just fine, otherwise I go for a deeper 60-60-60-100.
However
I don't really understand why you are going about it this way, I don't see much gain from trying to create a black that mirrors it's content. The point of black is to create divides and visually break-up a piece. This is actually a bad idea that could mess-up an entire run.
If a black is enriched for no reason on small characters or graphics,
the result might not look as sharp as when using a pure pure because
of the misregistration. When press operators calibrate the job at the
beginning of the print run, they need to adjust the 4 CMYK plates
together and very precisely. That's not an easy adjustment; sometimes
they don't really care if it's a low quality print place and sometimes
it's their old machines that cannot keep that adjustment for the whole
print run. All print shop are not equals, the human factor and
investment in good machinery can have a huge impact on the print
quality.
Yes I get that sometimes you need to tweak it but I don't think this should be a "standard practice" you should implement.
To create a fitting rich black for this identity, my first impulse was
to add half the cyan and Yellow values to the existing 100% black.
That yields C25 M0 Y50 K100. Is that too light?
That sounds about right generally you want to be within 5% of the original coverage. Here you are 6.8% so not bad but again depends on all of the other factors.
Bottom line
Check with your press operator, know your paper and know your art.
: Re: Image project with multiple selections, export to separate files For a hobby gamedev project I'm looking for a way to automate the following workflow, can be in any photo/image editing tool.
A (partial / not yet working) solution for GIMP, using the disjunct pieces ("strokes") of one selection:
Put the GIMP script by Andrew Kvalheim into a file ~/.gimp-2.8/scripts/export-selected-regions.scm (or the equivalent place on Windows / Mac OS X).
Start GIMP.
Create your selection.
Choose "Select → Export Selected Regions" from the menu. (This is the new menu item added by the script.)
Caveats:
As of GIMP 2.8, this script did not work, complaining about "unknown image format". So it will need an update, but then provide a solution. Please report in the comments when you get it to work.
Compared with a solution based on paths (in the other answers here), this solution needs less click-work to define the selections but is only applicable if (1) you do not need self-defined names for your output images and (2) none of your selection pieces overlap (as that would result in one merged "stroke" when defining the selection and consequently in one output image for that "stroke").
: Re: Should I rasterize or expand fonts in Illustrator for sending files to print? When preparing art work in Illustrator, is it better to rasterize texts, fonts or expand them? I'm trying to discover,
Coming from working in BOTH the design-side and in pre-press I would almost NEVER expand fonts and most certainly NEVER EVER rasterize fonts.
Unless you are working from Photoshop for some reason you lose a lot of quality when you rasterize vs. working in vector. Simply just exporting to a PDF will be sufficient in most if not all cases since by default you can have it embed fonts.
However, unless you are sending 100% print-ready, imposed, properly bled and cut marked art 9/10 as a pre-press I will have to touch your file and manipulate it. So I would just package the file with source fonts and source art file not just the pdf. InDesign handles this nicely as does Illustrator with their built-in package options.
It should be noted that I completely disagree with LateralTerminal's answer on principle. Most printers have access to UTC, or other TypeKits like Adobe so finding MOST fonts shouldn't be an issue if there are error on embedded fonts. And if that fails there's always the internet.
I can't express how annoying and how huge of a time-sink it is when I open a file and the text is jacked up or I have to make changes to fit it to a medium to print or resize the whole piece and the text is expanded. Now I have to waste more time and RE-typeset the text to get it done.
I firmly believe that you should NEVER expand text for "file size" saving purposes, there are numerous ways to save on file space without ruining the editability of a file.
A few ways are:
Optimize your layer structure
Delete extraneous elements that aren't being used in the final art
Reduce raster dpi from 300 to 120
Use Acrobat's Optimize PDF dialogue
Now the only time(s) in my opinion you should expand text is if you are using a lot of specific effects or filters that your printer might have issues with or they might not have access to. This ensures that your final design can be printed as your envisioned it without compromise.
: Efficient way to replicate "confetti" effect for repeated use I have several "confetti" images that I want to take the design and create a method so I can replicate it as a fill I can apply
I have several "confetti" images that I want to take the design and create a method so I can replicate it as a fill I can apply to shapes/outlines.
Here's an example of the source image.
I'm not set on Illustrator or Photoshop, pretty much whatever I can use to do this efficiently.
I'm trying to avoid manually cutting out each circle.
Issues/Ideas
The issue is setting-up the initial pattern so it has layering and the color-variation.
I've looked into some Illustrator scripts to randomize fill color and randomize ordering but this means that I'd have to extract each color circle and save it as a symbol for it to be of use.
I was considering using Jongware's CircleFill script to generate circles and then apply styles but then there is the issue of ordering and layering plus color randomness to account for.
I have access to Astute plugins now but I'm VERY new to learning them so I'm not sure if any of them can help me.
UPDATES
I've started tinkering with "seed pods" of circles that I apply a random transform each command to. My issue now is that I have to create a lot of variations. Is there a more efficient way to create these and then splice them all together?
: Re: Tools for Managing Personal Font Libraries I have a ton of licensed fonts from various foundries (1,000+). Is there a tool out there similar to Typekit that would enable me to host/organize
You have several options.
Fontbase is free and beautifuly designed. It's updated quite frequently too.
NexusFont is also free and is one of the most widely used ones.
Suitcase Fusion is an industry standard but it's quite pricey. However it has excellent syncing between applications.
There are many more options but these are in my opinion the top 3.
: Re: Using the pen tool for drawing a geometric pattern I'm very new to illustrator and I'm trying to create a card for a baby birth. One of the things which I would like to place on the card
You simply need to check the round-joint option in the stroke panel with the desired path selected.
: How to make realistic shadows in composites? Currently I'm practising doing compositing combining different photos to make them look like taken as a single picture. I find it quite difficult.
Currently I'm practising doing compositing combining different photos to make them look like taken as a single picture. I find it quite difficult. Especially making realistic shadow. What do you think about the shadow in the attached picture? Any tips how to make it believable? Please also share your feedback what do you think about this composite in general, I'm open for constructive criticism :)
Update:
Thank you for all the wonderful feedback. I tried to improve the shadow making it shorter and different direction. To keep it simple I also flipped the rocks to match more the central lightning. Still doesn't feel right, maybe longer shadow? Let me know what you think :)
Here is longer shadow, slightly different direction. Should the shadow expand the further it goes from the subject?
: Re: Strange halo around the Gaussian blur under different viewing angles I made a shadow under the box with a Gaussian blur. When you look on your mobile it looks good. But if you look from
Unless you can give us details on the file, format, hardware, time of day, pretty much anything and everything we can't help you out. This is highly specific situation where it's really a hardware thing and how light and modern displays work and how your SPECIFIC set-up is.
To expand on Scott's answer a little more technically. What you are seeing "COULD" be based on the Pixel Density (ppi, px/cm), Pixel Size (mm), or the Angular pixel density (px/° at typ. distance) or all 3.
Then the viewing distance is a factor too. All displays have a Typical Viewing Distance (typ.) which affects how images are viewed by the human eye.
This all can be used to calculate the PPD or Pixels-Per-Degree.
d is the distance to the screen, r is the resolution of the screen in
pixels per unit length, and 1° is the aperture of a cone having the apex on
focus, height d, and the base in the eye lens
All this equation means is that the aperture varies widely from person to person.
All this means is that it's 100% arbitrary and can then also be further complicated by design and even the method of viewing. Is this on Chrome? Firefox? Safari? Each browser has its own method of rendering images.
It could be OLED degradation for all I know.
Final thoughts
Literally nothing I've said should be taken as advice or help, it's purely wild speculation based loosely off of the EXTREMELY limited information given.
: Re: How much control over line breaks should I exercise in a formal letter? How much control over line breaks should I exercise in a formal letter? I have a quote of the text of an email message,
For typesetting you almost NEVER break-up important things like:
Addresses
Names
Phone Numbers
For dealing with widows, orphans and line breaks, they will happen. You should try at all costs to avoid them but to work around breaking up important lines of text sometimes you must make sacrifices.
I would ensure that you are using the correct justification for your medium (probably should be left) and then work on your line length. You are looking for a nice long, short, long, short variation to break up the paragraph to be visually different which enhances readability.
As a golden rule you look for 9-12 words/line roughly.
In general, I would read up on general typography rules. This article goes over how to visually compose text nicely which should help you a lot.
The main take-away for your I think is this:
The final factor to take into account when deciding upon the
appropriate line length is the nature of the actual text. For
instance, some content – such as medical text – might involve many
longer words, lending itself to a wider column width to avoid
excessive hyphenations. On the other hand, text used for children and
young readers might involve many short words, allowing for a narrower
column.
For Email vs Print
In essence they operate mostly the same. You want to start off with the good base rules of good typography. After you have your base text set-up you can then test for responsiveness on mobile/web and alter your text with css using <br /> and <span>.
: Re: How to replicate the #4 - "Fill in the background with a solid color if the proportion of image changed" feature from resizeimage.net in Photoshop? I have a 2550x3300 image and I resize to
This isn't a proportional resize so to avoid stretching the site looks like it takes the longest dimension, applies what essentially is a crop, and then fills the space with white.
So in Photoshop all you would do is Image > Canvas Size
Enter your dimensions of 2200x1080 and you are done.
Now you'll notice in my example I made elements fall off of the final image. This is just to further illustrate that it is a crop not an image resize that the site is performing.
You can't resize an image proportionally to proportions that don't match.
: Cut Angle with line tool There is probably a fairly obvious answer to this question, but being a PSP convert I can't seem to find it. What I am looking to do is delete the rectangle at
There is probably a fairly obvious answer to this question, but being a PSP convert I can't seem to find it. What I am looking to do is delete the rectangle at the specific angle shown with the line. I assumed it was draw line, direct selection, click, delete: I was wrong, apparently I've missed some critical step here. Any direction would be most appreciated.
: Re: Finding TypeKit fonts for Adobe I am currently using a PC with Windows 10. I am looking for where TypeKit fonts are stored for Adobe so that I can retrieve a certain font for one of my
Adobe runs of your system fonts.
You can find it under C:WindowsFonts
Once in the folder you can use the search window in the upper right to find the exact font.
Then you can just double-click to open up the font family and select the ones you need and opposite click > copy.
Then you can paste them onto your flashdrive.
: How do you distribute multiple elements equidistantly in a radial configuration? Like we distribute elements horizontally or vertically -- how would you do that radially in Illustrator (my version
Like we distribute elements horizontally or vertically -- how would you do that radially in Illustrator (my version is CC 2018). This is my specific problem (working on a Wikipedia redesign concept (just for pleasure)):
As you can see, I've added the "Arts" category, and I'd like to add the other 8 categories too, but they need to be equally distributed.
Please do not share answers or comments about doing the same in Sketch, Adobe XD, or any other software for that matter.
Why this question is not a UI/UX question: Because this is a problem I've faced in non-interface design as well.
: Re: Is it a bad idea to use a different type of paper as continuation paper? I'm doing an identity design for a friend who doesn't have a particularly large budget, so he wants to spend as little
Would it be noticeable if the first page was good quality paper but for the rest we used slightly different paper?
Probably.
Generally you only vary paper types when you are doing a cover and guts kind of publication or print item.
For example a booklet will have a cardstock thick exterior but normal 80lb paper for the interior pages. It really depends on the end product.
Textures can vary from manufacturer to manufacturer and if you don't match them correctly the papers won't match. Usually print products are done on only one media type.
Depending on your final product you should use the SAME paper for all pages OR you should do a cover/guts layout and have one thickness for the exterior and another for the interior.
: Re: Inkscape: scale with keep aspect ratio as default? I know that I can keep aspect ratio when scaling images by pressing the Ctrl key. But I really don't like this default. Is there a way
Currently Inkscape doesn't support settings like this to be embedded in default templates.
A couple work arounds are to just hold down the Ctrl key while dragging the corners.
Or, once you create an object and lock proportions any new object you create will automatically have its proportions already locked.
: Opentype feature for controlling double- or single-story lowercase "a"? Is there an Opentype feature that controls whether the lowercase "a" glyph is shown as "single storey" or "double storey"?
Is there an Opentype feature that controls whether the lowercase "a" glyph is shown as "single storey" or "double storey"? An article on Fontfont.com describes this feature, but doesn't specify which "code" controls is.
My guess is that, if it's available in a given font, it will be a "stylistic variant", but that hasn't helped me in my specific case.
The "specific case" is persuading Candara to give me a double-storey "a" in italics, where the single-storey is the default.
Help with either the generic question or the specific case would be appreciated.
: Re: Saving an image for print on Vistaprint I am making a 6x4 postcard and I want to upload it to vistaprint to print. What should one save the image in Photoshop as and what settings? Are there
Note that your results will depend on their press resolution as well as your art resolution. If you send a 600 DPI image and their prepress output is only 300 DPI, you will get a screened image that has more visible dots than you might expect. I found this problem when reproducing screened or colored text. It's not at all the same as spot colors.
: Re: How to convert a logo to grayscale in Photoshop? I have a logo that has color gradients and I need to convert it to grayscale in Photoshop or in Illustrator and get a good result. I tried
You should always design your logo in black in white first.
Since you are past that part, converting in Photoshop goes like this:
Complete all of you editing before converting the original image.
Save a backup copy as a PSD before converting. This step is so you can edit the original version of the image after the conversion.
Flatten the file before converting it. The interaction of colors between layer blending modes change when the mode changes. However if your file has vector text layers you shouldn’t flatten. If flattening might create some undesirable effects.
Choose Image → Mode and the mode you want from the submenu. Modes not available for the active image appear dimmed in the menu.
Images are flattened when converted to multichannel, bitmap, or indexed-color mode, because these modes do not support layers.
After converting you can adjust the curves, levels, and brightness and contrast.
If your logo is a vector format you can easily convert it to black and white in Illustrator.
Then you can adjust the intensity using the saturation settings: Edit → Edit Colors → Saturate.
For printing format it really depends on what the logo is being printed on but the usual standard is a PDF. In a pinch I would use a TIFF or a JPG with a DPI of 300 or more but a vector PDF is really the way to go.
Take note that your quality will be lower if your artwork is raster or you take your vector art and rasterize it in Photoshop.
: Re: Does "Anilox" and "Impression" terms have any meaning in graphic design? I've just spotted this "scale" on the bottom of my box: Does these two terms have any meaning or is this just as
Both terms are actually print terms. Neither of your symbols are useful for any form of calibration or anything, they are purely for visual aesthetic.
Anilox
In printing, anilox is a method used to provide a measured amount of
ink to a flexo printing plate. An anilox roll is a hard cylinder,
usually constructed of a steel or aluminum core which is coated by an
industrial ceramic whose surface contains millions of very fine
dimples, known as cells.
Impression
Number of times a page or publication passes through the printing
process to receive the complete image. In monochrome (single color)
printing, only one impression is necessary whereas in multi-color
printing two or more impressions are needed. It is also an alternative term for a
printrun.
Each picture loosely correlates to the word's meaning. The roll for the anilox and the multiple shapes for impressions.
BONUS: The 3,10,50,70,100 are the halftone amounts.
: Re: Illustrator Image trace: want outline of image, getting unrelated shape I'm getting some very strange output from Illustrator's Image Trace feature. I want to turn this: Into a vector shape.
Matlab outputs the images as a "flat" image inside a .eps wrapper.
A workaround is to rasterize the image first and then try and trace it.
Alternatively for web-use you can output as a scaleable vector graphic (.svg)
Once exported, if the .svg is missing any elements you can save and run this script on the file to fix any "missing elements".
Sometimes elements appear missing but that is just Matlab creating a convoluted structure because there are incorrect clipping masks on objects. Also, objects are highly grouped with no particular rhyme or reason.
This is a catch-all script that will remove the masks and return layer structure to more normalized levels.
: Re: Adding watermark and pricing to images in a folder dynamically with Photoshop? I have a task where I need to treat multiple images in a folder, adding watermark to each image + adding a price
You have 2 options.
Use Photoshop's Data-Driven Functions
Use InDesign to import data
Both the links above have ample information for you to get started.
For a better walkthrough of a sample method for Photoshop this link is good or InDesign this site covers it nicely.
There is also a StackOverflow question that helps cover how to import the data.
Personally I use InDesign at work. It is more robust and will be really easy to just set-up linked .psd to get your images in to work with.
: Re: Text appears pixelated after exporting from Illustrator I'm using Illustrator CC 2018 and I wanted to make a logo for a logo challenge. It's a horizontal logo with dimensions 400x100 px. Everything
You are exporting from a vector format to a raster format.
This changes the smooth vector edges to be made with pixel instead. In addition you are zooming in quite a bit which will start to display the pixels.
Just export the image at the highest quality (12) and use that.
If you do down the line need to supply a vector logo for web then you should look into working with SVG format in Illustrator.
: Re: How To Find Out Exact Angle Measurements of Object in Photo Hi Folks: I am having a guitar body built and I am having no little trouble illustrating certain changes I'd like to see made.
One method would be to superimpose the images over one another to see where there still needs to be adjustments.
However this is faulty since you need to get exact measurements to get anything concrete done. I'd try and look for specs or a large image size of the model you are trying to copy.
If you are set on this method you could use some digital measurement tools like these french curves to measure the edges.
: Re: join tool does not extend the paths and join them where they intersect I think my problem has a very simple solution but I couldn't find it. My join tool can trim excess parts of a path
The problem is that the join tool only works when there is path data for it to connect.
Your ends are acting like to parallel lines | | there's no horizontal points for it to read to connect. You need a path that has some horizontal point for it to read like this |_ |
: Adobe Illustrator: How to work with letter shapes I'm having trouble working with letter shapes. I'd like to use the "live corners" feature on a letter "R", but I can't seem to convert the
I'm having trouble working with letter shapes. I'd like to use the "live corners" feature on a letter "R", but I can't seem to convert the letter into a proper shape... What I've got so far is a compound-path but I can't edit the corners live...
Does anyone have any advice?
P.S.: I'm running Adobe Illustrator CC 2018
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