Last seen: Tue 11 May, 2021
: What typeface to pair with Calibri and easy to read in italic text? I have an article written in Calibri and here and there there are paragraphs that need to has more attention. So far I've
I have an article written in Calibri and here and there there are paragraphs that need to has more attention. So far I've indent and italicized them, like this:
But maybe I can take a step further by changing the typeface? I've tried Times New Roman for a serif font:
This looks good if it's one line sentence. But if it's a multiline paragraph, I feel that the italic Times New Roman is kind of hard to read:
Do you know what good typeface that is a good pair with Calibri and easy to read in a bunch of italic text?
: When would a strong no-no guideline become insignificant? For example, when choosing a pair of typefaces to combine in a single line, it is advised that: they are from different categories,
For example, when choosing a pair of typefaces to combine in a single line, it is advised that:
they are from different categories, in order to make them contrast
they should have the same x-heights, in order to make them smoothly reading
(How to know which second typeface should be used, given a contextual typeface?)
I wonder, what if the difference in x-height would be visible enough to make it contrast, yet the smoothly reading requirement is still satisfied? Therefore, even if the pair come from the same category and it's a no-no, it would become insignificant or even unaffected to the viewer's eyes?
In general, would there be a case in typography that one aspect is strong enough that it can suppress a no-no in other aspect, so that there is an exception of the no-no? I think it's similar to psychology, when you find some thing so unacceptable at the first sign, but latter with time you get familiar with it.
: Re: How long are designers expected to keep client files? A client recently emailed me asking for the source files from a project I did for them two years ago. I don't have the source files since
I've been both the one with the backups and the one that needed a backup. In general, unless it is hard for you to keep their files (for example terabytes of video or contracts prohibit it), you should keep it.
There are times when a file is accidentally deleted or corrupted, the change is synced to dropbox etc, and you don't notice for 6 months that the source file is gone.
The only solution to this sort of scenario is to have multiple backups of everything all the time, stacks of old hard drives basically that are never touched after the backup is made and this is not a normal backup strategy.
So, in the end you should keep backups for three reasons:
In a case like this you can help your client, which makes you look more professional
The work you did is your work, you should retain proof you did it at the very least for your own records for your own reference
Finally, if a client comes back in 10 years and asks for variations of the logo, what are the chances they have your original source files in a format you like? (I've had to have designers recreate source svgs for logos multiple times because client's lost the files we sent them years before.)
Your job is not to provide a backup service, but your job is to provide good customer service.
If doing X makes you provide better service to clients and make you look better, then do X. There are very few exceptions.
Little things like this are the difference between a professional that clients will want to work with again and would refer business to vs a random faceless contractor whose name clients forget as soon as the project is delivered.
: Re: Photoshop CS6 marquee in normal style has width and height greyed out All of a sudden I can't type width and height of a marquee in the top bar. The document is a standard JPG, no quick
In Normal mode the Width and Height options are not useable. This is by design. This is so you can use the marquee tool to freely select a size or ratio.
In Fixed Ratio you can choose a ratio for your selection to draw out at.
In Fixed Size mode you can enter in a height and width for your selection.
: How to "italicize" a word in an italic context? If you want to emphasize a word in a roman text, but don't want the effect last long in the readers, you make it italic. In an already italic
If you want to emphasize a word in a roman text, but don't want the effect last long in the readers, you make it italic.
In an already italic paragraph, how do you make the same emphatic effect to italic?
Bold italic: too heavy due to its boldness
Roman: I find a roman text inside an italic sentence is harder to notice and doesn't convey the same psychological effect as an italic text inside a roman sentence. I don't have much knowledge on psychology, so any help with the psychology on typography is much appreciated.
Currently my choice is to put it in between *two asterisks* , as suggested in Emphasis (typography) - Wikipedia. The paragraphs are italicized and indented to indicate that they're examples for the main points.
Here are when each type of emphasis fits, in my experience:
Bold: introducing definitions, making comparisons
Italic: nuances emphasis
Underline: sentence breakdown
Quote: wording choice
: How do I achieve this 3D line warping effect? First of all, sorry for the horrible image quality as I screenshotted it from an instagram story as the guy was scrolling through designs, it's
First of all, sorry for the horrible image quality as I screenshotted it from an instagram story as the guy was scrolling through designs, it's not actually doubled up like that. Does anyone know how the warped sphere in the lines was created? Not trying to steal just want to know how it was done.
I tried to achieve the effect with illustrator by flag warping parallel lines inside of a circular mask and then also tried the same type of thing in photoshop bu couldnt get very close.
: Re: How do I bulk-select consecutive target layers in the Layers panel in Illustrator? 1 2 3 4 5 6 7 8 In most UIs, selecting item 2 and shift-clicking on item 6 would select the following:
The best I have is... create a new layer at top level. Shift-select all layers you want to bulk select. Drag them into the new layer. Select the layer. Done.
: Re: What is the best colour scheme to use for a shirt design, CMYK or RGB? What is the best colour scheme to use for a shirt design, CMYK or RGB?
Most shirts are being printed using inkjet printers on thermo-transfer foil. Those printers often have a bunch of extra inks like light cyan, light magenta or even orange or violet. The printer always tries to match the source as close as possible.
If you convert your design to CMYK, you're effectively losing gamut: CMYK has a numerical range of 4x100 whereas RGB is 3x256.
Of course you can't reproduce many of the vibrant colors of RGB color space but when using CMYK, you're limiting your possibilities. If you've got a decent calibrated display, the printer is able to "guess" how the colors looked like on your monitor.
UPDATE: My opinion is based on daily business as many customers don't use calibrated monitors and become quite unsatisfied with the result if they start designing/converting to CMYK. If you do have a decent calibrated display, CMYK is the way to go in order to achieve the best match between what you see and what you'll get.
: Re: Dark images from my laser printer. What to do? I don't know much about printing but I love Stack Exchange so thought I'd post this here and see what people have to say about it. If there
I've found that HP's office printer use their internal ICC profiles by default. Those were made to produce good looking vivid colors for office documents on generic paper.
In order to print photographic content, you have to establish a color management workflow which involves
a software which can use ICC profiles (like Photoshop)
disabling printer drivers color management (HP driver has an option)
a color profiler device for your display and printer (X-Rite i1 for example)
But then, your LaserJet can produce very great results!
: Re: What's the quality difference between 600 DPI & Offset printing? I sell calendars online. I print them thousands at a time using offset printing at a local printing company. I'm considering printing
Although the question is quite old you should take into account that the DJ1050 was already over 10yrs old at the time you asked. Inkjet printers are great for small volume high quality prints but only if you're looking at fine art printers like Epson Surecolor or DesignJet Z-series.
Nevertheless, you don't want to produce calendars with roll media ;-)
: Photoshop color profile to PNG I'm making a game that uses png files for textures. When I run the game I noticed that the colors were less saturated and had less contrast then what I was
I'm making a game that uses png files for textures. When I run the game I noticed that the colors were less saturated and had less contrast then what I was seeing in photoshop.
A fellow programmer told me that the reason it looked better in photoshop was because of the color profile of photoshop. Opening the png file in windows picture viewer proved this to be true as it looked exactly the same as in my game.
My question is how can I make my png file look the way it looks in photoshop? In this picture, the left side is the png as displayed in my game, and the right side is photoshop:
: Illustrator Novice Question - How to change the color of a graphic easily? This graphic is created by many shapes and elements. Two colors compose this graphic: red and white. The shapes
This graphic is created by many shapes and elements.
Two colors compose this graphic: red and white. The shapes are composed in two colors red and white in fill and stroke. Some shapes have a red stroke and a white fill. Others have a red fill and a white stroke.
I want to know how I can in one step, or in few steps can change the color of this image so that the red parts of it would become white and that the white parts of it would become transparent, so that I would be able to take this graphic, move it onto a background of any color and have it displayed in white.
I could individually select each object in the layers panel and individually change the colors of the fill and stroke but that takes an extremely long time and is an arduous job because there are so many elements (shapes) to this image! I can make an accident! Therefore I want to know how I can do this in the shortest amount of steps with the least possible room for error.
Also, while looking through the elements in the layers panel that compose this graphic, most elements usually are seen in the image itself. However, I noticed that there are some elements (named as Path) that are not seen in the image that exist in the layers panel! These elements have an awkward color scheme as well; in an image of red and white, they have a fill and stroke color scheme of black and gold and they are nowhere to be seen! When the element is selected in the layers panel usually a golden path is just shown on top of the image. What exactly are these elements? Since they do not have a visible presence in the image itself, do I have to change the fill and stroke of these elements as well, in order to perfectly change the color of the graphic to the colors I want?
Also another strange occurrence is that for a shape I found in layers, it is seen with a red and white stroke and fill; however in the layers panel the object is indicated to have a blue fill and transparent stroke! Why is this so?
The two objects in the picture above have the blue and transparent color scheme when they are actually shown in red and white in the graphic.
Thank you all for your help.
: Re: GREP Style to remove tabs & replace with paragraph break I am wondering if it is possible to create a GREP Style (not search) to auto-format a consistent data set of info. Data example as
As it has been pointed by commentaries, Grep styles won't help you here.
I would personally also use Find/Replace to set things properly.
However, as a fast (and dirty) workaround, you could easily edit your paragraph style to set a tabulation value equal to your column value. This way, text after tab will be "pushed" to the next line.
Use nested styles (or grep styles) to format line 2 and the 3 characters after your dash.
It's a fast workaround, but it's not what I would call good practice since you can come up with situations (such as text wrapping graphic frame) that would mess up the whole thing.
Example for a 130 mm column width:
: Re: Change background for all artboards in Sketch I have Sketch file with 30 pages and 10 artboards on every page (App Store screenshots for 30 languages) Is there any way to select all 30*10 =
I think there are three ways of going about this:
Changing all the artboard background colors (Easy)
Creating a Symbol and making that the backlist layer (Hard, but extremely flexible)
Creating a Shared Style for the background (Hard, and not as flexible)
It might be more work to do the second and third way, but if you change your mind later, it'll take 5 seconds.
For flexibility, I'd opt for the Symbol approach, just in case you want the background to be something other than a solid color.
That said, if you wanted to head down the first path, here's a 10x easier way than clicking 300+ times.
By using the View > Layer List > Collapse All Groups menu option, you're fingers will thank you.
: Printing gradient over metallic silver I have a logo design that contains gradient which I want to be printed on a metallic silver paper. Should I add a white plate with white gradient behind
I have a logo design that contains gradient which I want to be printed on a metallic silver paper. Should I add a white plate with white gradient behind the logo but I am afraid white area will show through the gradient. Will it be fine if I just use the logo with gradient without white plate? But according to my knowledge every colored area except black should have a white plate behind it when printing over metallic silver. So I have two concerns, If I don't use white plate behind logo it might not get printed properly or If I use white gradient plate behind it might show white area instead of metallic silver paper. If you say I can use my logo that contains gradient without white plate and it will be printed fine over metallic silver, my problem will be solved.
: Re: Sketch disable snap to automatic guidelines How can I disable snapping of a cursor to the red guidelines?
Command (⌘) + Left Click gets rid of both the red guides and the snapping in Sketch.
: Re: How do I export images for each device in Sketch? I'm struggling to export a header image for multiple devices in Sketch. I design mobile first and I will take a large image and scale it
I think I know what you're trying to do. The closest thing that you could get would be to create multiple Export sizes — and even save them as a Slice Preset.
With the style you have with the angled accent, it would probably be easier on the development side to have the source image, and apply a mask or overlaying image to get the effect you'd like.
Along this same thread, having Flatten Bitmaps set to @2x will make any image you import at ½ the size, so if you export it at 2x, you won't have any quality loss.
For example, if you imported a 1000x600 image, its layer dimensions would be resized to 500x300 within Sketch.
I hope this answered your question (even though it might not be the answer you wanted to hear).
: Matching light and colour of background to imported foreground I'm basically a beginner on Photoshop and I've only done a few compositions but in my most recent one I'm struggling on how to
I'm basically a beginner on Photoshop and I've only done a few compositions but in my most recent one I'm struggling on how to edit the lighting and colour for my foreground. This is what I'm working on (I know the selection is bad).
As you can see the face lighting doesn't match the background lighting so how would I go about changing it? Some video links will do as well.
: Re: Why can't I import my photoshop SVG in sketch In sketch, I choose edit->insert image, then search for the SVG...It is listed but greyed-out and non-selectable. I can import any other valid image
Going through the Edit > Insert Image menu won't work. It's meant for rasterized files (e.g., .JPEG, .PNG, .BMP, etc.)
Granted that the file is a legitimate .svg, you can use it in Sketch two different ways:
Drag the file from your Finder and drop it into your .sketch file.
Right click the .svg file in Finder, and select Open With > Sketch. It will create a new .sketch document with just the .svg in it.
: Is attribution required while using a Google Font as a piece of art or in video? i let all fonts i used to use when i found there was free and paid between them and the files were mixed,
i let all fonts i used to use when i found there was free and paid between them and the files were mixed, so i started from zero to find a clear resource and i found google fonts , then i was shocked with this word "attribution", i think(what i think (not what" is it" or "you must" or "should do") ) , it is impossible and insane to attribute if you use a word of font or in a piece of art or in video and the The usage rate was simple, i never see any one did that!? i can not find a clear answer , and in the other side Do they mean by attribution the source if you edit it or use it in a software or in project ?!
: Re: Identify sans-serif font in printed business card I want to update the design on a business card, but I don't know the font used in the brand name (UN/CUARTO DESIGN). See the business card
A run through of your sample on whatfontis.com came up with Code Pro Lowercase. Use this for the base and edit the 'A' yourself manually, and you should be very close.
: Mixing cmyk colours I have a cmyk colour of 0,40,50,0 I want to change the magenta value, the 40%, to redder colour 0,67,70,28 And see what the resulting CMYK colour is. How I can go
I have a cmyk colour of 0,40,50,0
I want to change the magenta value, the 40%, to redder colour 0,67,70,28
And see what the resulting CMYK colour is. How I can go about doing this?
: Re: Blending two lines in Illustrator gives me holes When I try to blend two lines, I keep getting holes in parts of the blend. I have gotten the advice to increase the number of steps an make
You can try add anchor points to lines:
Object->Path->Add Anchor Points
: Re: How to keep design files organized on your computer? I have a significantly large amount of files on my computer that I need for work and/or future reference. I am terrible at keeping them
Take a look at some related questions:
What is your file naming convention you use for version control?
What is the ideal way to archive drafts of logos and general graphic design pieces?
Regardless if you are saving your work in the cloud or locally you simply need to create the proper folders.
The structure depends on your actual workflow
The main two folders I would have are
It could be something like this (As it is a little complex to format using the froum's design tools I am posting an image:
If you are storing images for reference, you can organized for example:
: Re: Illustrator - Make clipping mask with a shape and image out of another shape I have one big image. That image needs to be in the shape of a circle, so that's the first shape. But, inside
Set up all the shapes and objects etc. that you want inside your clipping mask, then place the circle you want to use as your clipping mask on top of all the objects. Select them all, right click, and select "make clipping mask". That will place all the objects inside the same clipping path.
Alternatively you could build the image in photoshop with all the shapes etc, and just import one image into illustrator.
: Re: What do i provide my graphic designer with so they can do their job? I am hiring a graphic designer to illustrate my bikini designs in Adobe Illustrator or any alternative software that works
Tee shirt printing and graphically you need to have following
Trademark content writer
good graphic combinations
: Re: Outdoor light simulation program For a project I want to model a outdoor light scene. Therefore I'm looking for an easy way to produce basic 3D objects and simulate sunlight over the day.
I do not really understand your third requirement.
But give it a try to www.kerkythea.net
It is a stand-alone render engine, that has actually different rendering methods, for photorealistic images, but depending on how skillful is the author.
But it meets your initial requirements. You can make simple shapes. If you need more elaborate shapes you can use also Sketchup to model stuff and then export it to Kerkythea.
You can also assign a sun position by location, date, and daytime.
I did not understand this:
an array of the light values the different pixels
That is probably a "render". In this case, you have a render method that gives the "luminosity" values, called Clay Render.
The problem would be to make an animation.
You can also use any 3D application like www.blender.org and you can animate the sun path if you know the values.
There are some tools to create specific types of an exterior, or landscapes, like Terragen, Vue, Bryce. Some of them have a free version, but some have different render quality. Google landscape
I found this application but is more suitable to analyze interior's sunlight www.velux.com/article/2016/daylight-visualizer
P.S. There is another forum for this kind of question: softwarerecs.stackexchange.com/
: Re: Photo in sRGB with black and white parts converted to CMYK I know it's an often topic but haven't found any solution for my problem. I`m working on a book with lamp photos - I was adjusting
I think you have 2 problems here.
I've printed a proof
What do you mean by proof? If it is just a print in your home printer or office printer, there is no way of knowing if it is calibrated or not. Most likely not, so any grayscale image can potentially look any color.
A proof should be made in a calibrated environment, preferably by the same printer that is going to print your job. They can not guarantee color using a random print taken on another place.
The second one is that if you can not have a neutral gray just saving an RGB image.
If it is going to be printed on a sheeted offset machine, you need to manually separate the plates and assign whatever values you want, in this case, probably k only.
This is accomplished by doing some masking. Keep the color part with the fogra profile conversion, and mask and change values of the background manually.
Be careful because that zone could potentially look artificial.
P.S. White is a color, gray is a color, black is a color. They are not colorless, they are unsaturated.
: Re: Can Illustrator convert jpg (rgb) image to cmyk when saving PDF file? Can Illustrator convert jpg (rgb) image to cmyk when saving PDF file? Indesign can. Just wondering if this works also
In reality, you do not "save" to a PDF, you export to PDF.
PDF does not come in one flavor, it can and needs to be configured in several ways. These configurations are saved as a PDF profile.
The main options you need to take into account are:
RGB -> CMYK and PMS ->CMYK or export the native format (RGB will stay as RGB and PMS as such)
Save the color profile used in this conversion.
Resample images beyond a specific PPI resolution.
Method of compression of these images.
Flatten transparency and effects.
Embed fonts or convert them to shapes.
For your specific case, it is better to use a predefined profile, more specifically a PDF/X-1a 2003. This will give you a good set of combinations for this export. If you navigate thru the settings you can see what is in this configuration.
This PDF is NOT a saved file, it is a different file, an output file. Always save your work in the native format of the application, in this case AI.
: Re: PMS vs CMYK Logo colors So, I designed a logo in CMYK color and printed it using EPSON printer. The colors match perfectly what I see in print and on monitor. Then I convert the logo color
I am afraid you did this backward.
It is a happy coincidence that your settings on your monitor and your combination of paper and Epson inks gave the same result, or probably this is simply because of a localized settings on your computer.
Unless you calibrated your monitor there is nothing on the planet that assures you that the logo will look the same on another monitor, or another printer.
This is evident because the patches do not correspond to a standardized print, aka Pantone book. So you have faced your first problem. The combination of colors only match your initial print, but failed on the second test. If you send this values to your client they will fail again and again.
A CMYK has NO meaning regarding on what color is that. The actual color depends on the color profile used, the type of inks, the paper used. That is why you need to use a standardized color and then adapt your monitor and print to that standardized color... calibrating your equipment.
I do not love Pantone system, but in this case is one of the best standardization of colors, so your logo should be in this case first defined as a Pantone and then converted to CMYK using a specific color profile.
But the good news is that you can arbitrarily choose a new PMS color. Grab your Epson print, grab a Pantone color guide and choose one you like most.