@Holmes874
Last seen: Tue 11 May, 2021
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: Exported SVG Definitions Keep Changing -> Need Consistent Output My website will rely on several hundred SVG files generated by illustrator. The website is designed to control certain styles
My website will rely on several hundred SVG files generated by illustrator. The website is designed to control certain styles in the SVG, changing their colors for different options picked by the user. Unfortunately I've not been able to find a way to control the style names that are output by the .ai file using the "Export for Screens" to SVG flow.
I thought I had figured it out by assigning Graphic Styles to the the colors I want my website to control, but in the past 24 hours things have gone sideways and the output SVg files seem to only be assigning one graphic style in the exported SVG.
Here is the SVG code, the .TWO style is one of the graphic styles that I've assigned, .a is supposed to be .ONE, .b is supposed to be .THREE etc. Unfortunately I can't just have my site change based on the arbitrary letters that are being exported as I need to assign specific numbers to specific colors.
<style>
.a{fill:#131410;}
.TWO{fill:#1765b1;}
.b{fill:#faed23;}
.c{fill:#e91f27;}
.d{fill:#8ac640;}
.e,.f{fill:none;stroke:#565656;stroke-miterlimit:10;}
.e{stroke-dasharray:3;opacity:0.25;}
.f{opacity:0.5;}
</style>
Within illustrator, how do I explicitly control these output style definitions?
: Re: How can I remove a transparent interface in a 3D extrusion in Adobe Illustrator? I created a 3D structure with three layers in Adobe Illustrator using the Extrude & Bevel effect. It consists
Oh well. I figured it out.
In such a case the orange slab can simply made longer to pass through the opaque slab. This will remove the interfaces. The only problem is that now the side faces of the grey opaque slab are a bit orange.
: How can I remove a transparent interface in a 3D extrusion in Adobe Illustrator? I created a 3D structure with three layers in Adobe Illustrator using the Extrude & Bevel effect. It consists
I created a 3D structure with three layers in Adobe Illustrator using the Extrude & Bevel effect. It consists of three slabs (orange and transparent, then grey and opaque and blue and transparent), where the grey one has holes inside. The orange slab should continue into the holes in the grey slab. As can be seen in the picture at the bottom, there are two separate orange blocks that have an interface together. This interface looks darker than it should, since two boundaries meet.
How can I remove or merge this interface (to make it look as if this is one solid block with cylinders sticking out from it)?
: Re: Indesign: Is it possible to Replace frames those content a specific link with clipboard content? I have a lot of frames (as icons) linked to one image (link). But now I want a glyph instead
Yes and no. If the existing frames have some object styles applied, you could use the Find/Change Object dialog and use "Contents of clipboard" as a replacing value.
Otherwise, you could simply use the glyph as an external resource and relink the link to that file.
Alternatively, you may want to use a script to do the replacements.
: Re: Imagemagick Chroma Key removal I am using Imagemagick to create an automatic chroma key removal program. I have been successful in creating a mask for the image using the following commands:
Looking closer your image, which is unfortunately quite low res, reveals that your background has plenty of noise or real detail which has green hue and the same contrast as the lost hair => no treshold is ok. The background detail also has the same size variety than the lost hair => no treshold nor spatial frequency separation will work.
Assuming that the hi-res version doesn't reveal more difference, your options are:
For future shots improve the light, it must knock out the green from the background everywhere on the target without killing the greenness of the background (bring the background further, increase the white light on the target, be sure that the background has uniform light, the distance helps to keep it blurry and suppress background details, its good light prevents noise), take very rapidly (=automatically) another shot with possibly artistically impossible lights which gives good mask and use it with the acceptable lighted photo. Use the lowest possible JPG compression, preferably none because JPG artefacts are as bad as noise. Shooting as RAW is the best.
A theoretical approach, needs some advanced math software: Pattern matching software can calculate which hair is the most probable reason for the existing image . No idea, if that software is available for something else than forensic investigations, high level security systems and military intelligence.
What to do now: Your hi-res image CAN reveal more. Insert a link to one. Then some of us with some real knowledge beyond my guesses can find something useful.
You can turn the leaked green on the hair to any color if you have otherwise acceptable mask, possibly manually tuned one.
I have done numerous lost hair redrawings when I have got photos with order "remove the background and be sure that the hair also looks good!" That is not at all fun, but it has been the way out. Note: good looks is not the same as exact replicate.
: Illustrator script to convert multiple files into outlines with a pdf preset Can someone help with an illustrator script that can convert text from multiple files in a folder to outlines and
Can someone help with an illustrator script that can convert text from multiple files in a folder to outlines and save it to pdf with a specific preset of my choice?
Was able to find from my research on the adobe forums some lines of code, but was unsuccessful in combining them to work somehow.
What i've found:
forums.adobe.com/thread/964576
#target illustrator
function outlineDocText( ) {
if ( app.documents.length == 0 ) return;
var docRef = app.activeDocument;
recurseLayers( docRef.layers );
};
outlineDocText();
function recurseLayers( objArray ) {
for ( var i = 0; i < objArray.length; i++ ) {
// Record previous value with conditional change
var l = objArray[i].locked;
if ( l ) objArray[i].locked = false;
// Record previous value with conditional change
var v = objArray[i].visible;
if ( !v ) objArray[i].visible = true;
outlineText( objArray[i].textFrames );
// Recurse the contained layer collection
if ( objArray[i].layers.length > 0 ) {
recurseLayers( objArray[i].layers )
}
// Recurse the contained group collection
if ( objArray[i].groupItems.length > 0 ) {
recurseGroups( objArray[i].groupItems )
}
// Return to previous values
objArray[i].locked = l;
objArray[i].visible = v;
}
};
function recurseGroups( objArray ) {
for ( var i = 0; i < objArray.length; i++ ) {
// Record previous value with conditional change
var l = objArray[i].locked;
if ( l ) objArray[i].locked = false;
// Record previous value with conditional change
var h = objArray[i].hidden;
if ( h ) objArray[i].hidden = false;
outlineText( objArray[i].textFrames );
// Recurse the contained group collection
if ( objArray[i].groupItems.length > 0 ) {
recurseGroups( objArray[i].groupItems )
}
// Return to previous values
objArray[i].locked = l;
objArray[i].hidden = h;
}
};
function outlineText( objArray ) {
// Reverse this loop as it brakes the indexing
for ( var i = objArray.length-1; i >= 0; i-- ) {
// Record previous value with conditional change
var l = objArray[i].locked;
if ( l ) objArray[i].locked = false;
// Record previous value with conditional change
var h = objArray[i].hidden;
if ( h ) objArray[i].hidden = false;
var g = objArray[i].createOutline( );
// Return new group to previous Text Frame values
g.locked = l;
g.hidden = h;
}
};
Thank you.
: How to create a gradient shape that blurs on one side? How do I achieve the effect in the pictures below where the shape is defined on one side and the shape and gradient blur on the other?
How do I achieve the effect in the pictures below where the shape is defined on one side and the shape and gradient blur on the other? (I hope i'm even describing it right)
: Re: 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.
Consistent shadows are explained already in other answers. But there's also the possiblity to change the source of the light to match better with the existing shadows. Another possiblity is to make some small shadow inconsistencies unnoticeable by bringing up other things, for example a strong incident that happens or is just about to happen.
For example I can guess that the shiny light isn't the sun, it's something at much shorter distance, it's a property of the blue sphere, which also is quite near. With that assumption some misplaced shadows which still are left, do not harm. Only make the assumption more obvious by bringing the blue sphere and the light more on the top.
The flat texts (placeholders, I presume) surely cannot be a part of the blue sphere, so move them totally apart or map them as curved on the sphere. I suggest "apart". See an example:
An incident: The big shiny blue sphere itself is already quite unusual, but it can be made stronger. One stroke with a large smudge brush brings up the moment just one microsecond before all shadows became unimportant.
: Re: How I can make this Complex Gradient in illustrator? I want to make this complex gradient, what tool should i make ?
Use blur. At first Draw a thick overlapping stroke over the image:
Arrange the stroke behind the foreground objects. Then apply Gaussian Blur with large radius and reduce the opacity:
You can get more complex effect easily: Duplicate the blurred shape, move the copy and reduce the opacities. A color change also can be useful. Both of them are tried here:
I have found that sometimes Illustrator renders multiple overlapping blurred shapes unpredictably. There seems to be some big unwanted rectangular boxes. I still do not understand that phenomena well enough, but they do not appear if there's only one blurred shape or the opacities are low.
: Re: Photorealism critique? Ignoring the background does this look photorealistic? This is my first time modeling in Blender, but please be as harsh as you need to be. Besides the photorealism any
It's photorealistic, but who has scratched its work surfaces full of grooves? Normally anvils are used as hammering platforms. It can have gentle pits, shiny areas(Note1) and roundings at the edges, but deep scratches? How they are made by a blacksmith?
Note1: I have brought an old anvil. The blacksmith tried to sell it. He succeeded. The anvil was cleaned. The top surface of its nose and rounded edges were like polished chrome.
: Re: SVG gradient implementation Is it possible to recreate this sort of blurred gradient in an SVG?
It can be made in Illustrator and Inkscape as Gradient mesh. When saved as SVG in legacy Illustrator, it transformed to bitmap image. Obviously Illustator knew it about 6 years ago, but SVG language didn't.
When saved in Inkscape as plain SVG, not as Inkscape SVG, it stayed as gradient mesh and opening the SVG file with a text editor revealed there's command meshgradient. See the code snippet
So, without knowing the standards, I can say "It's at least implemented in Inkscape's plain SVG."
Hopefully someone SVG development status aware programmer tells something exact.
: Re: How do I attain an effect similar to the one in the photo below? I am trying to replicate the style and effect of the attached photo. The effect is a sort of graphic novel, pixelating style
The pattern effect is a little tricky, it needs layers and blending modes. The effect can create an illusion of printed image altough real halftoning in color printing is totally different.
An example:
Make a low contrast copy of your image layer. Here the contrast is flattened with the curves tool:
No contrast flattening is needed, if your image is already flat enough. Test. My image had only extremes.
You can also make a layer with solid grey fill instead of flattening the contrast, but the result is different (=more mechanical, like an inserted overlay).
Goto Filters > Sketch > Halftone Pattern. That creates the dots:
Give to the pattern layer blending mode Hard light and reduce its opacity:
Blending mode soft light gives different result because it reduces the effect in light areas. The opacity can be higher. You can also add a little noise (1...2%) to the pattern to make it less regular. Here both of them are applied:
: Re: Closest CMYK conversion of Pantone 021C Pantone to CMYK conversion is always a pain to deal with, but does anyone have experience with coming up with the closest CMYK conversion of Pantone 021C?
we have chosen 0/90/100/0 for PMS 021C
: Re: Can I insert images from file in Photoshop actions I want to include inserting images into Photoshop action files. Is this possible or do they have to include a stop to do this manually?
I just had one new idea and sort of works. Start the script by loading the image which need to be placed and load them into a stack using the script for that. Save this image to you location and uncheck all layers but 1. Then place this image in you file and by using shortcuts edit the placed image and uncheck and check a lower layer in the file. For me this worked.
Though when each different image needs to have a different location, that a tough one.
: Re: Can I draw a shape within a shape in Photoshop I have drawn a hexagon using the shape tool, and now I want to draw a star inside it. When I draw the star, the hexagon goes away. Does
A shape can be invisible for several reasons
no stroke nor fill and isn't selected
fully below another bigger shape with opaque fill
opacity=zero
isn't hidden, but has exactly the same color as the bigger shape below
Maybe it's useful to learn the tool options. There are plenty of them and the result is very different with different options. Also Layers panel, Paths panel and all path editing tools are essential.
Few rudimentary explanations (sorry for using legacy Photoshop)
Draw a vector shape. It's actually a mask (=vector mask) for a layer and defines the visible part of a layer. It's an editable path, which makes it different than normal layer masks (=bitmaps). You can define the fill color of the layer and the generated shape. Its the green rectangle in the screenshot.
Draw a new work path or modify an existing path, which is selected in the Paths panel. Paths can be used for selections and they can be stroked, but they have no bitmap layer content.
Fill an area with the foreground color in a bitmap layer which is selected in the Layers panel
4...8. These define how the new path or vector mask is combined with the selected old one. Available options vary depending on what is selected in the panels or are you going to draw a new vector mask or a new path. Options 1 and 4 together force the new shape to be a new vector mask for a new layer.
These short explanations hopefully show that the richness of possible combinations cannot be explained shortly. Right clicks with the mouse reveal much more possiblities. For editing the shapes there are plenty of tools in the Toolbox and Layer > Layer style -effects are applicable.
Search for tutorials, see the original Adobe documentation and practice. Otherwise your time is wasted with unpredictable results.
: Re: How to do a plane with hole using a simple 3d software I need a simple 3d software (or a solution inside Unity 3d) to makes hole on a plane. I don't need nothing complicated, because i
I would use Blender. Add new object by pressing shift + A and choose from mesh menu the "plane"
In Blender with default settings, you select things with the right mouse button.
Now if wanted you can scale the object by pressing S and activate the new scale by pressing Left mouse buttons. Apply the scale (to avoid future problems by pressing ctrl + A and select from the list "scale"
We are going to add the object by using the Boolean operation in this example. Select again new object from the "shift + A" menu. I use in my example the cylinder.
Select the plane with right click and go to the modifiers tab which can be identified with the wrench icon in the right panel.
Click "add the modifier" and select from the list "boolean".
Now you select from the "object" list, the object that is named "cylinder" and click it.
Select from the "operation" drop menu" difference.
If you want to, you can move the cylinder in a place where you like it more with the colored arrows in 3d-view. Or you can scale it with S key.
Click "apply" in the modifier settings. [![enter image description here][7]][7]
You can now select the cylinder with right click and press "delete" to remove it. Now you can save or export your object from the file menu.
: Re: How to smoothen pixelated background without affecting nearby foreground objects Here is the photo I'm trying to work with. The background is heavily pixelated and I want to polish them
Actually this is not pixellation due too low resolution. This is a result of strong JPG compression and heavy noise removal & sharpening in your camera or photo editor.
If you have the raw image (not *.JPG, but *.RAW or *.CRW), you should learn how to develop them properly. I think you have only the JPG, but something can still be done i.e. your case is partially solvable. The idea shortly:
Make a clean BW copy of the image where the sky is white and the wires, stakes, houses etc. hard things are black, the grey areas are minimized
Blur the colored image without trashing the edges of the objects (see it later!)
use blending mode multiply to make black solid
The key is Smart Blur. Gaussian blur makes everything fuzzy. Smart Blur leaves local contrasts which are stronger than the selected treshold. That function hasn't unfortunately in my old Photoshop full screen preview, only a small preview stamp in the dialog => I cannot show the under construction screenshots with the result. I show only the results.
Make some test to understand the settings of the Smart Blur. Note: Blur radius and Treshold interact, they aren't independent. That makes the setting tricky. You must test many combinations!
So, after you have the copy in the top layer, goto Image > Adjustments > Hue/Saturation and with quite wide selective adjustments make cyan-blue-magenta-red as light as possible:
Increase the contrast with the curves. Beware making the grey between the lines dark, but reach as white sky and as black solid things as possible. Some grey is unavoidable.
Then apply Filter > Blur > Smart Blur. Play with settings to make the clouds soft, but not fading the thin wires.
After blurring smartly: Fix the mid sky grey area. Paint white onto the grey. Leave the near horizon greyness or remove it all (a hefty job between the wires and stakes, needs small steps and much patience).
Here's the result:
Apply Smart Blur to the colored image layer. Give to the BW layer blending mode = Multiply.
Here's the final result:
If the sharpening (it's already in the original image) starts to look out painful, you can wipe it off with the clone brush. Do it in the colored layer, the BW layer save the sharpness. To remove the remnants of the sharpening in the area where the BW version has grey (=mid bottom)unfortunately needs also removing the grey.
An opinion: You can as well let the image be as is or apply even some arty filters. My receipe nor other heavy processings do not change technically weak material perfect. High technical image quality is born (or killed) already when the shot is done.
: Mass export all images as individual JPEGs in InDesign, but not use image frame ratio I would like to mass export all linked images in a Indesign document using this script, its from this
I would like to mass export all linked images in a Indesign document using this script, its from this thread
var myDoc = app.activeDocument,
apis = myDoc.allPageItems, pageItem, fileName;
while ( pageItem = apis.pop() ) {
if ( !pageItem.graphics[0].isValid ){ continue;}
fileName = File ( pageItem.graphics[0].itemLink.filePath ).name;
fileName = fileName.replace( /.[a-z]{2,4}$/i, '.jpg' );
app.jpegExportPreferences.exportResolution = 2400;
app.jpegExportPreferences.jpegQuality = JPEGOptionsQuality.MAXIMUM;
//give it a unique name
var myFile = new File ("C:/Users/RANFacistol-Mata/Desktop/Image Trial/"+ fileName);
pageItem.exportFile(ExportFormat.JPG, myFile);
}
When i use this script, it export the linked images in the ratio how its placed in Indesign.
How its exported
How it looks in Indesign
Yet i want it to look like this, the original ratio of the image
: Re: InDesign: How to import repeating XML with multiple masters I currently have importing XML in InDesign working, but I'd like to work with multiple masters so that the page design alters every
First of all, getting a "module" (see it as an elementary set of objects to be repeated) to be repeated require some specific tagging and layout preparation.
You need to have a primary text-frame that will be tagged with the parent node (students).
Then, you need to add a student tag inside the main frame.
Now put your cursor inside the student tag and add a page break character. That will be useful later.
Now create a textFrame and tag it with "box". Anchor that tagged frame inside the "student" node but before the page break. Use editor node if necessary.
Use anchored object options to set the frame so it's opposed to the spline. That way, it will always be moved whatever the page it's on.
Use an anchored objects into which will come the student data. Use object styles as you may want to make later changes to the frames.
Now, add the extra tags inside the box.
Have your xml compliant with this indesign xml structure or use XSLT to make it match the existing structure. Or it won't produce the expected results.
Now import checking "Clone repeated text elements"
Et voilà,
: How to create this effect in Photoshop? I'd like to recreate this. How to darken the photo like the example How to get that natural blue look on the house How to darken the clouds and the
I'd like to recreate this.
How to darken the photo like the example
How to get that natural blue look on the house
How to darken the clouds and the ground.
: Re: What is "standard markup" for purchases which need to be passed on to the client? Let's say I'm designing a site, and Client and I agree that I'm going to purchase a slideshow to use on
The "oddly specific" 17.65% intrigued me. Here is why that number is sometimes used:
It has to do with the way that commissions are calculated, such that the agency ends up making a 15% profit on the total sale of the job.
adage.com/article/adage-encyclopedia/commission-system/98405/
The adage article didn't dive into the maths, but Mike spells it out pretty well here:
www.mikeholt.com/mojonewsarchive/BM-HTML/HTML/Business_Management_-_Newsletter_53~20020912.htm
For posterity, If you want to make 15% profit on the sale of the job, rather than the cost, then by adding 17.65% to the cost of the job, you will end up making 15% off the total sale price.
Mike's illustration is:
Job Cost: 0,000
Mark Up: ,650 = .1765 * 100,000
Sale price: 7,650
Profit percentage of Sale Price: 15% = ,650 / 7,650
: Re: How do I create a box image which contains a photo and text? I'd like to create boxes just like what's shown in the following link, using images of hair colour which are jpeg's and bmp's.
As commented, take a drawing program and try. Freeware goes well. Here is an example. Its made with Inkscape.
In the left there are the parts: the JPG photo, a white box, darker blurred box as the shadow and the text. In the right all parts are stacked to final order and aligned. The background is not defined in this phase.
If you have a ready photo to import, the rest is done in a minute. Inkscape is not a photo editor. You need it separately. In Inkscape one easily draws boxes, lines, curves and texts. For photos there are no advanced editing tools, but scaling, cropping and brightness & contrast adjustments go well.
: How do I create a box image which contains a photo and text? I'd like to create boxes just like what's shown in the following link, using images of hair colour which are jpeg's and bmp's.
I'd like to create boxes just like what's shown in the following link, using images of hair colour which are jpeg's and bmp's. Is it something fairly simple that I could do on my Mac? Many thanks.
cysterwigs.com/pages/colors-101-your-color-cheat-sheet
: Design in Photoshop for SquareSpace Is it possible to make a landing page design in Photoshop for a customer who wants to use SquareSpace (website creator) after? It sounds strange to me. Thank
Is it possible to make a landing page design in Photoshop for a customer who wants to use SquareSpace (website creator) after? It sounds strange to me.
Thank you!
: Re: How to design an cartoon looking image Full confession I know absolutely nothing about graphic design, Im usually over at stackoverflow. Ive searched, googled and pretty much everything else
This was extracted from your photo. The job was usual background removal (=make all unwanted parts transparent) . Next the image was vectorized (=traced to Illustrator style format) with limited color palette and some smoothing. A black outline and a shadow was added.
Used software and some details:
Background was removed in Photoshop. GIMP (freeware) would go as well.
The image was copied and pasted to Inkscape (freeware) for vectorizing. Its Path trace was used. Tracing settings: 12 colors, stack scans, no background, smooth.
Many white parts came out as too grey. Those parts got manually white fill. The bottom shape got manually black stroke.
A black copy was made. It was blurred, made partially transparent and moved a little aside. That's the shadow.
Vectorizing in Illustrator (=Live trace) has much more possible settings than Inkscape's path tracing, but this case didn't need them.
The whole job took less than 15 minutes, but a full novice needs at least 2 weeks of properly guided practicing to do the same without step by step guidance.
If you cannot use Photoshop and Illustrator well and haven't at least 2 weeks full time to practice, get a professional.
ADD: The preceding answer can be seen to have something useful, but the question is reshaped to much more definitive. If it happens that you must design new sports uniforms for whole league, the preceding answer is ridiculous in terms how it helps to perform the task - a new masterpiece in the seemingly ever growing family of the monuments of slow-wittedness.
So, if the task is to design new uniforms for use, you HAVE a problem. Designing a league-wide set of uniforms that have something common that represents the league & supporters and still all must be unique, is much more an art project than technical one. It's technical as a project management task and taking into the account the manufacturing process of final clothes.
The project needs professional help. Three different skill sets at least are needed:
doing business with cloth producers
sport cloth artistic design taking into the account the manufacturing process
general management (negotiations with league management supporters and teams)
Someone must as soon as possible make some suggestions to league management about
who commands who
who can suggest and what
sketch of the project plan
Quite soon it's time to select the manufacturer and starting to make actual design data collection obeying the manufacturing process limitations
Cloth manufacturers obviously have some graphic templates "add your artwork". It's surely useful to get them. The designer is needed to make reasonable suggestions on what is selectable, what is fixed and what can be decided in teams.
Proper templates for most common purposes are available also as independent products. You seemingly have got from member @Webster an answer with more details of templates. Read it!
Everything simply isn't technically printable. The uniform appearance of the league, demands from the supporters and the need of unique artistically satisfying clothes surely nail a bunch of limitations.
When the frame is fixed, the teams also should have a possiblity to decide something.
Really, this is much more than cartoonizing a photo. But if the technical side of creating the images of the cloths is interesting, this site has several discussions about it. Here's a couple of simple (only T-shirts) examples:
How can I mockup a custom stripe fabric on a t shirt
Squeeze the neck of a t-shirt
: Re: Choosing a color scheme for 3 layers of material UI cards I'm working on the Android UI at work, and I'm happy with the current color conventions we've used; white cards on a grey background,
Firstly, unless they are dismiss-able, what you have on the right is not "cards" but "tiles". It's a minor technical point, but I think it's still good to be accurate. :)
It looks like that this is where you select a device. If you have 10 devices available, that might mean quite a bit of scrolling. I would make this section into a standard list, separated by lines, or alternating background colors. This might also mean reformatting the text, or reducing the amount of data you are presenting in this list to begin with. Think about what the most important information the user needs to differentiate between the devices, and make that prominent, then de-emphasize or remove the other information. You can fit more if each field doesn't have a line of it's own.
Without knowing more, I would choose the camera name (TI8557) as the most important, with the IP as the second most important.
As to the second question, I don't mind the white button, but does it need to be a button at all? Can you just have the action linked to the text without a surrounding button border? Maybe add an icon if it's not clear enough...
: Re: How to crate a shine with Illustrator I am new to Illustrator, I bought the image below and I want to put the shine on a diamond: When I delete the gray boxes it looks like this completely
Obviously the deleted part had an important role through blending modes and transparency. You should let it stay, only edit it to non-disturbing form.
Using this image properly needs full understanding of all details in appearance and layer panels. Without seeing them it is impossible to suggest any precise cure.
When a person watches shiny objects, he rarely sees those rays and glows. A camera produces them easier due much lower ability to cope with high contrasts and the multiple reflections inside the camera lens.
Normal printed or onscreen graphics cannot have the same high contrasts as a shiny object has in a bright light. Thus we have copied the rays and glows which actually are imaging errors and rised them to replace the real shining. This has been usual so long that we any more do not think them as errors.
How to make them at home:
Illustrator has the Flare tool. Unfortunately it concentrates to ball and ring shaped lens reflections and doesn't give much control over rays and glows, which at least I see more important for creative purposes. If Illustrator's Flare tool cannot make what you want, try the following:
have a darkened background. Otherwise you cannot have contrast
draw some lines as thin rays, outline the lines. This makes them narrow rectangles and makes possible to fill them freely.
draw some triangles to represent wider rays
remove the strokes, have only a light fill
You can make rotated copies (Object > Transform > Rotate > Copy) and scale them to different sizes to achieve the needed richness and symmetry easily.
An example:
A few lines, outlined to make them fillable rectangles (Object > Path > Outline Stroke), only fill, no stroke, grouped to keep them together.
A triangle + 7 rotated copies, only fill, no stroke, grouped to keep them together
Shapes 1 and 2 copied and filled with radial gradient center=cyan, edge=fully transparent
Shape 2 copied and blurred (Effect > Blur > Gaussian Blur) and after it filled with radial gradient to make it fade a little faster outwards. Test also Effect > Stylize > Outer Glow as the repacement of blur + gradient. Warning: the settings are tricky for a beginner.
The blurred shape and the gradient filled shapes moved together, blurred is rised on top.
These are your basic blocks. You can repeat them with different sizes, color them, try blending modes transparency, etc... Your time is the limit.
In the beginning start to use the layers panel to find easily different objects for edits and the Appearance panel to see what is applied to the selected object. Clicking an effect or other property in the Appearance panel is the easiest way to edit it. The gradient panel and tool are essential to understand well.
: Illustrator - How to change the color of the line between two anchor points How can I change the color of the (anchor handle and path) lines that illustrator shows between two points? Example:
How can I change the color of the (anchor handle and path) lines that illustrator shows between two points?
Example:
In my case, the line is black and it's impossible to see if I'm working with a black background.
Thanks!
: Re: Wireframes of landmarks I found these wireframe vector graphics of a few landmarks and was wondering how they were created. I doubt it was done by hand, so what kind of techniques are there
They are wireframe renderings of 3D models, more exactly = 2D renderings of wireframes, hidden lines removed. Pro level 3D software exports scenes like these as 2D vector images.
Famous objects like Golden Gate and Eiffel Tower are widely available as free and paid models in several formats. Search for "3D Golden Gate bridge" and see yourself.
There exists much variety in
general accuracy
how much surrounding terrain is included and is it realistic
resolution
which details are 3D models and which are only texture images
file format
Trimble SketchUP is one popular easy to use 3D program. It has a wide cloud library (=3D warehouse) of uploaded models that other users can download. These 2 objects with reduced surrounding terrains were both available in several versions, some of them even were good. Unfortunately free version of SketcUP doesn't make vector wireframe renderings, only bitmaps. The same seems to be tried generally in free versions of commercial 3D software (= not too much for free).
I have met a piece of 3D freeware that refuses to export 2D renderings in any Illustrator compatible vector format (=disabled, available in paid version), but it's PDF output is an Illustrator compatible vector image. I tried to import and render a SketchUP model of Golden Gate for this answer, but that freeware has a model complexity limit which dropped off half of the bridge.
In 3D model marketplaces your example object cost about ,- each
You need also models for the surrounding terrain. Rudimentary terrain without complex details is created in 3D software in few minutes. Paris around Eiffel Tower created from scratch takes days. Inserting some library trees and houses is done fast.
If you like to do something like these images starting from 3D models you must have
the right 3D software to use the model and
skills beyond the full novice level to make the needed modifications and renderings.
If you are new in 3D, start with easy freebie such as SketchUP. After you know it, not before, you are ready for harder pieces such as Blender, Maya, 3DsMax, Rhinoceros etc...
Competent training, an incredible luck or brains of a genius can make possible to get anything useful done in complex programs straight in the beginning without solid background of simpler software.
: Re: Disable Tool Dialogs in GIMP I would like to know if there's a way to disable tool dialogs in GIMP like the one in the picture. I would rather use tools without it since it blocks the project
I suggest other way:
The dialog is movable. It opens next time where you placed it. The dialog is your possiblity to input numeric values or to see what numeric value gives the right looking result.
If there's not enough room, do as I have done. Invest ,- and get secondary display. I took mine from a second hand shop where ,- gave 5 possible models to choose from. Of course it's not 40" 4k nor haven't calibrated wide gamut color range, but it shows all those dialogs or a reference document well enough.
Be sure you can test what you buy. I connected available units to electricity, watched the settings menu and tried how the controls work. An old laptop would have been useful, but my thinking didn't reach that long beforehand.
You have not to be especially lucky to get one for ,- or even free. Many people have too much unnecessary stuff which they gladly change to a can of beer if you promise to never bring it back.
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