@Miguel516
Last seen: Tue 11 May, 2021
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: Re: GIMP How to make existing gif background transparent I have the following gif, how to make the grey background transparent if not white?
For a Gimp
Right click the image and go to LAYERS then ADD ALPHA CHANNEL. This create the transparency beneath all layers you will have.
Right click on the image again and go to SELECT --> BY COLOR. Click on the color in the image you want to remove.
With right click to EDIT --> CLEAR.
Save as GIF.
: Re: Mask a shape in front of many small shapes in Illustrator CC I am working on the latest version of Adobe Illustrator CC with all the latest updates installed. I have the following: I would
A clipping mask or opacity mask, as suggested by others, would work. But I think what you really want is a pattern fill.
There is a pretty obvious repetition going on with that big mass of complex shapes. Isolate one copy of the motif that's repeated. If you built all that stuff by drawing it once and duplicating it a lot, then this should be pretty easy.
Select that single copy of the motif, and drag it to the Swatches panel.
Select the dome shape, and choose the swatch you made in step 2.
If it looks messy when it repeats, double-click on the swatch to enter Pattern Editing mode, where you can tweak it. The arrow at the upper left of the main document window will leave Pattern Editing mode, as will hitting ESC; the button at the top of the Pattern Options palette will let you switch between editing the shapes that make up your pattern, and the invisible box that defines how it repeats. The other options should hopefully be pretty self-explanatory.
: Re: A logo on a T-Shirt printing I want to make this logo print-ready on a T-shirt, but I have a few questions: 1) I have an overlap in my logo, I tried to merge the whole artwork but I
If you want to print on t-shirt just use black. Paints for garment are totally different from paints used to print on paper.
When printing on paper and you don't want to contact printer don't use CMYK black. Use Pantone. Or any other spot swatch from some makers.
Usually when contacting a printer is not an option (ie. you prepare logo for client for his later use) then it's no your problem. If you have no saying in choosing of paper, print method and so on then why should you worry about covering all bases. That's what Spots are for.
: Visible text in workflow, but invisible in output, is it possible with InDesign? I want text that appears and is editable with ease in InDesign. But, I don't want it to be appear upon output.
I want text that appears and is editable with ease in InDesign. But, I don't want it to be appear upon output.
These text frames are some text which needs to be shown in variables. I have to anchor them to the main text. So, I can't place them in an non-printable layer.
Is there a check in paragraph style to ignore that in output, or some kind of property somewhere which exists?
: Resizing canvas to fit random shape size I have a certain random image shape which I want to fit the canvas to. The shape is saved in one layer with the canvas. I want the resultant saved
I have a certain random image shape which I want to fit the canvas to. The shape is saved in one layer with the canvas. I want the resultant saved JPG image without any background (white) only the shape appearing. can anyone help?
Thank you
: Getting Illustrator to send true black to Ricoh printer My Illustrator design shows "rich black" but when I send it to my Ricoh Aficio GX e3300n printer the black comes out dark maroon/brown.
My Illustrator design shows "rich black" but when I send it to my Ricoh Aficio GX e3300n printer the black comes out dark maroon/brown.
: How to prevent anchor points from moving automatically? I am trying to do isometric pixel art on Illustrator. To this end, I am using a hex grid to draw simple cubes using the pen tool (as
I am trying to do isometric pixel art on Illustrator. To this end, I am using a hex grid to draw simple cubes using the pen tool (as described in this tutorial). However, the anchor points tend to move by themselves. The result is : my cube is not a cube.
Details:
Here I put my first anchor point :
When I add the second one, the line moves down :
And this is the shape I get in the end :
: Re: What's the difference between opentype vs. truetype I know very little about typography. What are the differences in terms of opentype vs truetype. I do know that they are types of formats to
In simple words , Truetype are those fonts whose style cannot be edited or changed according to will. That is , suppose you want to make a later a bit streched or make a fine change in it , you can't do that in Truetype fonts.
But on the other hand, in case of Opentype fonts you can do such changes. Opentype fonts' style are editable.
: Designing a structure of hierarchical blocks I'm charged with the task of designing an invoice. My requirements say it has to have multiple blocks per month and inside each of these blocks,
I'm charged with the task of designing an invoice. My requirements say it has to have multiple blocks per month and inside each of these blocks, the cancellation part has to be divided from the corrected calculation. Also, we need subtotals for each of these blocks (have a look at my mockup). To make things worse, there can even be intermediate totals between the positions.
The invoice is a PDF document which will later be printed out.
Please don't care too much about wording - it's not english anyway.
So, my question is: how can I best depict this structure of hierarchical blocks? I know there's not the perfect solution, I'm rather looking for different ways of designing these blocks. They should be easily distinguishable and not hurt the eye (like my mockup does).
I would like to stick to my font and use two sizes maximum. I need to use black and white only - some gray would be ok, but I guess it can't take more than one shade of gray. I'd like to cut down on the lines (in large quantity they're more disturbing than helpful).
Do you have some ideas or hints for designing these blocks?
: How to work with text line height in Adobe Photoshop to create proper margin between text and content below? My question is about using Photoshop for a web design. For an example, let's say
My question is about using Photoshop for a web design.
For an example, let's say that we have text header "Hello World! second line it’s a test line" and image right below that text. Just for an this example, text is as double-row.
Header text properties are:
Font size: 24px
Line height: 32px
And distance between text and image should be 22px.
But it is just a size between baseline of text and the top of the image.
Actually when line height is 32px distance between text and image should be 14px in CSS to achieve needed 22px value.
Here is html/css example: codepen.io/nfxpnk/pen/xpvYNE
Main question is how to measure that 14px distance in Photoshop? Is there any way in Photoshop to highlight text height consider to the line height value?
Thank you.
: Re: Is it OK to use watermarked photos in my project which will be in my portfolio? I'm designing some websites for extending my portfolio only. And I want to put some stock image in the design,
Using watermarked photos, in my opinion, is only ok when you show "the road". So for example part of your portfolio is step by step brief - research - sketch - concept - finish product. Then yes, by all means, until the point of final design use and show watermark materials (getty and istock watermark looks really professional).
Using many photos in "the road" stage (so until final design you change the watermarked photo) show that you are flexible, able to change and don't stick to one solution.
And as a designer don't be afraid to use your powers in your favour. So use photos with warm colors showing smiling, friendly people. The ones who will look at your designs will associate you with this "nice feeling".
In any other case buy the material, and don't be afraid in investing your money.
A) you will have some stock to use for your own use (freelance)
B) you will have nice photos to use in future mockup designs (many times I've had to put photo without watermark in Lorem ipsum stage)
C) it shows that you are willing to take one step more and showing initiative (you bought the photo and not the company you've work for)
: Is it OK to use watermarked photos in my project which will be in my portfolio? I'm designing some websites for extending my portfolio only. And I want to put some stock image in the design,
I'm designing some websites for extending my portfolio only.
And I want to put some stock image in the design, so it looks real. e.g. putting professional look image in a consultancy company website.
Yet, I dont want to buy the stock photo just for my portfolio use.
Is it OK if I keep the watermarked photo in my project?
: What design is this? I have been unable to look for the powerpoint format shown below. I am using powerpoint 2016 and was hoping someone could let me know
I have been unable to look for the powerpoint format shown below. I am using powerpoint 2016 and was hoping someone could let me know
: Re: How do I make an image look pixelated, like old school arcade graphics? I want to take some stock art (can be of any dimension) and make it look pixelated, kind of like old Mario Brothers
I would use imagemagick, a free, open source command-line tool available for MacOS, Windows and of course Linux. Just download, install and use the command line in a terminal.
convert -scale 10% -scale 1000% parrot.jpg parrot-pixel.jpg
Original parrot image
Pixelated parrot image
With a little experimentation, you can vary the pixel sizes. Of course, as with all of the other answers, your mileage will vary with the art and it is a good idea to go back and fix them up by hand.
FYI, without the time to download and install imagemagick, I was able to execute the pixelation in less than 5 seconds.
A simple bash script could then run through a whole folder and do this as a batch without the whole nightmare of pointy clicks.
: Re: Edit magazine to remove images I made a David Bowie Magazine for school and want to present it on my homepage. I couldn't find any free-to-use images online, so I just took some from google
You could look for public domain or Creative Commons images. Wikipedia is a good Start. If you attribute the works according to the license on the detail page of the Wikipedia image, then you should be on the safe side.
Here are some more references:
Wikimedia
Google images (Labelled for reuse)
Flickr Creative Commons
If I don’t know how to attribute an image, I use tineye.com to check where it comes from. Sometimes, you may find that public domain images actually belong to someone, so the only safe bet is to either make your own photos or to license the photos you want by directly contacting the photographer / rights holder. But generally speaking (as I am not a lawyer) as long as you do not make money with your usage, then it probably falls under the doctrine of fair use / more trouble than its worth.
If you want to be safe, you could offer to take down the offending image should there be a complaint in accordance with the DMCA.
: How can I make a selection in the shape of text with a given font in GIMP 2? I'm trying to design a logo for my band. My idea is to have a fraction of a scenic image be duplicated in
I'm trying to design a logo for my band. My idea is to have a fraction of a scenic image be duplicated in the shape of some text (my album name). I can't figure out how to do this.
Like that, but with text, not rectangles. Is there any way to do this?
: Help need on preparing 36m x 48m print I ave a sticker job thats to be printed on a 137cm roll of vinyl. i will print it at 133cm (including a 4cm overlap on the right side of each panel.)
I ave a sticker job thats to be printed on a 137cm roll of vinyl. i will print it at 133cm (including a 4cm overlap on the right side of each panel.) What how and what programm wil be best for getting the image ready for cutting and saving and at what DPI will i save such a large file.
Will 360cm x 480cm with a 300dpi be ohk for this job if final size will be 48m x 36m 52dpi its coming on the outside of a building were people will be about 40m away?
So basically design file will be divided by 10. And when printing the printer will times size by 10
: Re: Color adjusting tool for office printer Our office printer is not color calibrated and probably never will be. The colors do no match the colors we get from professionally printed material based
To print "proper" CMYK on office printer you need:
- printer jobfile that will translate your RGB to desired CMYK for that particular printer.
- color profile for your program that will translate proper RGB from color used in the document to the exported file you will print.
To answer your question, there is no elegant way. Especially in program like Libre which is not designed in any way to handle colors properly.
What you want to do is to take spectrophotometer check printed colors and see how much they are off from target one, then fix the color in Libre with "around" amount.
The main problem you face is that Libre don't specify what profile they use to handle color. So you may have on your screen 45% Black. Which Libre send to machine as 145,152,153. And then printer can translate it to C15,M15,Y15,K35.
At some point you would need at least semi-professional program that would give you some control over toner/paint amount.
: Re: Sketch (draw, trace) image at 45º angles Hard to explain. But: I am in the process of creating a stylized map of a small country in the North-West of Europe ;-) So, basically, I want to
In Inkscape, you can define a grid with 45° (document setting), make the image partly transparent, enable snap to grid and thereby help yourself by manually performing the task, drawing over the shape to the nearest next grid point close to the shape:
I'm not aware of an Inkscape tool, being more into the automation of the task. Screenshot from german interface, I guess the location of the settings in the dialog is identical.
: Re: Is 32-bit color depth enough? Most monitors that I see these days support 32-bit color depth. I can tell the difference between 16-bit, 24-bit, and 32-bit color depth but I am wondering if
Info on 8-bit (24bpp) Vs 10 (32bpp) bit monitor and gpu. Also professional graphics vs consumer.
Professional graphics:
Honestly this matters more for photographers and videographers for professional graphics work than others like design or illustration. It helps with color grading and gradient banning. A good monitor calibrator and 24bpp can go along way for graphic design.
For example if a videogeapher zoomed in over 65% on a metal detail and looked at its gradient they can then color grade more accurately than normal an can tell if there is a shift off with the white color balance to a much higher degree than with a non 10-bit monitor.
Apparently there are still issues with Photoshop zoomed in over 65% reverting to 8-bit color as of 2017, but photographers can still get a benifit from 10-bit screens if their trying to shoot over standard color gamunts or want to gain just a tiny bit more adobeRGB gamut for print proofing - though they still need to proof the prints them selves regardless anyway -.
Consumer graphics:
People who own a consumer grade or better 10-bit monitor actually have already had support from AMD Radeon gpu's for years and as of 2017 Most Gtx gpu's support it as well. Windows 10 and macOS both just implemented native 30-bit - aka 32bpp - support, with linux having it a few years already. All three OS still have their own issues relating to 32bpp support.
For games, video, and other applications 32bpp support really depends on the developer and the color standards individuals publish content at, many of the latest games in theory support 32bpp color already.
Monitors:
You should know that exteneding the 32bpp color range of a monitor will not mean that that extended color range will be in the desiered color gamut. While most of them will fully cover sRGB there will often be a compromise between Adobe RGB, DCI-P3, or a even lower standard video gamut.
Even if it is a wide gamut monitor it may not cover Adobe RGB or DCI-P3 gamuts respectively over 95% for color grading. I recommend reviewing the monitor your looking at on tomshardware.com, they will also have a list of the best professional monitors based on their testing each year.
It is generally recommended that you get a 27in or larger monitor if your going to run a single monitor setup, and as high a resolution as you can afford. You'll want one that is a 60hz or better refresh rate with a response time of under 10ms for daily workflow.
GPU:
The GTX Gpu family only supports 32bpp for DirectX applications, most professional software use Opencl - or possibly in the future 'Vulkan' based off Opencl -. Professional applications won't work with GTX gpu as of 2017 or earlier for 32bpp color.
Quadro Gpu will support 32bpp, mainly starting from 2015 or later please review each spec sheet for said Quadro as I do know their general support for 32bpp color started later than with Radeons or FirePros. Quadro are workstation class gpu but have less hardware power per dollar then the GTX line up, so for graphic design areas other than 32bpp they may not be the best solution.
FirePro gpu - or the radeon WX series - have long had 32bpp support even though computers for the must part until now haven been able to benefit from it. FirePro are workstation workstation class gpu but have less hardware power per dollar then the regular radeon line up, so for areas other than 32bpp they may not be the best solution for graphic designers.
Radeon gpu use opencl or vulkan as standard in their drivers and some can be modified to use 32bpp with professional applications, but some can not. In theory 32bpp in genereal has been supported in the Radeon gpu line up for years now.
Either adobe or AMD will not now allow Radeon drivers to work with the adobe suite of applications even though in theory it is natively supported by the gpu in the first place. However if you can infact find one that works for 32bpp in adobe and has been recently released, it is probably the best value per dollar.
Note the Quardo and FirePro are better for higher precision for 3d printing and other high precision areas like medical imaging.
Other general PC hardware:
For Cpus more cores are better for multitasking or anything to do with video. For non-video adobe programs they only use a few cores mainly so the faster frequency matters more, but only to a small degree.
For RAM you'll want a minimum of 16GB for professional use, 32GB or more can help for video editing but not as big of a difference as you'd see compared to anything under 16GB. When buying RAM over 16GB wait to get the best price on it you possibly can as the price range fluctuates easily, example would be 16GB of ram jumping from to 5 for the same exact ram sticks in under a month only to fall back down to a half a year later. Just plan it based off your motherboard.
For Memory you'll want to use a SSD for your main OS - like windows - and programs for speed, M2 SSDs actually show even more improved program speed in some tasks over an SSD so consider them for your daily drive too.
For memory storage You'll probably store your finished images or videos on a HHD for a larger area to store stuff like working files, photos, or videos since they have a better price per GB. Note that HHDs while cheaper have a higher rate of failure than SSDs though.
For Cases and Cooling Most professionals prefer to buy cases and cooling based off how quiet they are as well as their cooling abilities before anything else. Noctua are by far the quietest cpu coolers and fans for the money, the NH-D14 is one of the best cheap cpu coolers on the market. The fractal Design R5 is claimed to be the quietest case as of November 1st 2017.
Hope that helps!
: Name of this kind of design element? Maybe a dumb question, but is there a name for this kind of design element? Zoom, preview or something along those lines?
Maybe a dumb question, but is there a name for this kind of design element? Zoom, preview or something along those lines?
: How to have gifs wait for each other? I have 2 gifs that will keep repeating in my powerpoint slide. Gif A has 40 frames while the gif B has only 20. How do I get gif B to wait till
I have 2 gifs that will keep repeating in my powerpoint slide. Gif A has 40 frames while the gif B has only 20. How do I get gif B to wait till A is finished before restarting its animation ?
: Re: Achieve a tilt-shiftesque effect in Illustrator I'm looking to create an effect similar to the Photoshop "tilt-shift" blur in Illustrator. All the blur effects in Illustrator I could find only
You need to duplicate the layers and apply different levels of blur to them. Then you mask each layer accordingly.
It is not because there is no easy productivity tools that you can't achieve such a thing. I did not touch Illustrator for about a decade but I believe if Inkscape can afford to do such a thing, Illustrator does too.
Just as the image bellow shows, above a specific work on several layers.
And bellow a gradient between a blurred and an un-blurred text. Which one works best for you?
: What keyboard shortcuts in Illustrator to make this? My cat walked on my keyboard and then this happened. She change my logo like this. It look like outline logo. And I never know this technique
My cat walked on my keyboard and then this happened. She change my logo like this. It look like outline logo. And I never know this technique before. I used macbook. What the keyboard shortcuts to make this. thanks you so much.
: How can you put CGI effects behind a character from a video? I'm looking into doing some special effects editing, and i have a lot of experience in 3D. If i take video where there is a
I'm looking into doing some special effects editing, and i have a lot of experience in 3D. If i take video where there is a character and a background, how could i put 3D objects between the background and the character?
: Re: How to keep the text in vector in Photoshop without rasterizing it or flattening the layers when exporting to PDF? After many tests in all kind of PDF presets, I couldn't figure out how to
Simply convert it into a shape layer.
Right-click on layer and select convert to shape layer
: InDesign – Text breaking across pages I'm typesetting a long document with a lot of text, and sometimes paragraphs are breaking across pages seemingly randomly like in the screenshot. I tried
I'm typesetting a long document with a lot of text, and sometimes paragraphs are breaking across pages seemingly randomly like in the screenshot. I tried to see if it had something to do with my paragraph styles & keep options, but apparently it doesn't. So I'm really confused why its doing this.
: Adobe Illustrator: how to save at 600 dpi for print I am learning AI now and one of the requirements for a project is it must be submitted as 600dpi in order to be printed. Can I accomplish
I am learning AI now and one of the requirements for a project is it must be submitted as 600dpi in order to be printed. Can I accomplish this with Adobe Illustrator? If so how can it be saved as 600dpi in PDF format, as the only CMYK option I find in AI for print is 300 dpi?
Can I accomplish this with just AI or will I need to use Photoshop also?
: Re: Drawback of using your logo for animations I am considering using an animation during which my company’s logo morphs and changes color (company colors). I’m not sure if it is good for your
Do not DECONSTRUCT your logo.
Rather, have the dynamic components of your logo come together to FORM your corporate identity at the conclusion of your message not to introduce the segment.
I learned years ago the benefit of not "destroying" your logo and the benefit of ENDING your message with the appearance of your logo complete and intact to punctuate your message. The concept to search is "primacy and recency."
Your logo must appear to be lasting; so, it is fitting that it ends your message.
Put yourself together, don't take yourself apart — even metaphorically.
Here's the full sequence that you'll see in different forms for every pitch. First, frame your product by using cultural "cues" familiar to your target audience. Then, use the body of your "message" to sell your fish. Finally, identify yourself to the audience.
If you do otherwise, you invite part of your "as-yet-unfamiliar" market segment to adopt a "That doesn't apply to me" attitude. You've lost time trying to do two things at once, introduce the brand before its relevance to you, and then the brand relevance. We don't think that way. Even the best brand in the world shows you enjoying the drink before you see their logo and they NEVER take apart the logo. You don't even see the obvious signature being written by animation.
: Re: Designing around an awful logo I'm looking for some opinions on how to approach an interesting problem I've encounted. I dabble in UX/graphic design, specifically for the web. Mostly static
I would not criticize the work of another no matter how bad I think it is.
I get to change practically ANYTHING without criticism. I get the CLIENT to suggest the change.
Here's how:Ask your client questions that you can predict. Then, switch the example to the one where the problem lies.
Frame the campaign with a statement about how very common things "disappear." They fade into the background. We don't notice them anymore because they are known, not new. It's the way we're programmed. It's a survival thing. When we walk through our front door and everything looks "normal." It's because nothing has changed. But when something has been moved or is missing, we notice it or that something is different FAST. It grabs our attention. We are pulled to notice things that have changed not the things that are "normal."
Then, I ask about a few things that for the client have "disappeared." After a couple of visits to the office, you'll see a few things to use for your examples for your stubborn client.
What colour is the house across the street from you? Can you describe the rug in the lobby? Without looking, what does the sign across the street, say? Whose logo is the third one from the top in the lobby?
The point is that we find "primacy" (being the first) and "recency" (being the most recent) mentally sticky. We remember the first thing and the last thing of all the many "things" around us.
Next, remind the client that we use logos to help identify our brands. Our brands identify the 'fish' we have for sale. Unless our advertising is noticed, no chance exists to be considered. Our 'fish' sits unsold for lack of being noticed.
Your client has a great opportunity to take full advantage of a benefit of increased brand recognition. You no longer have any chance to be the "first" among your competition. It's a done deal. That ship has sailed.
You can reassure your client that optimal "recency" occurs every time you update your logo.
Combine a product line update or realignment with a logo update for increased brand recognition.
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