Last seen: Tue 11 May, 2021
: Re: How to change color of multiple text objects at once I'm using GIMP and I have a lot of text object in a project that must have the same color. Every time I want to change this color I
I’m using GIMP and I guess I just figured it out how to put color on one group of text layers:
Simply put them in one layer group.
Make a new layer in that group.
Here is the twist: Mark that layer as transparency.
On that layer, right-click and select alpha to selection.
Use the bucket tool to change to your desired color.
: Web design: Book recommendations So I'm tutoring some people at a prison for Math and CompSci, they're working toward their degrees so that they can have some qualifications when they get out
I saw one recommendation on this website, here: Studying Graphic Design for Web Design The basic advice was to do project-based learning and expand your skills on a need basis. These guys are already doing that, building as much of a website as they can, but they're not allowed to use the internet, so when they need extra information, they need to get it from a book in their library.
: Re: How to determine what quality a JPG was saved as? When saving JPG images with Pixelmator or Photoshop, I select a quality from the scale 1–100 that gives optimum file-size. Later on, I sometimes
In your specific situation (cropping jpegs you don't have originals of) there are specialized tools to crop jpeg files without recompressing them. See this question: How to crop a JPG without recompressing?
Taken from jpegclub.org/losslessapps.html, here is a list of Mac programs that can do lossless jpeg edits:
PhotoLine [Computerinsel] (Windows, macOS) - Image processing for Windows and macOS, supports JPEG 9
exifiron [Marko Mäkelä] (Windows, Macintosh, C/POSIX) - Orientation correction and optimization of EXIF JPEG images, includes Exif patch
Cameraid [Juri Munkki] (Macintosh) - Digital photography utility package
GraphicConverter [Lemke Software] (Macintosh) - Shareware graphic converter
ACDSee [ACD Systems] (Windows, Macintosh) - Picture viewer and digital imaging software
Shutterfly [Shutterfly, Inc.] (Windows, Macintosh) - Online photo album uploader software
MaPiVi [Martin Herrmann] (Linux, Unix/X11, Macintosh, Windows, Perl/Tk) - Martin's Picture Viewer and Organizer
Photo Viewer [PhotoParade] (Windows, Macintosh) - Digital photo viewing and managing
: Keeping vector layer in Photoshop Elements 2018 I created vector text in Inkscape, converted to .pdf, and loaded it as a layer on a map in Photoshop Elements 2018, but when I enlarged it above
I created vector text in Inkscape, converted to .pdf, and loaded it as a layer on a map in Photoshop Elements 2018, but when I enlarged it above 100% it was no longer a scalable vector. Is it impossible to have vector layers in Elements or should I stay in Inkscape for the entire project to maintain scalability? Other options?
: 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
I am working on the latest version of Adobe Illustrator CC with all the latest updates installed.
I have the following:
I would like the dome shape in front to act as a mask for the complex shapes behind. How can I do this? The shapes behind are 100s of small shapes and even though I grouped them all as one, I still can't get it to mask when I try various things in the Pathfinder panel.
Any help would be appreciated.
: Matching logo sizes When you're designing a document and you have to place a bunch of logo endorsements in the document, how do you make all the logos seem the same size? Is there a more
When you're designing a document and you have to place a bunch of logo endorsements in the document, how do you make all the logos seem the same size?
Is there a more mathematical or scientific way of matching logo sizes other than using your eye?
I am contemplating on using the area size of each logo, but Adobe Illustrator has no way to resize logos according to their area size, you can only resize logos according to their width or height dimensions. The actual area size has to be calculated and it becomes messy and complicated.
: Re: What font size should be used for a children's book? I’ve been looking around, and so far I haven’t found much. Most places I find also suggest using Comic Sans so I'm hesitant to take
Small children need a larger font. Personally I like www.dyslexiefont.com/en/typeface/ and Comic Sans for young children (5-6). As they learn to read books take them to other fonts but I think size 18 to start with, when they are looking still at each letter, reducing to size 14 when they start reading whole words; size 12 at intermediate school (10 years-ish) and and only size 10 and down at high school.
My 10 year old son, who started the year full of hope and confidence, was blighted on the second day by the teacher trying to save paper. He had printed two timetables 8x20 cell to each A5 page. Furthermore, the teacher's copy was in color. The children's were in grayscale so the white on black showed up well but most of the rest was illegible to barely legible black on black/dark grey on black and less than size 6 font.
This is a barrier to achievement.
: How to apply an action all all open files except a particular one? I would like to apply an action to all open files except a particular one. An example: I have files A B C D opened, I
I would like to apply an action to all open files except a particular one. An example: I have files A B C D opened, I want to apply the action on A-C but not D. Is there a way to limit this?
: Store a Copied Image in an Automation Script So I'm about to get into a part of my project where I have to process a ton of images. The processing flow is the same, so I would like to
So I'm about to get into a part of my project where I have to process a ton of images. The processing flow is the same, so I would like to use a combination of Actions and Automation to do the job. I was able to build a script but I have one step in it that I can't get to work unless a source is also open and copied into memory. Let me explain:
I usually get a bunch of photos from an event, these photos need be processed and dropped into this template frame, in other words a layer with with graphics on the left and right sides but the middle has a placeholder for these photos. After loading the images, the flow that I have created is as follows:
Convert image from background layer to a basic layer (transparent)
Resize the canvas to accommodate for the 'frame' template
Paste the 'frame' template
Move the image layer on top of the 'frame' template
Save file as original name + serial.
The problem I'm having is with step three. In order for me to be able to take this step, the source of the 'paste,' the 'frame' layer needs to be in memory; aka I need to have that file open, then do a Ctrl+Copy, and now that it's in memory and my script could be applied on those loaded images.
What I want to be able to do is somehow permanently store this 'frame' layer inside this script or somehow so that I don't always have to have it open as a separate file and have it sit in memory after a Ctrl+Copy.
: Can anyone help me identify this angular Japanese font? (Katakana & hiragana samples) Here's a cleaned up version: 「ぷちゃへんざレディオ」 And the original (From My Hero Academia vol.
Here's a cleaned up version: 「ぷちゃへんざレディオ」
And the original (From My Hero Academia vol. 4 back cover):
It's quite distinctive, so I hope someone can help. The other font that can be seen in the image (reading Present Mic) I've identified as Blippo Black, so it seems likely the other lettering is also done in a readily available font. I've had no luck browsing Japanese font sites, and en.likefont.com didn't seem to have it in their database. Even suggestions for other font identification services with Japanese support are appreciated. Thanks!
: Exporting artwork at specific size in Illustrator CC I have the following artwork in the latest version of Illustrator CC: Ignore the black rectangle, I only added that so that you and I
I have the following artwork in the latest version of Illustrator CC:
Ignore the black rectangle, I only added that so that you and I can actually see the artwork (not sure if there is a better way).
How can I export this artwork with the following criteria:
Padding top and bottom: 12px
Padding left and right: 0px
As PNG format.
Is this doable? I cannot find any of these things in the export window.
: How can I combine multiple Overlay layers into a single one? Here I have a simple image of a cat: I add a new layer on top of it and near its mouth area I add a small circle and apply
Here I have a simple image of a cat:
I add a new layer on top of it and near its mouth area I add a small circle and apply gaussian blur to it, and set the mode of the layer to overlay to create this(I used this merely for demonstration):
Now, suppose that I wanted the same effect more intense and that I duplicated the same circle layer two times, to create this: (all of them in overlay mode)
Now, How do I keep the effect of the three overlay layers but make them only one single layer? If I merge them down, the effect goes away:
How can I do this in GIMP?
EDIT: Just for the clarification for other folks whom I directed to this post, another reason to want to do this is when we create a layer mask for the above layer with overlay we may have to copy and paste the layer mask to every overlay layer and making edits to layer masks even troublesome.
: Re: Creating an interactive publication for Android/iOS/PDF/Web I have rudimentary desktop publishing experience, and I would like to create a resume (not in the publishing field!) that I can give
I would also like to suggest Maglr (www.maglr.com). We provide two solutions:
Start with a responsive interactive publication (readable on multiple screensizes). You can choose from 50 templates. When ready the result is also available as printable A4 PDF.
For the professional designer we provide the Pro editor. You can create and publish whatever you like. With Pro you can design and animate the pages according your own insights, without any restrictions. The design can be separately arranged for desktop, mobile and print from the same source material..
I also have to say, Maglr is a product we are using daily, but also developed ourselves.
: Re: How to get the exact rotation angles of a rotated 3D object in Illustrator? I would like to get the rotation angles created by the effect of an existing object (Undo is not possible): Effect
You can rotate a guideline to measure the angle of the "effect" you specified. It is a crude solution but it is better than approximating.
To rotate a guideline:
: How do you do a "vertical scale" of a shape in Illustrator? I need to know how to "vertically scale" a square on Illustrator, and then do a "Horizontal sheer" for a 3D shape but I have
I need to know how to "vertically scale" a square on Illustrator, and then do a "Horizontal sheer" for a 3D shape but I have no idea what it means or how to do it, if anyone knows I'd appreciate the help, thanks!
: Why can't I create an offset path for my PSD Images on Illustrator? I'm currently in the process of making stickers for my ETSY Shop. I have made all my sheets in Photoshop and decided to
I'm currently in the process of making stickers for my ETSY Shop. I have made all my sheets in Photoshop and decided to transfer one file into Illustrator.
As I was trying to make a cut line for my machine I realized I wasn't seeing any of the points (I don't know what they're called) whenever I hovered over my image. The only thing it would show me was the box surrounding it. I have also noticed that it won't even let me use the "offset path" option and image tracing doesn't do much either because I still cannot create an outline.
Do I need to restart all these sheets completely on illustrator? Any advice would be so helpful.
(i've also tried saving my file as PNG, TIFF, when I was image tracing I made sure it wasn't using the white space, but nothing is working.)
: How do I create true two-color images in GIMP? I want to create a file with 1 bit color-depth, i.e. one bit per pixel. Which file formats are suitable for that, and how do I do this in
I want to create a file with 1 bit color-depth, i.e. one bit per pixel. Which file formats are suitable for that, and how do I do this in GIMP?
This is for self-created checkerboard for subsequent experiments with image analysis and modification.
PS: I know about How to convert color images to black & white in GIMP? but if I store this as JPG or PNG, there are still gray pixels included.
: Re: Text Rendering Photoshop I just purchased this font and I seemed to notice it looks very different to one of the samples they provide. I did a side by side comparison of their sample and
I found that using the "Text" version of the font, and downsampling it, I could get a much more accurate representation of the text:
: Text Rendering Photoshop I just purchased this font and I seemed to notice it looks very different to one of the samples they provide. I did a side by side comparison of their sample and
I just purchased this font and I seemed to notice it looks very different to one of the samples they provide. I did a side by side comparison of their sample and me entering the text on photoshop and I think the difference is quite strong. I have gone through the text rendering options on photoshop and neither come close to what I'm seeing in the sample.
Here's the comparison:
(font sample above, my text below.)
What would you guys suggest I do to get as close a match as the one in the sample?
: Crop SVG with Inkscape I have an SVG built up by adding several images on top of each other. It works fine but the edges do not line up and overlap in ways that I don't want. I basically
I have an SVG built up by adding several images on top of each other. It works fine but the edges do not line up and overlap in ways that I don't want. I basically want to "trim" the edges of my SVG to remove this.
I'm not currently familiar enough with either SVG or Inkscape to know how to crop something in the same way you would if you was cropping e.g. a JPEG.
I'd like to be able to simply delete everything outside the viewbox. How do I do this with Inkscape?
: Re: How can I know what fonts a website is using? How can I find out what font or fonts a website is using? Are there any tools or browser extensions that can make the job easier?
FontFinder is created for designers, developers and typographers. It allows a user to analyze the font information of any element on a page, copy any piece(s) of that information to the clipboard, and perform inline replacements to test new layouts.
This add on is the best for finding the font and other css such as font weight, size and many more form webpage.
: How to scale artwork and content from mm to pixels i'm making a template of a ticket of 80mm for a web app in Illustrator CC 2017, but now realize that when i go to export>save for web,
i'm making a template of a ticket of 80mm for a web app in Illustrator CC 2017, but now realize that when i go to export>save for web, the size of the artwork and content change to pixels, but not transform 80mm to the actual size in pixels instead the program just changed 80mm to 227px which is the same size on the inside ruler of illustrator.
Why is this happening can someone help?
How can i scale the artwork and his content from milimeters to the real size in pixels for print from web.
: Re: What style or technique do these retro images/font fall under? Not exactly UPA I am trying to use the same illustration technique for some graphic design ideas. I know that it is 50's to 60's
So for style: those are simply "50s or 60s pen and ink cartoon illustration."
As far as how they were produced (aka technique), we should bear in mind they were created specifically to be mass-produced via printing. It wasn't really until the mid to late 80s that 4-color process was cost-effective (read: affordable) with proper quality for a large proportion of (non-national) advertising and book printing. So there was a ton of 2 color work done, with one usually being black so the same plate can be used for text. The style also is amenable to rapid development and cost-effective use of artist's time.
The first one is printed with 2 colors: black and red (on a white substrate).
So for the black the illustrator made a pen and ink drawing using black ink and then made the greys using a 50% wash of black ink, possibly using a rule pen for the window frame.
For the red, the illustrator made second drawing, (possibly on tracing paper) again using using black ink for the shirt and hair, and then used a sponge with a 50% ink wash for the surrounding areas.
Registration marks were ruled on each for rough alignment (the probably of imprecise registration is built into the style) and both drawings are black. This is because the illustration is really a brightness map for an arbitrary ink color.
The print production staff then photographed each and made a plate for the black ink and a plate for the red ink. The black plate printed first and the red plate was set to overprint the black.
The second one is done in much the same way except that because there is a pink substrate, there is a third drawing/plate made for the skin tone (a cream color). The cream color would be done first (and the drawing probably looked like black silhouettes). Then the black would overprint, then the red. It is possible the 3rd plate was made by production staff rather than the illustrator.
: Re: Powerpoint - how to make pictures equal distances from opposite sides of the slide I have multiple slides in a presentation, and have been asked to add images at the top-right and top-left
Can you set the distance that shift plus I remove each object? Because if you can set up the 3 mm then you could snap the objects to each corner and just shift arrow up and left for whatever direction as needed.
In other words you want to adjust the distance for the warrows.
: Re: Convert OpenType font to TrueType with tabular number spacing Is there a way to convert an OpenType font to TrueType using tabular number spacing instead of the default/proportional. The online
The Fontsquirrel Generator can turn OpenType features into default characters: www.fontsquirrel.com/tools/webfont-generator
: 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
The problem with your approach is that as soon as you get a new printer, you need to recreate every asset. So you want a printer that is a slave to your process, not the other way around.
You will never get exact color, but the best way to handle this is to calibrate your monitor (rent a monitor calibration device from a photography shop) and ensure that what you see on the monitor is as close as it can be to what you see on the printed products from your print provider.
The next step is to look carefully at the programs you are using. Not all of them will handle color well. Some will work well if you first export to PDF and then use PDF software with good color management. This way you can get a reasonable "soft proof" on your screen using trustworthy software, and then the prints will be easier to create.
The next step is to not use ICC profiles on your printer, but rather set up the printer's drivers to never auto-adjust color: no "vivid" no "photo enhance mode"--no nothing. Set it up for complete manual, no auto-adjust no ICC. Many major printer drivers have all three choices.
Then you make minor manual saturation, contrast, and color adjustments in the printer driver setup to get your printouts inside the realm of realistic. If possible save that as a preset, if presets are not possible write them down (and be sure you write down the adjustments you made on your samples when working this out so you can make comparisons). Disable in-printer auto-color adjustment and us this preset every time you need to print.
If you focus on the process this way, you will be able to use the same files for both in-house and print provider without alteration.
: Re: How can I show the feelings of motion, distance, proximity, aggregation and segregation with dots? This is for our visual elements course, our teacher said to show these feelings or concepts
I don't want to do your homework for you, but I can help you with the creative process. Make a list of all of the variables that are fixed.
Same size frames
Then make a list of the variables that you can change (I haven't read the assignment sheet of course so these are just examples).
Then look at each of your assigned "Emotions" (these seem more like spatial properties than emotions) and think about how you can vary your compositions. Do a google image search for each composition, don't fixate on a single image but look at lots of images and think about what they each have in common. Are there reoccurring themes or visual motifs? Think about what the "Dot" version of that might be.
I would keep your compositions abstract. Drawing a race-car out of dots will probably not satisfy the "motion" composition. Instead think more abstract, what happens when an object moves? Perhaps it gets bigger or smaller? Perhaps it pushes other objects out of the way? Perhaps it goes so fast that it is red and burning hot?
If you have too many dots I think you will be going the wrong direction. This assignment should be something you can do with 10 or fewer dots for each composition. Hopefully this helps!
: Which color to use if no gender is selected in my mobile app? I create a name chooser mobile app. I'm going to change the app theme to blue if boy names are filtered, pink if girl names
I create a name chooser mobile app. I'm going to change the app theme to blue if boy names are filtered, pink if girl names are filtered. What color to use if no gender is filtered? (boy and girl names are shown at the same time) Please help because I have no idea! :)
: Re: PPI vs. DPI confusion (not a duplicate! NOT the same question that's been asked!) I was also confused about the meanings of PPI vs. DPI and so I read a few tutorials on Google (including
There are multiple definitions of a pixel and this is unfortunate.
The problem with the physical LCD pixel descriptions you provided is that they are trivially wrong (the vast majority of displays use multiple light elements to produce a single "pixel"); they are involved primarily with specific implementations (of which there are many and various); and they are not relevant to the majority of producers of image content (especially those who are actually confused about the distinctions).
Regardless, a physical LCD pixel has a dimension since it is a physical object that can be measured with a ruler. This is one definition of a pixel. But this is the wrong definition for image editing and manipulation.
The problem with DPI or printing definitions is again, an implementation problem. For printing there is a tighter target, but commercial printing can be stochastic or FM screening, and the size of the screens vary. In addition each color screen is sampled at a different angle, so the screens themselves to not have a direct correlation to the apparent grid-like nature of the dominant raster-image storage methods.
Again, these are physical dots and they are not one-to-one representations of pixels stored in an image file. Obviously, this is not a definition of a pixel (yes they are picture elements, but the etymology of the word only tells us where it came from, not the specific meaning).
The thing is: the pixels people are concerning themselves with are the ones we manipulate in e.g. photoshop or GIMP etc.
These pixels have no size. They are dimensionless numbers. To ask what size they are is to misunderstand what they are. To ask what color they are is a misunderstanding. When you ask someone how big they want the image and they say "300ppi" they might as well say "purple monkey dishwasher". If someone wnats to know the size of a raster image pixel, the only answer (aside from a blank stare) is mu.
When we talk about resizing an image, we usually mean resample: add or remove data. This is where image quality degradation comes from. If we are not actually re-sampling a physical object with a higher density of samples, then we are making up data.
When we say there are color channels, we forget that using the data for color information is a convention, not a requirement. The red channel might be depth data, the blue channel might be brightness, the green channel might be time of day in seconds.
When we make an image "300ppi for print" what we are doing is: deciding on a target physical size on the paper we want for the finished item; considering the expected line screen halftone process being used by our supplier; providing twice as much data so that the when the plates are made, the resampling process can accurately reproduce the original signal. We can usually assume that the print providers have equipment designed around 100-133 line screen, and we like to give a little more data, so the rule of thumb works and we don't need to calculate.
We usually get pretty good results with this rule so it gets spread around, and it works. But the key here is to focus on the data, not the PPI. The PPI is mutable and derived and has very little value without a physical target.
NASA has an inverse relationship with with imagery. Ignoring that they use different intermediary image storage methods etc, the products they put out to the public are using typical 3-channel raster images and often have a resolution quoted with them. Only they quote in "meters per pixel." They can do this because, again, the pixels are dimensionless point samples that are fixed at the time of creation. The resolution of "3 meters per pixel" is the threshold below which the depicted objects are smaller than 2 point samples and therefore suffer from aliasing
For more reading on 2x data sampling ( Shannon-Nyquist Sampling Theorem ). Note that this is the reason "CD quality" is 44kHz: the human ear has about a 21kHz range and so music files sample at double that in order to properly reproduce the original signal without noticeable aliasing.
For more reading about pixels as point samples see (A Pixel is not a Square)
: Image backgrounds in InDesign PDFs have weird coloring on Preview I'm working on a PDF document in InDesign where the A-Master would have an an image with a seamless pattern as a background.
I'm working on a PDF document in InDesign where the A-Master would have an an image with a seamless pattern as a background. However, after exporting, whenever I look at the PDF on Preview (but not in Adobe Acrobat), the image in the A-Master would have a weird color difference, like it would appear more saturated, compared to the rest of the document.